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Copyright © 2019 by Wendy Waszut-Barrett

In January 1915 Thomas G. Moses wrote, “Grand Forks, N. Dakota Masonic job came in early and furnished a lot of work for the boys.” In the past, I have erroneously stated that the scenery was delivered in 1914. I based this date on Moses’ Masonic resume, where he listed the Grand Forks Scottish Rite scenery as a 1914 installation; that was likely the year when the contract was negotiated as work started at the beginning of 1915.

I first visited the Masonic Temple in Grand Forks when all hell broke loose. What I mean is that the hell drop ripped in half and I had to piece it back together. It was a fun project that prepared me for a Pasadena Scottish Rite project, their crucifixion scene also ripped in half.  I am getting quite good at repairing this particular type of damage.

Since my first visit to Grand Forks, I also evaluated the scenery collection twice; the second time was after a fire. The Grand Forks Masonic Temple has a history with fire.  In 2014, I received a call from about possible smoke damage to the Scottish Rite scenery collection. A fire had started in the basement and smoke filled the stage area. Miraculously, the fire was put out before reaching the stage area, but the scenery became covered with a residue.

The first mention of a fire that partly burned the Grand Forks Masonic Temple was in 1903. On Jan. 8. 1903, a special message to the “Star Tribune” reported, “At 10 o’clock last evening the new Masonic Temple was gutted by fire. The fire originated from an explosion of gas in Spriggs Bros. store on the first floor. Damage to the building, $5,000; Spriggs Bros., $1,500; C. A. Rhinehardt, hardware, first floor, $2,000 by water, fully insured.

The Masons recovered, and by 1910, two stories were added to the Grand Forks Masonic Temple (Bismark Tribune, 19 June 1910, page 5). On Nov. 8, 1911, the “Grand Forks Herald” announced “Many Masons in the City. Scottish Rite Reunion Brings Them Together – Under Charter Hereafter” (page 5). The article noted, “There are a large number of Masons in the city attending the reunion of the Scottish Rite bodies, which commenced yesterday and continues till tomorrow. Work in the several bodies is being given. The fact that the Grand Forks Scottish Rite lodges were recently granted charters by the supreme council is the cause of added interest in the present as from now on the local bodies will operate under a regular charter rather than under dispensation, as in the past.”

On Jan. 18, 1912, fire destroyed the interior of the Grand Forks Masonic Temple. Fire broke out in the basement of the A. B. Rheinhart hardware store, located in the Masonic Temple building (Courier Democrat, Langdon, ND, 25 Jan. 1912, page 2). The fire was supposedly started from spontaneous combustion in the paint storeroom of the Rheinhart hardware store. The Masonic Temple building was practically a total loss, with the lodge bodies having lost all of the furnishings. The loss of the building was estimated at $50,000, with the lodges’ bodies losing $10,000 worth of properties. Four days later, the Grand Forks Scottish Rite bodies opened their annual mid-winter reunion in the Elk building, with a class of eighteen taking the degrees. The “Grand Forks Herald” reported, “The Grand Forks Masons were compelled to do some rapid work as a result of the destruction of their home last Thursday night, but they were able to get into shape so that the reunion was commenced on schedule. Immediately the Scottish Rite bodies complete their work the Shriners will hold a ceremonial session.” What a resilient group! By 1913, the Grand Forks Scottish Rite was meeting at the Kem Temple, home of the Shrine (Oakes Times, 2 Oct. 1913, page 7).

On June 24, 1915, the “Courier Democrat reported, “Masonic Temple Dedicated. New Structure at Grand Forks Considered Perfect. The Grand Forks Masonic temple costing more than $150,000, was dedicated by grand lodge Masons of North Dakota. Rev. J. K. Burleson of Grand Forks presided and W. L. Stockwell of Fargo made the dedicatory address. Grand Forks’ new temple is regarded as the most complete and perfectly appointed Masonic structure in the Northwest outside of the Twin Cities” (page 2).

