In 1917, Thomas G. Moses wrote,
“Gordon Holdcraft paid us a visit after spending several years in Korea as a
Missionary. We enjoyed his visit very
much.” Moses was referring to Rev. Dr. J. Gordon Holdcroft. In 1917, Holdcroft
returned to the United States from Korea, boarding the Empress of Japan in
Shanghai and arriving at Port of Vancouver on August 8, 1917.
Holdcroft resided in Korea from
1903-1905, 1909-1917 and 1918-1921. In 1922, Rev. J. Gordon Holdcraft was the
acting pastor of First Presbyterian Church (Passaic Daily News, NJ, 11 Feb.
1922, page 2). However, by 1923, he left again for missionary work, traveling
to Japan, Korea, Hong Kong, Manchuria and China; he was working for the
Presbyterian Board of Foreign Missions. In 1925, Rev. J. Gordon Holdcroft,
D.D., was listed as a Presbyterian missionary in Seoul Korea, and was secretary
(of Korea) for the World’s Sunday School Association.
James Gordon Holdcroft was born
in Chicago on 31 Aug 1878. His father, George Nisbitt Holdcroft, was an Irish
immigrant who entered the United States by way of Canada in 1875.
J. Gordon married Nellie Cowan
(b. May 30, 1880) in Hobart New York, on Oct. 24, 1909. Holdcroft’s passport
application in 1909 described him as 5’-8” tall with blue eyes, dark brown hair
and a ruddy complexion.
Holdcraft spoke on his
experiences in Korea for the remained of his life. In 1932, The Passaic “Daily
News” reported that Holdcroft spoke at a Presbyterian Church Society program. The
discussion was part of the Women’s Missionary Meeting” (Passaic, NJ, 2 March
1932, page 11). The article commented, “There were also messages from Dr. J.
Gordon Holdcraft and Mrs. Holdcraft, who have been associated with the work in
Korea for many years.” That was his topic. In 1940, Holdcraft was mentioned in
the section Church News and Activities in Minneapolis and St. Paul in “The
Minneapolis Star” (30 Nov. 1940, page 16). He spoke on “Christian Progress in
Korea” and “Faithfulness and Betrayal in the Far East.” He was again speaking about his missionary
experience in Korea to Presbyterian congregation. By 1942, Holdcroft became the
general secretary of the Presbyterian Independent Foreign Mission Board.
Holdcroft eventually settled in Philadelphia, becoming the president of The Associated Missions of the International Council of Christian Churches (ICCC). He became integral in discussions concerning ecclesiastical separation and representation before governments in the 1950s. Holdcroft was also involved in forming the Associated Mission of the ICCC in 1952 and became an officer in the organization in 1962.
In 1972 Holdcraft wrote “Into
All The World.” The Independent Board for Presbyterian Foreign Missions
published his work. That June he passed away.
In 1917, Thomas G. Moses wrote,
“We closed a contract with H. Robert Law of New York City for a lot of scenery
for the Government Cantonment Theatres.” Yesterday’s post examined Smileage
Books for government cantonment theaters during WWI. Today I explore the life
of H. Robert Law.
Harry Robert Law, Jr. was born
in Toronto, Ont., Canada, on September 20, 1876, but only lived there for the
first year of his life. In September 1877, the Laws returned to the Wilmington,
North Carolina.
His father, Harry Law Sr. was born
in Wilmington, North Carolina. H. Robert
Law’s 1923 passport application notes that his father lived for 63 years,
uninterruptedly, in the United States, at Wilmington, N.C. and Baltimore, M.D. Law’s
mother was born in New York.
By 1910, New York City
Directories list H. Robert Law as an artist, living at 141 Park Hill Ave,
Yonkers, NY. In 1914, Law partnered with John H. Young to provide scenery for
the William A. Brady production of “Life.” (Boston Globe, 30 Aug. 1914, page
40). In 1915, the younger Law met and married his future wife Lilla Gertrude
Batdorf. (b. March 5 1884), in Philadelphia. Lilla was a Chicago native and the
daughter of John William Batdorf (b. 1852, Ohio) and Helen Gertrude Tetrick (b.
1858).
WWI draft records described
Law’s physical appearance as “tall” and “stout,” with brown hair and brown
eyes. “Stout” is subjective, as this simply could have meant big-boned and not
morbidly obese. Draft records only give the options for a slender, medium, or
stout build.
WWI draft records list Harry
Robert Law’s address as 7389 West End Ave., Manhattan, New York. The record
lists his present occupation as a “scenic artist” and his employer as “self.”
His studio address was 502 West 38 NY, NY. This continued to be the studio
address throughout the 1920s.
As a scenic manufacturer, Law
was contracted by the United States Government War Department during WWI. He
was a well-known individual at this time. On May 21, 1917, the “News-Journal”
reported that Law had gained “considerable fame through his spectacular scenic
creations” (page 11). 1917 productions that Law designed scenery for included
“Molly O’” (May 17, 1916 – Jun 24, 1916) and “When Johnny Comes Marching Home” (May
07, 1917 – Jun 16, 1917). 1918 shows included “Cheer Up” (Aug 23, 1917 – May
11, 1918), “Oh Look” (Mar 07, 1918 – May
04, 1918) and “Hitchy Koo” (Jun 06, 1918 – Aug 03, 1918).
Law’s 1923 passport application, indicated that he was traveling for business purposes with his wife to France, England and Germany. His occupation was listed as that of a scenic studio manager of H. Robert Law Scenic Studios, still at 502 W. 38th Street in New York City. Law also listed his permanent residence that year as 1925 7th Ave., NY, NY.
While researching for additional
information about Law, I noticed that he was in court – a lot. Here are just a few examples of his extensive
legal battles:
In 1910, Law was involved with Joseph E. Shea in a contract dispute with D. S. Andrus & Co. (Star-Gazette, Elmira, NY, 14 April, 1910, page 7). In 1911, Law won a case against Sangor Rice Co. and Benjamin Sangor for $477. In 1914 Law sued to recover $75 from T. C. Brown, a local automotive agent for non-payment of a space on an advertising curtain (Asbury Park Press, NJ, 19 June, 1914, page 1). In 1917, Law sued Harry J. Everall and Samuel H. Wallach for non-payment (New York Herald, 22 Oct. 1917, page 14). In 1920, Law sued Daw Producing Co., Inc for $1,063.17 (New York Herald, 30 July 1920, page 13). In 1920, Law sued John Cort about the about “valuable services rendered” in relation to his scenic contribution to “Listen Lester” (Daily News, New York, 1920, page 2).
From the “Daily News” (NY) 13 May 1920, page 12.
The most entertaining story,
however, was published in the “Buffalo Times” on Dec. 1, 1921 (page 15). The
article “Art Show Emporium Fine But Overpriced” noted, “Admits He’s an Artist
but the Bill was Too High.”
Here is the article in its
entirety, as it is quite entertaining:
Abe Attell, the artist, is in
trouble. An interior decorator wants Abe to pay him some money for decorating
the interior of Abes’ shoe shop on Broadway, near the Winter Garden. Abe says
he owes the interior decorator some of the money but not all of it, and that
he’s going to get his old pal Bill Fallon to take the matter into court and see
that his rights are protected.
It’s a fight between artists.
Abe explained that as he conducted us through his multi-colored depths of his
show shop, pointing out its artistic beauties.
“This shop is for ladies,” said
Abe. Then he paused and said, “LADIES.”
We got him right off the bat.
“Ain’t this a grand place,” said
Abe, with a wave of his hand that took in the combination of Swiss and Japanese
sunset effect.
Grand doesn’t describe it. It’s
magnificent. It’s elegant. It’s sumptuous. It’s palatial. It looks more like 51st
Street and Broadway than 51st Street and Broadway ever dared to
look.
The color scheme is yellow,
rose, vermillion, gray, blue, brown, a touch of saffron, a hint of turquoise, a
dash of raspberry, a slice of mauve, a streak of green, a flare of purple and a
mere suggestion of gold and ecru and silver.
The walls are gilded, and over
the gilt have been painted Japanese hoochie-koochie girls in pink mother
hubbards playing hide and seek in a bamboo forest. Chinese red has been worked
into the effect, to say nothing of the black lacquered panels. The chandelier and wall lights are concealed
by silk shades, yellow as the streak down a welcher’s back. The chairs are
carved teakwood.
When LADIES have their shoes
tried on they place their silk stockinged feet on red plush cushions with long
gold tassels. A miniature Japanese fountain bubbles in the center of the room.
On the level, it’s scrumptious.
Abe says he picked up his ideas
of art while he was on the stage and out in Chinatown in Frisco. “Of course you
not bein’ an artist,” said Abe, “you can’t appreciate what this difference of
opinion is about. They say I owe ‘em 728 bucks and I says right back I’ll pay
‘em all except 250 bucks, which they ain’t entitled to.” Abe was served with a
Municipal Court summons by Wise & Otfenberg, attorneys for H. Robert Law
Scenic Studios who executed Abes’ ideas of art. “I ain’t woryin’,” said Abe.