That same year, the “Dickinson Press” announced a new charitable endeavor by Scottish Rite Masons in Grand Forks (Dickinson, ND, 10 Oct 1915, page 4). The article reported, “In Grand Forks the Scottish Rite Masons have started a movement for a free children’s clinic at which all the needy and deserving children of the county are to be given medical attendance free of charge. Why is not this a good move for Dickinson? There are a few diseased and crippled children in every community who could be cured of illness and physical defects if the physicians would band together and give their services. It is believed that they would if their attention was called to the matter, and in this way a number of unfortunate children would get a fair start in life.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “On January 23^rd I got a ‘hunch’ that I was cut out for an etcher, at least I was led to believe it by my friends, after they saw some of my early pencil drawings and they insisted I could etch.  I joined a class headed by Mr. George Sensmey, an etcher of some prominence, and I started at it like a house afire.  For a wonder, the first two plates proved to be very fair, but the third one was pretty bad.  While I am not discouraged, I am convinced that I will never etch a plate like Pennell or Whistler.  I like it, but I haven’t the time to put on the work that it requires, so I am afraid that niche in the Hall of Fame will be vacant for a while.” That summer, Senseney was awarded a silver medal in the class for etching and engravings at the San Francisco Exposition (Evening Star, 28 July 1915, page 2).

That same year the “Evening Star” reported, “George Senseney, another erstwhile pupil of the Corcoran School of Art, has likewise attained much distinction, but in a different field, having made a specialty of color etching. For several years Mr. Senseney has resided abroad, but during the past winter he has been in Chicago, and now it is announced that from June 21 to August 28 he will assist in directing a summer school of painting at Saugatuck, a most picturesque place on the shore of Lake Michigan near the mouth of the Kalamazoo river. He will conduct the classes in landscape painting formerly under the direction of the late Walter Marshall Clute. Mr. Senseney is a member of La Societé des Gravures Originales en Couleur, Paris, and is represented in numerous public and private collections. Quite a number of his works are to be found in the print collections of the Library of Congress” (Washington D.C., 9 May, 1915, page 74).

Senseney was born in Wheeling, West Virginia, the son of Charles H. and Anna May Eyster Senseney. He attended the Corcoran School of Art in Washington and the Julian Academy in Paris, studying with Jean Paul Laurens and Benjamin Constant in France. He taught etching for the Art Student’s League in New York and in 1916 organized the New School of Art in Chicago.  Senseney taught design at Smith College from 1916-1920. While teaching, he became the art director for the American Writing Paper Corporation in 1919.  Two of his colleagues were Francis C. Heywood, who was a member of the technical force, and Russell S. Bracewell, a research chemist. While at the American Writing Paper Corporation, Senseney developed a flotation process, a marbling process, for decorative paper. It was this process that instigated his formation of the Marvellum Co. of Holyoke, Massachusetts. In 1921, the Senseney, Heywood and Bracewell organized the Marvellum Company, with Senseney as president, Heywood as treasurer and Bracewell as clerk and superintendent. Senseney remained president until his passing in 1943. The firm was known for its distinctive papers in the production of distinctive booklets and catalogues, such as Marvellustre and Marvelhide. They developed a wide range of products, including various papers from decorated cellophane to heavy cardboards for photo calendar mounts. Other products were for fancy papers used in gift wrap, greeting cards, candy boxes, and stationary. The company even perfected papers with wood grain effects.

In 1931 the Marvellum Co. was instrumental in organizing the Beveridge-Marvellum Company in South Hadley Falls. Beveridge-Marvellum developed pyroxlin-coated papers. They manufactured decorative metalloid, crystal and mother-or-pearl finished papers. 

Senseney remained in Holyoke until 1934 when he moved to Ipswich Village. Senseney passed away in 1943 after a long illness. Leaving behind his widow, Dorothy L. Stewart Senseney, a daughter, Virginia and two sons, George L. and William. Senseney’s obituary noted that he held a reputation as a  “World Renowned Etcher” (Press and Sun-Bulletin, 9 Nov. 1943, page 18).

The same year that Moses studied with Senseney, the etcher filed a patent for a “Color and Design Study” device (serial No. 63,672).  To aid the “study of color and design, which consists of a plurality of superimposed, perforated, color strips slidable one over the other to produce various geometrical figures and various color combinations, and auxiliary colored sheets secured to an detachable from said strips, having figures thereon which may be cut out in accordance with the designs suggested by said strips.”