“Bill Fallon’ll take care o’ my end of it. You got to be an artist to see what
I mean.”
I have not been able to locate
the ruling of the case.
In 1925, the “Bridgeport
Telegram” reported on another Law court case: “The ‘Three Morin Sisters,’
singers and dancers on the vaudeville stage, and who recently appeared at the
Palace theatre have been named defendants in an action brought against them by
H. Robert Law, a producer and scenic artist of New York city, who seeks damages
of $1,250” (Bridgeport, CT, Sept, 4, 1925). The basis of the suit is that the
plaintiff was not paid his commission for perfecting their specialty act, or
providing their scenery and their booking. And there were many, many more cases
in court for Law. I had to wonder if Law’s lawyers worked for him full-time.
In 1917, Thomas G. Moses wrote, “We closed a contract with H. Robert Law of New York City for a lot of scenery for the Government Cantonment Theatres. First contract was $12,600.00, second $3,600.00, third $980.00 for installing one job. All to be completed November 7th – some hustling. I went down to the studio on five Sundays – something I haven’t done in fifteen years, and every night until 8:30. Some of the boys slept in the studio. Everyone hustled. We completed the work on the day set and inside of a week it was all out of the studio.” This was a project to help the war effort; a big one that brought in $17,180 in a short period of time. That is the monetary equivalent of $364,438.00 today.
In 1917, the War Department Commission acknowledged that it was important to keep American troops entertained as they trained for combat. This stance resulted in a new entertainment program implemented across the country.
From the “Evening Index” (Greenwood, SC) 14 Feb 1918, page 2.
“The Salina Daily Union” described
the program, reporting, “The government has made arrangements whereby the best
Broadway attractions will be staged at cantonments with a nominal admission to
soldiers. Lectures and other entertainment of high class are also being
arranged for. The object of the ‘Smileage’ campaign is the sale of coupon
books, from one dollar up. The coupons are admission tickets to the government
cantonment theatres. Citizens will be asked to purchase coupons books for the
soldiers” (28 Jan 1918, page 8).
Smileage books were produced by
the Globe Ticket Co. and purchased for loved ones in the military. Books were
sold, containing either one dollar or five dollars worth of admissions. Soldiers
could use tickets in the books for scheduled events at Government Cantonment
Theatres.
The Smileage Books noted. “The
coupons in this book will be accepted in purchase of admission and seat tickets
at Liberty Theatres, Liberty Tents and auditoriums under the management of the
commission on training camp activities in National Army Cantonments and
National Guard Camps.
There is a lovely article in “The New York Age” from Dec.
22, 1917 (page 6):
“New names and phrases galore are being coined incident to the world war, and latest word to attract general attention in America is ‘SMILEAGE.’ The Military Entertainment Service working under the direction of the War Department Commission and Training Camp Activities, in a pamphlet just issued, entitled ‘SMILEAGE,’ gives the following definition for the most recent wartime terms added to our vocabulary: ‘Mileage means a stretch of miles; smileage means a span of smiles.’ Additional information in the pamphlet as to the mission of the newly-coined word reads: Smileage Books are books that contain transportation for the soldier from gloom and homesickness to smiles and gladness. The world war has created the necessity for a new age of man – one that is applicable to present conditions – a ‘Smile-age.’ So to alleviate gloom and sorrow, the new age is beginning to see the light of day. In each cantonment a theatre has been erected. In these theatres from time to time will be given the very best of entertainment – the kind that is clean and wholesome, furnished by famous stars of the stage. The price for this entertainment will be very nominal. SMILEAGE BOOKS contain coupons that are exchangeable for admission to any entertainment given at these Liberty theatres. Don’t make your boy ask you for comforts. Think of them first and send them to him. Send them to the boys who have no friends, no home to turn to for these little luxuries. Perhaps you have a boy of your own in training. Buy him a SMILEAGE BOOK. Put in the next letter you send him. Otherwise he will have to stand on the outside and envy the other fellows whose folks remembered them.” This is the appeal being made by Raymond B. Fosdick, chairman of the War Department Commission for Training Camp Activities, and Marc Klaw, head of Military Entertainment Service, on behalf of draftees who crave for a little wholesome entertainment while undergoing a rigid course of training preparatory to going to Europe to help make this world safe for democracy. Our draftees are not hungry for food. They are not compelled to worry over the scarcity of food stuffs, for Uncle Sam sees to it that the boys in khaki are provided with plenty of good, substantial eats. But many a drafted man may be found who is hungry – starving for the proper kind of entertainment to drive away dull care. The soldier boy is like the rest of us – intensely human. He tires of constantly reading, writing, listening to the phonograph and playing checkers the same as those in civil life. For this reason Liberty theatres have been erected in each cantonment, and Broadway stars will appear at these playhouses in the latest productions. Provisions have been made to charge a nominal sum as price of admission. Some smileage books contain one hundred tickets and are sold for $5, while others contain twenty tickets and cost $1. On each ticket appears the signature of the Secretary of War Baker, who realizes that the gloom and homesickness in camp should be dissipated by furnishing the drafted men entertainment of the right sort. The work of transporting the boy many miles from home to ‘Smileland’ has become one of the most important functions of the War Department. The New York office of that branch of the War Department which is engaged in arranging the proper entertainment for the soldiers is located at 15 Broadway, and is in charge of Hollis Cooley, a showman of ripe experience and who stands high in the theatrical world. Mr. Cooley and his assistants are being kept busy at this time supplying smileage books to relatives and friends of soldier boys who regard the giving of a book containing ‘transportation for the holder from gloom and homesickness to smiles and gladness’ as a most appropriate Christmas gift. Banks, department store and secret societies are among the institutions to take an active interest in the campaign just begun to create a new age of man – a ‘Smile-Age.’”