Even in his studies, Moses surrounded himself with innovative individuals, many whose ideas prompted change in industries other than theater. At this point in his diary, I am never surprised with the people he encounters, a surprise with every year.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “Started the New Year in the right way, making a model and attending the theatre.” 1915 would prove to be a turning point at Sosman & Landis. I will start exploring the firm’s projects and Moses’ travels tomorrow, as I am on the road today.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

Theatrical guides provide a wealth of information about historic theatres, including the technical specifications and original scenery. I have continued to reference a variety of guides from the 1882 until 1913, with Julius Cahn’s Official Theatrical Guide being  my favorite. In 1914 he did not publish a guide.  For the 1914-1915 season, Gus Hill published his first theatrical guide. “Gus Hill’s National Theatrical Directory.” It was published by Hill’s National Theatrical Directory, Inc. in the Columbia Theatre Building, New York.

Initially, Hill (1858-1937) was a burlesque performer, wrestler and juggler. One of his acts was a series of cartoon theatricals, musical comedies based on cartoon strips. Hill later became a vaudeville manager and producer, founding the Columbia Amusement Company.

Gus Hill’s National Theatrical Directory advertised that it contained “The most complete list of Theatres yet compiled for the United States and Canada. It was arranged alphabetically according to the States and Cities, and promised, “condensed information as to Towns, Theatres, Billing, Hotels, Newspapers, Railroads, Express Companies, etc.” as well as:

It also included: a complete list of Theatrical Managers, Producers and Booking Agents; a list of plays, Musical and Dramatic; a list of the Vaudeville Theatre, Agencies, Acts and Performers; a list of the Moving Picture Houses and Film Exchanges; and a list of Representative Attorneys qualified to handle theatrical business.”

Hill’s also book included something new – “The Reporting System.” The Guide noted, “In conjunction with this Directory, the publishers will establish a Reporting System, which is intended to be to the theatrical business what Dunn and Bradstreet are to the commercial world.”

The Guide promised, “This book is now the ONLY authentic and complete Theatrical Directory in Existence, having just absorbed Julius Cahn’s Official Theatrical Guide. Apply Now for advertising space and rates in the 1915-1916 Edition.” Another page noted, “This is now the only official theatrical directory in Existence Having recently taken over the Cahn-Leighton Official Guide.”

In 1896 Julius Cahn published his first theatrical guide. By 1911, Julius Cahn and R. Victor Leighton created the successor to the Julius Cahn’s Official Theatrical Guide, the Cahn-Leighton Official Theatrical Guide. The 1912-1913 season publication noted it was “the first combined effort to give the theatrical public a guide with many radical changes and new ideas.” Cahn & Leighton wrote, “the object of this guide is to assist the producer and theatre manager to reach each other in a practical business-like manner with the least trouble. Among the new features in their guide was several tables of freight rates, party fares and the mileage to next point from each point in the guide.” It contained, “Authentic Information Regarding all Cities, Towns, and Villages wherein Theatrical Organizations may find a Theatre, Opera House or Hall to exhibit in as well as the Information pertaining to these places of Amusement, the Railroads, Express Companies, Newspapers, Billposters, Transfer Companies, Hotels, &c., throughout the United States, Canada, Mexico, Hawaii and Cuba.” The publication office was New Amsterdam Theatre Building, located at West 42^nd Street, New York, New York.

For their 1913 publication, Cahn & Leighton wrote, “Today we are offering our patrons the best and most complete edition ever published.  The past year we made a number of changes in the construction of the guide, toward the betterment of the publication and the present issue offers not alone the oldest, but most reliable publication of its kind ever printed. It is the only recognized book of reference of the theatrical profession as well as those who come in contract or do business with this class of patronage. We bespeak from our friends an appreciation of the merits of the book and a frank and friendly criticism of what they consider its faults.” The Cahn-Leighton partnership was short lived and Gus Hill took over the theatre directory business.