Cathedral setting for the Scottish Rite Theatre in St. Louis, Missouri, 1902.
In 1917, Thomas G. Moses wrote,
“Attended the installation of the new Pastor, Mr. Van deMulian at the
Presbyterian Church. He is from
Louisville, Ky.” Moses and his wife were Presbyterians; he attended church whenever
he wasn’t on the road. Over the years, he also worked for a variety of religious
denominations.
In 1931, Moses added a comment
to an 1879 diary entry: “My experience with Church Committees, of all
denominations was such that I almost promised myself never to enter another
Church. I found a lot of dishonest men
that were pillars of the church and naturally I looked upon them as good
Christians, and their word should have been as good as their bond.” Let’s look
at some of Moses’ church projects that helped shaped his opinion. The first mention
of Moses working for churches was in 1875. He was nineteen years old and an
artist with limited options. Like many in his profession, he accepted any artistic
work that came his way, such as decorative painting projects.
In 1875, Moses wrote, “Very early in the year I packed up and went to
Sterling [Illinois] and found a few small halls and churches to decorate. I barely made enough to pay my board at
home. I was looked upon at home as a
failure and I was anxious to get away – a long way off so I could get into
scenic painting.” Sterling was Moses’
hometown and his father greatly disapproved of his career choice. Parental
disapproval, however, did not change Moses’ mind and he continued to seek employment
as an artist.
By 1876 Moses was working as a decorative painter in Grand Rapids,
Michigan. Of the city, he wrote, “[the] Centennial Year found me with a lot of
work on hand. Early in the Spring I had
established myself as a decorator of fine homes. In July I was very fortunate to receive a
contract for doing the decoration on the big Arch on Pearl Street. While doing this work I met a Frenchman named
Wardus, who was decorating the St. James Catholic Church. He needed me.
I went to work for him, taking charge of the whole job. We had Stations of the Cross, the Christian
Martyrs and the Apostles to paint on canvas – these to be mounted on the walls.”
In the end, Moses completed the project with and English artists named Tom
Brown John H. Young. Of the trio, Moses
wrote, “We three, the same age, roomed and chummed together and we had a fine
time. And, as I remember, we did some
pretty good work. At any rate, this job
secured another big church at Jackson, Michigan. Around Christmas found us in that railroad
town, busy as bees. We had been advertised
by Mr. Wardus as ‘Three young Roman Artists.’
We didn’t look it – we were all quartered at a cheap hotel and we met a
great many young people.” The church project in Jackson lasted until the spring
of 1877. In the end, the three were not
paid several weeks of work and they were stranded, penniless.
Regardless of this unfortunate experience, Moses still continued
to contract painting projects for small halls and churches throughout 1878,
so plentiful was the work. By 1879 Moses secured a contract for a church at
Tampico, Illinois. He recorded that the new structure was on the same foundation
from which another building had been blown by a terrific tornado.
In 1880, Moses decorated the Presbyterian Church in Dixon, Illinois. Of the project, Moses wrote, “I did them a
good job, but the chairman of the decorating committee was not a man of honest
dealings, and I quit the whole Western part of the state in a ‘huff.” This
seems to have been the final straw that caused Moses to walk away from working
for other many other religious groups. He mentions less than a handful after
this.
It was not until 1915 that Moses accepted a few church projects. One was for his hometown of Sterling. Shortly after this project, he secured two other contracts for churches in Youngstown and Akron, Ohio. Then another decade would lapse.
It would be more that a decade later that Moses recorded his final church project. In 1926, he delivered scenery for the new First Presbyterian Church auditorium in Evanston, Illinois.
In 1917, Thomas G. Moses wrote,
“Another ‘Katz’ show, $1,050.00, and one vaudeville act from Brazee $300.00, and
one from Banda Rosa for $445.00, a big act.”
Yesterday, I explored J. C. Brazee’s production of “The Honey Bees” with scenery by Sosman & Landis. Today I am looking at “Banda Rosa.” Moses was referring to Signor Guiseppe Sirignano’s “Banda Roma” that toured the country with thirty-five musician and soloists during the early twentieth century.
Banda Roma pictured in the “San Francisco Call,” 11 Jul, 1909, page 40.
Sirignano was later noted as “the
former musical dramatizer of Ziegfeld and Fine-Arts Theatres, Chicago, and of
the Banda Roma” (Des Moines Register, 9 Oct. 1918, page 10). Sirignano’s Banda
Roma also performed music for silent films. For “Cleopatra,” his 15-piece orchestra
played a special overture.
This brings up another type of
client for Sosman & Landis – musicians. Many musical acts ordered decorative
and distinct scenery for their touring productions. This demand also drove a new aesthetic for the
stage during the second and third decade of the twentieth century. There was no need to have traditional scenic
art provide the backing for a band, or musical vaudeville act.
Photograph in sales book from Acme Studio of Chicago, Illinois.
Decorative painting of specialty fabrics became increasingly popular. Instead of providing a series of painted layers on cotton sheeting that suggested an exterior or interior setting, musical acts used a series of decorative layers that simply suggested a subject, and not realistically represented. There were no cumbersome bottom battens that stretched scenes taut, just fabric suspended from any system. In many ways, this type of painting was intended to work with fabric that would bunch.
Detail of photograph in sales book from Acme Studio of Chicago, Illinois.Photograph in sales book from Acme Studio of Chicago, Illinois.
The painting of fabric was
popular at many new firms, such as the Service Studios, the Fabric Studios and
Acme Studios in Chicago. Studio sales books
began to include an increasing number of these decorative scenes for clients.
The use of stencils created an interpretive view for both exteriors and
interiors. These soft goods were easy to
transport and hang. Many were even interchangeable.
Photograph in sales book from Acme Studio of Chicago, Illinois.
The downside was that this type
of painting was that it altered the type of labor required to staff a shop;
these projects did not require the same skill set as those realistically painting
a subject. The use of repetitive
patterns and stencil work was quickly taught and did not necessitate years of
study or training. Aspects of the scenic industry became a craft, with many projects
requiring artists with minimal skill sets.
I look at some of the curtains with
stylized donut-shaped flowers, hundreds of them throughout compositions,
thinking about the basic instruction:
“Bob, they don’t need to be
perfect, they just need to be little circles with dots in the center. Just do
your best and paint as many as possible. Remember, it ships tomorrow.”
Detail of donut flowers. Photograph in sales book from Acme Studio of Chicago, Illinois.Detail of stylized leaves and flowers. Photograph in sales book from Acme Studio of Chicago, Illinois.
Foliage painting for stylistic
scenes demanded very little from an artist. Instead of building up mass on a
branch, there was just repetitive pattern. What once destroyed scenic illusion
was now popular.
In 1917, Thomas G. Moses wrote, “Another
‘Katz’ show, $1,050.00, and one vaudeville act from Brazee $300.00, and from
Banda Rosa for $445.00, a big act.” There were hundreds of projects that
filtered thru the Sosman & Landis shops during 1917. We may have entered a
war, but the theatrical business was still booming, having yet to feel the full
effects. The three projects mentioned by
Moses all hit the shops simultaneously that spring. Each project brought in a
little more income to keep the stockholders happy.
I am going to start with Moses’
mention of a vaudeville act setting for J. C. Brazee.
In 1917, Sosman & Landis
provided the scenery for Brazee’s production of “The Honey Bees.” The
“Spokesman-Review” reported, “Brazee is a great believer not only on adequate
but artistic scenery. His big set for ‘Honey Bees,’ for instance, is an
interior of the ‘Honey Bee’ seminary with a flower garden in the rear. It is
the work of Sosman & Landis, scenic artists of Chicago, and was painted for
the act” (Spokane, Washington, 11 Nov. 1917, page 45). “The Victoria Daily
Times” commented, “The most elaborate set is an interior view of the ‘Honey Bee
Seminary’ with a flower garden in the rear, a scenic masterpiece of Sosman
& Landis, of Chicago, which is winning high praise in every city
visited” (4 Dec. 1917, page 8).