From Julius Cahn’s premier issue in 1896 to the Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, one can explore a shift within the entertainment industry. There is an amazing amount of information waiting for someone to see how quickly the popularity of “Moving Pictures” swept the country. Many of the theatrical guides are available as free downloads. What makes this wonderful is that one can complete keyword searches and quickly access information.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Rupert was married to Miss Ula McNeill on November 12^th, 1914.” Rupert was the youngest of four children born to Tom and Ella Moses between 1879 and 1889. Their children were Thomas William “Pitt” Moses (b. 1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886) and “Rupert” Moses (1889).

Pitt followed his Uncle Frank Moses and moved to Trenton, New Jersey, to work at a gas plant in 1900. Three years later, he married Stella Martin of Trenton. Moses’ youngest son, Rupert, entered the theatre manufacturing business and remained close to his father.  The girls married and became homemakers; Lillian married George Salzman in 1910 and Mamie married William Hanover in 1911. Last, but not least, Rupert married Ula McNeill of Ames, Iowa in 1914.

Because Rupert and his father worked together, the two families would occasionally share the same home, sharing everything from food to scarlet fever over the years. Although his eldest son Pitt lived far away in Trenton, New Jersey, Moses passed along fatherly advice across the miles in the form of letters.  Moses’ mourned the great distance he lived from his adult children and their families. In 1914, however, there were no longer little children running up to his attic studio, or young adults to regale with tales of his trips.  His homecomings were much quieter. By his fifties, Moses recognized that he had lost many precious moments with his family over the years while he was travelling.

During his extended absences, Moses desperately missed his family, and many times reached out to convey his dislike of these separations. The children’s absences during the holidays accentuated his loneliness. At the close of 1914, Moses wrote, “Another Christmas without Pitt and family or Lillian.  Would like to have the children and grandchildren every Christmas.  We have a big house to entertain them, and I feel sure they all like to come to the old house, at least once a year.”

His words, “At least once a year,” lingered in my mind. Regret. Success does not matter if you miss so much. I think back to Moses’ many diary entries that placed him far away from the family at holidays.  Now he was finally home for one and the children were gone.

By 1917, Moses wrote, “Pitt came out for a short visit and for the first time in twenty years, we had only the four children at home for a dinner.  They were not allowed to mention their families.  We sat each in their accustomed place.  We all enjoyed it immensely.  It carried us back many years when we were all much younger.  I wish we could do it every year.” That same year, Moses wrote, “Stella and the girls arrived on December 22^nd. Pitt came out on the 24^th. We certainly had some family this Christmas – 17 at the table and two in the kitchen, and we had a fine dinner.  I had Eugene Hall come to the house and pose us and he got one good negative.  Had to use a flash as the light was very poor.  I have wanted this for a good many years, and I am pleased to get it, even if it is not as good as a gallery picture.” In the end, we are often left with pictures and memories, and hopefully enough happiness to make us feel confident in our life choices.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Some new Masonic work for Omaha, Nebr.” Moses was referring to the new scenery and stage machinery purchased for the Omaha Scottish Rite Temple on Twentieth and Douglas streets. The firm previously delivered some scenery for Scottish Rite degree work for the Masonic Temple on Sixteenth and Capitol Avenue. The 1914 work mentioned by Moses was an addition to an earlier collection delivered by Sosman & Landis.

Omaha was one of four Scottish Rite meeting places in the state, with the other three located in Lincoln, Fremont and Hastings. In 1914, Sosman & Landis also worked on other Scottish Rite projects that Moses recorded, “furnished a lot of work for the boys.”

On May 18, 1914, the “Omaha Daily Bee” reported:

“Scottish Rite Initiation to Be in Last in Old Building. A class of fourteen will receive the twenty-first degree in Scottish rite masonry Monday evening at the Masonic temple, Sixteenth street and Capitol avenue. This is the last class which will receive the preceptor degree in the old Masonic temple, as it is believed that the new Scottish Rite temple at Twentieth and Douglas streets will be completed and occupied by the order at the time of the initiation of the next class. Refreshments will be served following the initiation Monday evening” (page 10).