Advertisement for “The Honey Bees,” with scenery by Sosman & Landis, from “The Calgary Herald,” 20 Oct 1917, page 8.
J. C. Brazee was a producer for the Pantages Circuit. On
Oct. 15, 1917, the “Edmonton Journal” reported, “J. C. Brazee, a standby among
producers who builds acts for the Pantages circuit, having sent out ‘Broadway
Revue’ and ‘At Ocean Beach,’ both which scored big hits, has a new offering
entitled ‘The Honey Bees,” which will headline the Pantages bill for this week.
Mr. Brazee’s new offering is said to measure up to the high standard he
established in the past as far as comedy and musical numbers go and is claimed
to surpass anything of that kind yet offered at the Pantages theater in the way
of scenery” (Edmonton, Alberta, page 11). This was likely the vaudeville act
with scenery produced by Sosman & Landis that year. The article continued,
“‘The Honey Bees’” is a novel introduction of bee titles into a program of a
girl act in which the scenery is suggestive of the bee industry and a girl’s
school is called the ‘Busy Bee Seminary.’ The chief comedian is styles the
‘King Bee’ the matron of the seminary is called the ‘Drone Bee,’ the prima
donna is known as the ‘Queen Bee,’ the Soubrette as ‘Honey Bee,’ and the chorus
of girls are ‘Busy Bees.’ The act lends itself to this novelty assignment of
names inasmuch as the girls are ‘honies’ and theatregoers insist that if all
vaudeville attractions were of equally high merit there would never be
complaints of being ‘stung.’”
by Sosman & Landis, from “The Edmonton Journal,” 15 Oct 1917, page 11.
“The Daily Colonist” reported, “‘Honey Bees’” carries one lone man,
completely surrounded by girls. The fortunate individual is Billy Browning, a
comedian strange to Victoria, but well known in the East. All Browning has to
do in ‘Honey Bees’ is to impersonate a mail carrier, a Swede Janitor, a stuttering
‘boob’ and a Frenchman — work enough for
four men — yet Browning is said to negotiate all the roles without turning a
hair” (May 12, 1917).
In 1917, Thomas G. Moses wrote, “Another order for Gatts and
Company.” Gatts and Company was actually
Gazzolo, Gatts & Clifford Co., producers of the well-known musical comedy
“Katzenjammer Kids.” Moses recorded that Sosman & Landis produced scenery
for the show earlier that year.
Gazzolo, Gatts & Clifford, producers of “Katzenjammer Kids” and “Her Unborn Child,” 1917.Katzenjammer Kids musical poster from 1917, recently for sale in an online auction.
The production company of
Gazzolo, Gatts, and Clifford Inc. formed in the fall of 1916, filing corporation
papers on October 6, 1916 in Chicago, Illinois. In addition to the “Katzenjammer
Kids” musical, the firm produced an “educational” piece that spring entitled,
“Her Unborn Child.” Registered as a
four-act drama by Howard McKent Barnes, the play took a negative position on
birth control for women.
Sosman & Landis scenery for “Her Unborn Child” from the “Forth Wayne Journal Gazette,” 29 April 1917, page 48.
Keep in mind that this was in
the midst of Margaret Sanger’s continued fight for women’s access to information
about basic birth control. “The Fresno
Morning Republican” reported, “”His play tells the truth about birth control
and shows the cause and effect of the world’s most serious crime” (Fresno,
California, 14 May 1917, page 6). “The Vancouver Sun” added “It tells the truth
about birth control, for it is the theory of the author that be the education
of the masses the slaughter of innocent unborn babies will stop” (18 Jun 1917,
page 8). Let’s take a moment to
contemplate what this man is suggesting; the great crime of women is to not make
every egg a viable candidate for fertilization.
Women need to make sure that regardless of their living situation or
circumstances they can become pregnant at any point in time, hence they are
only a vessel and instantaneously transferring all power to men.
Advertisement for “Her Unborn Child” from “The Chat,” (Brooklyn, NY) 14 April 1917, page 18.Advertisement for “Her Unborn Child” form the Morning Post (Camden, NJ) 7 April 1917, page 5.
There were four touring
productions that carried the message across the country, prompting women to
reconsider using any form of birth control.
In Pennsylvania, the show was
performed at the New Academy in Scranton. The “Times-Tribune” reported, “There
are four acts and the action takes place within twenty-four hours. The
principal characters are a rich widow, a wealthy reformer, Beth Forrester, the
beloved one; Ted Livingstone, young and heir; and the family physician.