The Spring Reunion boasted a class of forty-cone candidates who received the fourth to eighteenth degrees, using Sosman & Landis scenery previously purchased for degree productions. During the two-day reunion, Scottish Rite degree work for the fourth to fourteenth degrees were completed on Tuesday and degree work for the fifteenth to eighteenth degrees were completed on Wednesday. This means that the original Scottish Rite stage in Omaha only had scenery to use for the fourth to eighteenth degrees. A list of all the candidates was published in the “Omaha Daily Bee” on 25 March 1914 (page 3). By the next spring reunion, there were one hundred Scottish Rite candidates in the class at the new building (Omaha Daily Bee, 25 March 1915, page 8).

The dedication ceremonies in the new building were held on November 16. The Omaha Scottish Rite was erected at a cost of over $225,000. Of the Omaha Scottish Rite’s new home, the “Omaha Daily Bee” reported, “The new Scottish Rite Cathedral is a three story structure, with high basement, built of Bedford granite, with imposing Ionic columns and porticos. The auditorium on the second and third floors where the initiations will take place, is an attractive modern theater, with a stage 30×40 feet and a seating capacity of about 1,000. It is tinted in cream with pink decorated panels and has all the arrangements for lighting, stage settings and precautions against fire, of the most up to minute theater. It has a wardrobe and paraphernalia room adjoin” (1 Nov. 1915, page 25). The size and scope of the project increased over course of the year.

M. C. Lilley & Co. of Columbus, Ohio, received the contracted for Omaha’s Scottish Rite theater. They subcontracted the 1914 set of scenery to Sosman & Landis. Keep in mind that by 1914, Moses had been associated with Sosman & Landis since 1880.  He was the current vice-president of the firm and supervised all design, construction, painting and installation. He also negotiated many of the contracts. After Landis’ passing, Moses’ role in the company continued to expand, while Sosman’s responsibilities diminished.  It was not easy sailing for Moses during this time; especially when studio projects continued to increase, necessitating the use of annex studios and regional offices.

In 1914, the Omaha Scottish Rite project also encountered a series of snags during planning and production. First and foremost, there was a misunderstanding concerning who was responsible for the structural work necessary to support the scenic drops. It was unusual for anyone else besides M. C. Lilley or Sosman & Landis to install the stage machinery, so I m perplexed that this was an issue. Part of the standard procedure for Scottish Rite scenery installations at that time was that they were suspended from “Brown’s special system.” There was always a company representative who was there during the first reunion to help supervise the operation of the system.

Furthermore, the Omaha Valley Scottish Rite reduced the number of drops to less than half due to the expense, likely deciding to reuse much of the original scenery collection; a common practice for many Scottish Rite’s at the time, but this bit into the expenses expended by the studio during the planning and designing process. The original plan for eighty line sets sixty line sets was reduced to sixty, greatly affecting the final workload and anticipated profits. These two factors, contributed to a delay in the final delivery of the scenery, so it was not until the Spring Reunion of 1915 that everything was in place. That scenery remained in place for the next eight decades.

In 1980, Dr. John R. Rothgeb of the University of Texas in Austin inquired about the original scenery. He received a response from the Secretary D. William Dean that April. Dean responded that the Omaha Scottish Rite currently owned 47 “beautiful curtain drops.” He then wrote, “…and they are all originals. They are remarkably in good condition considering their age as is also the Building which we have tried to keep in the very best of repair.” Over the course of the next sixteen years, however, someone would make the decision to get rid of these drops and purchase a the used scenery from the Kansas City Scottish Rite.

The Omaha Scottish Rite purchased from the Scottish Rite scenery collection from Kansas City, Kansas in 1996 for $40,000. The Kansas City, KS, Scottish Rite scenery dates from the 1950s. It was painted by Maj. Don Carlos DuBois, representing the Great Western Stage Equipment Co. I was able examine all of the current backdrops at the Scottish Rite Theatre in Omaha, Nebraska, on June 15, 2018, while driving south for  “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book signing.

The used scenery was available for purchase because the Kansas City Scottish Rite put it’s building on the market in 1996 and moved to a new location. I initially learned of the collection’s relocation to Omaha while researching Scottish Rite compositions for my doctoral dissertation. For a while, the entire set of backdrops was posted online at the time. In the end $140, 000 was spent to purchase, remove, transport, and install the new drops in Omaha. Stylistically, the painted aesthetic of each collections was decades apart.