Sensationalism is avoided in the play and the subject is handled in a most
dignified manner. Birth control is the vital theme and apparently the author
made a deep study into the subject before giving this play to the stage. The
mother love depicted in the story makes a strong appeal to an audience, and one
of the biggest moments of the play comes when the crisis in the welfare of her
family confronts her and she is called upon to make a decision in haste. (28
May 1917, page 15). Matinees were performed for women only. Of the female matinees,
the “Calgary Herald” noted, “Because of the sacredness of motherhood and out of
the courtesy of the ladies, all matinee performances of ‘Her Unborn Child’ will
be reserved exclusively for ladies. Gentlemen will be admitted to all other
performances” (29 Sept, 1917, page 8).
On April 4, 1917, the “Buffalo
Evening News” reported, “A big play with a serious appeal is the attraction at
the Majestic Theater all week, with daily matinees, which are for women
exclusively”(page 15). Prominent doctors endorsed the play across the country.
The “Oklahoma News” published letters from local doctors addressed to Gazzolo,
Gatts & Clifford as an advertisement (25 Oct. 1917, page 2). J. H. Maxwell,
M.D. wrote, “Gentlemen: I appreciate very much your performance of ‘Her Unborn
Child.” The moral is splendid and timely. I wish that every Father and Mother
could have the opportunity of seeing this play, it is clean cut all the way
through.” S. A. Dooper, M. D. wrote, “Gentlemen: After having the opportunity
of attending a performance of ‘Her Unborn Child,’ I take pleasure in
recommending it to the public. I wish every one in the world old enough to
understand English could see the performance.”
On April 29, the “Fort-Wayne
Journal-Gazette” reported, “So great has the success of ‘Her Unborn Child’ on
tour that has been found necessary to organize five companies in order to
appease demand from all parts of the country for this sincere and frank
portrayal of a topic that is second only in importance to the present
hostilities in the battlefield” (29 April 1917, page 48). Really?!? The only
second in importance to WWI was birth control?
What about the crimes of rapists, pedophiles, and murderers?
Like me, not everyone thought
the show was fantastic. Lancaster’s “The News-Journal” commented, “The piece
neither paints a moral nor adorns a tale, being only a dramatized version of
one person’s viewpoint of a much discussed subject. Its dramatic construction
is crude, the situations forced, and the final curtain falls on actual absurdity”
(25 Oct. 1917, page 5). The newspaper noted, “A few years ago the subject of
birth control would not have been discussed in the theatre but with the
progress of the playhouses as an educational institution as well as a place of
amusement and the desire of the public to be enlightened on subjects which a
few years ago they were satisfied to let be known to physicians and those
claiming higher education, has made plays like ‘Her Unborn Child’ timely.”
In 1917, Thomas G. Moses wrote,
“Closed with Joe Bren for $900.00, first part, and some front drops.” Joe Bren was a minstrel show performer and producer.
His company, the Joe Bren Production 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 and other types of follies. They functioned
as the producers, directors and performers for each project, providing
instruction and all of the technical trappings. In 1917, Sosman & Landis
provided scenery for a Joe Bren show that premiered in Kenosha, Wisconsin.
The Joe Bren Production Company staff
traveled across the country, helping stage shows that featured local talent. In
1917, the “Marion Star” announced that the Joe Bren Producing company was
presenting an Elks’ Charity minstrel show that November (Marion, Ohio, 12 Oct.
1917, page 12). The article reported, “The scenery is also new and used for the
first time in Kenosha.” The Kenosha Lodge of Elks in Wisconsin presented the
“Jollies of 1917” at the Rhode Opera House in October, advertising that is was
“no mere minstrel show” (“Kenosha News,” 6 Oct. 1917, page 3). It was to be a
“clever mélange of vaudeville, musical comedy and minstrelsy.” The Marion Elk representatives
traveled to see the show as guests of Joe Bren. What a smart move on Bren’s
part.
In Kenosha, a hundred members of
the Elks Lodge were “drafted” to take part in the program led by Joe Bren and
Ralph Hamilton, another company representative (“Kenosha News,” 14 Sept. 1917,
page 3). Fifteen young women were included in the second part of the show as
guests in the resort hotel scene (Kenosha News, 2 Oct. 1917, page 8). In the
big patriotic finale, the United States and the Allies were represented by
“gorgeously costumed young men and women.”
It was the introduction of this patriotic element to Bren productions
that likely prompted the need for new scenery by Sosman & Landis. Of the
painted settings, the “Kenosha News,” reported, “Scenery and costumes will be
the finest possible to be turned out by expert scenic artists and costumers in
the windy city of Chicago, and they do say that among its three millions there
are those who can do ‘some’ turning out of the aforementioned articles” (6 Oct.