I still don’t know what happened to the original 1914 Sosman & Landis scenery, as only bits and pieces of stage machinery remain in lobby display cases.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “We received an order for Masonic scenery for Asheville, N.C.” 

Moses was referring to the scenery collection still housed in the 270-seat theatre. I only know the contents of the scenery collection as Lance Brockman and Larry Hill gifted to me their slide collections. There are also many images posted online, showing the stage area during a variety of events from musical performances to yoga classes.  The yoga class on stage beneath historic scenery surprised me, especially when considering the likelihood of dusting dry pigment, flash powder and other contaminants).

From various websites, both public and fraternal, I discovered that the building is currently the only one on the National Register in Asheville retaining its original use. At least it has note ben sold and divided to make apartments. Like a few other Masonic stages across the country, the Asheville Masons decided to partner with a local group. In 2010, the Masonic Temple in Asheville, North Carolina, formed a partnership with the Montford Park Players. One of the stated plans was to integrate dinner with live performance.

Of the historic stage used by the community theater, a MountainXpress.com article noted, “There are 48 backdrops, all hand painted by Chicago artists Thomas Gibbs Moses, hanging in the eaves and rafters above the theatre (which haven’t been moved since 1915). The article continued, “These backdrops are visually stunning, and will add to the dimension an quality of the Montford Park Players’ performances.”  Unfortunately, much of the information in the article was incorrect, such as Moses painting the drops in 1951; that would be almost three decades after his passing. Moses’ supervised the painting, but certainly did not painted every drop for the venue. Unfortunately the article at Mountainx.com has since been removed and the images are no longer available.

Here is what I discovered about the venue, as noted in historic newspapers. During 1912, several plans for a new temple were brought forward, and an arrangement was entered into between the York Rite bodies and the Scottish Rite bodies in the City of Asheville (“Asheville Citizen-Times,” 2 July 1913, page 5).  The architect for the endeavor was Richard Sharp Smith. Smith designed Asheville’s Masonic Temple in the same year that he founded the North Carolina chapter of the American Institute of Architects. Interestingly, Smith was the same a British-born Freemason hired to supervise the construction of Biltmore Castle.

In the end, Asheville’s Masonic building was erected at the cost of $50,000, with the funding being equally divided between the Scottish Rite and york Rite. The Scottish Rite paid for the third floor furnishings that included the stage and equipment. The York Rite paid for the second floor furnishings. Both Scottish Rite and York Rite bodies furnished the first floor, as it was complete with offices, lodge rooms, banquet hall, and kitchen. The cornerstone laying ceremony was under the Grand Lodge of North Carolina and took place on July 1, 1913.

1914 marks a significant moment at Sosman & Landis in regard to Scottish Rite scenery and stage machinery. That year, several collections were produced and shipped across the country to Scottish Rite theaters, including Grand Forks, Tucson and Asheville; each was mentioned by Moses in his diary. Many of these collections are still used, but falling into various states of disrepair.

For decades the scenery was only used twice a year, at each Scottish Rite reunion in the spring and fall.  Citing decreased membership and increased expense, many Masonic theater buildings have opened their buildings for public rentals.  One rental feature is the Masonic stage and historic scenery collection. The painted settings are popular for weddings, banquets, community theatre productions and musical performances. Many stages are encountering more use in six months that the previously six decades. This causes a problem as most theater systems have never been maintained or repaired since their original construction.

Those who currently step on a Scottish Rite stage marvel at the condition of many elements, much of the pristine appearance is from lack of use. Some stages that have been excessively used over the century show it, as both scenery and operating lines look quite tattered. It will be interesting to see how the historic scenes stand up to increased use across the country and if any lines fail during a public performance in the near future. So far, any drops that have fallen to the stage have occurred after performers departed the building. The guardian angels may be working over time.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

On Dec. 4, 1914, the “Twice-a-Week Dispatch” mentioned scenery produced by Sosman & Landis for Price & Bonelli’s Greater New York Minstrels (Burlington, North Carolina, page 1). Here is the article:

“Greater N. Y. Minstrels

James Bonelli, of Price and Bonelli, is very well known here in our city through his annual visits in former days in the white face version of Dickson and Mustard’s ‘Humpty-Dumpty.’ He has amused both old and young in many seasons gone by, but last night he appeared at his topmost success in the grand after piece following the Minstrel Olio – Humpty Dumpty in black face with an entire setting of special scenery from Sosman & Landis. Truly Bonellis a world beater for clean cut comedy. We welcome his return at the head of his own Minstrels or in any other production. Price & Bonelli, Greater New York Minstrels is a winner and will make good before any audience.-Evansville (Ind.) Democrat. Price & Bonelli will exhibit here at the Piedmont Opera House Soon.”

 In 1907 Bonelli starred in Dickson & Mustard’s production of Humpty Dumpty and the Black Dwarf. Although a popular vaudeville actor, this show really brought Bonelli into the spotlight. The “News-Journal” reported “For many years [Bonelli] has been one of the best known and most popular vaudeville performers both in this country and abroad, and has met with great success in such musical comedies and pantomimes as Devil’s Auction and Eight Bells, and Fantasma Metropolitan critics have praised Mr. Bonelli insistently for his droll eccentric comedy and odd methods of his works. Reynold Wolf, of the New York Telegraph declares him without a doubt to be the funniest man on the American stage, and many other well known critics have vouched for his ability in much the same manner. (News-Journal, Mansfield, Ohio, 21 Oct 1907, page 7). 

The “Humpty Dumpty” musical olio first appeared in the 1880s, remaining a popular act when Bonelli entered the picture in 1907. That year, the “Palladium-Item” published, “Humpty Dumpty. Bright, exhilarating, sparkling, hilarious, ‘Humpty Dumpty,’ which will be seen as the Gennett tonight, in all its gorgeous splendor presented by one of the most capable companies that has ever appeared in a musical comedy pantomime in this country, headed by the inimitable clown and comedian, James H. Bonelli, one of the most notable laugh producers of the present day, is a production that should certainly appeal to every theater goer as it is said to be the most complete and refined presentation of Mother Goosie’s fairy story ever given”  (Richmond, Indiana, 15 Oct. 1907, page 6).

The “Marysville Journal-Tribune” reported that the Price & Bonelli Company numbered thirty performers, noting they were selected for their ability as minstrel artists of merit. The article advertised, “singers, dancers, comedians, musicians and novelty artists vie with each other to make the performance bright and entertaining. Good comedy is a prominent feature of the programme and has justly earned for Price and Bonelli’s Minstrels the title of Big Laughing Show” (24 Oct 1916, page 4).  By 1917, the Price & Bonelli Minstrel Show included six vaudeville acts, with the show lasting two hours and twenty minutes (Columbus Daily Advocate, 15 Dec. 1917, page 1). To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

“Lives there a man with soul so dead

   Who never to himself hath said:

Both for my own and family’s sake

   A bit of min-strel-sy I’ll take?”

(Published in the “Billings Gazette,” April 12, 1914, page 1).

In 1914, Thomas G. Moses wrote, “Closed a contract September 29^th with Chas. Kohl for Academy of Music work, $2,234.00.  A big minstrel first part for Miller and Draper.  Came out very good – something entirely new.” I believe that Moses was referring to the first part of Draper and Miller’s show as part of the Elks Minstrel Show (Billings Gazette, April 12, 1914, page 1).

On April 12, 1914, the “Billings Gazette” announced, “This year’s Elks Minstrel To Be Best Performance Ever Staged in the City” (page 1). The production was advertised as “Fast and snappy show replete with up-to-date features is assured theatre-goers next Wednesday , Thursday and Friday evenings. The article reported, “Miller & Draper of New York city, under whose direction this show is presented and who so ably served the local lodge two years ago, are the best known producers in the business. For twelve years they have been staging the annual Elk’s Minstrels over the United States, During that tome they made for Elks lodges approximately a half million dollars (Should they fail to make a half-million for Billings No. 394 there will be things doing not on the program). The leading Elks grand lodge offices and the lodges where Miller and Draper have played are enthusiastic in their endorsements. Harry Miller is an experienced show man of real value under whose system Elks lodges have started home building funds and furnished lodge rooms. Mr. Miller has a connection with the biggest publishers to supply him with the Cohan music he carries with his productions. Clint Draper comes to Billings well known as a performer of experience, having been with leading minstrel productions of the country. He is one of the very best black-face comedians and dancers in the country and under his tutelage dancing acts of exceptional merit are staged at Elks Minstrels. …Miller and Draper have invested thousands of dollars in scenery and costumes, all of which making a full carload, has been brought to Billings for the coming Minstrel [show].”