1917, page 3).
Sosman & Landis provided scenery for the Joe Bren production Co. in 1917. The new scenery premiered in Kenosha, Wisconsin. From the “Kenosha News,” (Kenosha, Wisconsin) 6 Oct. 1917, page 3.Sosman & Landis provided scenery for the Joe Bren production Co. in 1917. The new scenery premiered in Kenosha, Wisconsin. From the “Kenosha News,” (Kenosha, Wisconsin) 6 Oct. 1917, page 3.
In 1917, Thomas G. Moses wrote,
“A good contract came in from Youngstown, Ohio, to replace some New York
Studios work.” It is difficult to determine which Youngstown theater Sosman
& Landis delivered scenery to that year. We know it was not a new theater
though, as the contract was to replace scenery previously installed by New York
Studios.
New York Studios was the eastern
affiliate of Sosman & Landis. Former Sosman & Landis employee, David H.
Hunt, established the firm in 1910. What makes Moses’ entry interesting,
however, is Moses’ entry about New York Studios the year before. In 1916, he
wrote, “Our business relations with the New York Studios are a bit strained,
and we have notified them that hereafter there would be no restricted district
for us, and we did not care what they did.
Pennsylvania and New York used to be our very best states, and we were
going after them again.”
Sosman & Landis depended on
repeat customers, as did most scenic studios, including New York Studios.
Therefore, Sosman & Landis targeting a theater with existing New York
Studios scenery, especially after Moses notified Hunt that there would be no
restricted districts, certainly reinforced his stance.
In 1917, Thomas G Moses wrote, “Mama
and I went to Sterling June 13th for a few days. Details of this trip will be found in ‘Back
to the Old Town.’” Moses is referring to
his travelogues. Unfortunately none of these
records have survived. Only those tales he published as newspaper or art
journals articles remain.
However, on Dec. 28, 1917, “The
Pantagraph” (Bloomington, Illinois), published a lovely article that pairs well
with his entry. It makes me think of how Sterling initially perceived Moses’
early departure from his hometown:
“Thinks They’ll Come Back.
Editor of Pantagraph: I am informed that a large number of
people are intending to leave the vicinity this coming spring. There must have
been a tremendous influence brought to bear on the minds of the people to lure
so many to decide to leave Old Town, for it has always been known that Old Town
was a perfect paradise on earth. Some say it is the original Garden of Eden,
and I believe it, for the old apple tree still stands and often bears fruit.
Over a dozen of our best neighbors and friends have at some time or another
been persuaded to shake the dust of Paradise from their feet and seek homes in
the sunny south. We would grieve our eyes out over the loss of so many of our
loved ones, if we did not know that they would soon return. Never has anyone
left Old Town who did not come back. Those who could not come back pined their
lives away and died. Their last sad requests were for their friends to carry
them back to Old Town and bury them. We will wait with great anxiety for our
friends to return, and when they do return we will received them with cheerful
hearts, a loving embrace and a sweet kiss.
A. Bellville, Holder, Ill., Dec.
26.”
In 2019 I visited Moses’ hometown of Sterling, Illinois,
driving past on my return from a League of Historic American Theatres conference.
He and his wife both grew up there, attending the same one room school house. While
passing thru town, I tracked down many of the sites that Moses mentioned in his
memoirs, including an early house that the young couple lived in when they
briefly returned home for year.
Depot in Sterling, Illinois.Thomas G. Moses an Ella Robbins Moses when they briefly lived in Sterling, Illinois.The home of Thomas G. Moses and Ella Robbins Moses in Sterling, Illinois.
I imagine that friends
and family thought the couple had returned for good, yet Sterling was not a
town of solely happy memories for Moses. Even his father eventually left the
area, deciding to live near Moses in Chicago. Moses’ father, Lucius Moses,
initially gave up the life of a sea captain, traveling inland to Illinois after
one child died at sea. His children, however, remained a family of wanderers.
In some ways this was conducive to the life of a scenic artist, venturing from
one town to another and coming home between projects.
Moses’ memoirs do not reflect a happy childhood. As a young
boy in Sterling, he lamented over the loss of his mother at an early age and
dreamed of escaping the stench of the tannery. I don’t think that Moses was
ever able to really fit in with Sterling social life.
It would be the young town of Chicago that welcomed this hopeful
artist, providing friends, a new family and lots of opportunities. Moses was
able to remake himself as a successful and respected businessman, not the son
of a tanner. His return to Sterling in 1917 may have been difficult, especially
for those who still believed that he had traded Paradise for success.