The article continued, “Program – First Part. The curtain will arise upon a scene entitled ‘Carnival Night at the Panama-Pacific Exposition, 1915. The scenery for this was built and painted from drawings furnished by the architectural commission of the exposition of the exposition. The scene represents the East Court of the Grand Court of Honor at the San Francisco Exposition, and is as authentic as canvas and paint can make it. The electrical effects introduced render the scene one of unparalleled beauty and elegance, achieving a distinct triumph from an artistic standpoint of what  the great exposition will be. Following the opening chorus the ‘end men’ and the balladists will early being to get in their work. Joke will follow joke in quick succession, all of them localized to suit all sorts and condition of men in this city and vicinity – and all who know anything at all about the ability of these comedians – and everybody should, because they have an international as well as home reputation – may figure out in advance the side-splitting laughs that are in store. The real test of a minstrel show, nonwithstanding all the fun cropping out of the first part, is the Olio, or second part. Almost anybody can put on a pretty good first part. The Booster could do it itself, if it had a mind to. But most minstrels fall down woefully on the second part of the entertainment. This isn’t going to be the case with Billings No. 394, however, as the second part bids fair to eclipse in many ways the first part.”

As the Night approaches, the article noted, “men and things are getting busy at the Babcock [theatre] in preparation for this big event, Paper hangers, painter, ratcatchers, old clothes men, vacuum cleaners and the local fire department are now at work making extra preparations to accommodate the big crowds. The said walls of the theater are being pushed back, the roof raised, the floor dropped, and peep holes let in all around so as to let out the noise. The seating capacity will be increased to 2,371. Some seats have been greatly widened in order that visiting brethren of unusual avoirdupois may not be choked. These will be reserved for the heavy weights who come. Strong disinfecting germicides have been attached to the places where opera glasses ought to be and you are advices to use these freely after such jokes as may appear to require application.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

Even though Thomas G. Moses was vice-president of Sosman & Landis in 1914, he was on the road a lot. At 58 years old, Moses remained at the top of his game. Working as both a scenic artist and designer, well-known personalities throughout North America continued to seek him out. 

Since his return to Sosman & Landis in 1904, Moses had full control over the design, construction, painting, and installation of all projects. By 1914, however, much of Moses’ time was consumed with making models and securing contracts. 

When Sosman & Landis opened, it was Perry Landis who crisscrossed the country, securing scene-painting contracts for opera houses, music halls and other entertainment venues.  Sosman and Moses followed Landis, rapidly completing one project after another. Moses admitted that it was a full six months after being hired at Sosman & Landis in 1880 before he was even able to meet Landis.

In 1902, Landis’ illness caused him to withdraw from studio work until his passing in 1905.  This prompted Sosman to get Moses back to the studio by 1904.  At the time, Moses was running the successful scene-painting firm of Moses and Hamilton in New York.  It took a personal plea from Sosman, plus the promise of full artistic control, position of vice-president, and Sosman & Landis stocks to bring Moses back to Chicago.  However, this meant that Moses’ increased responsibilities pertaining to artistic supervision and marketing meant less time painting. 

A decade after his return to Sosman & Landis as vice-president, Moses’ responsibilities had primarily shifted to that of a designer, with him painting fewer and fewer drops. His design services were also in high demand.

In 1914, Moses wrote, “I then went to Atlantic City to make a model for the Colonial Theatre, and I found Atlantic City was a good place to make a model, so I remained there a week.  Got back home May 4^th, feeling fine after my little vacation.” The Colonial Theatre was located two blocks from the boardwalk at 1517 Atlantic Avenue near Mississippi Avenue. Seating 1,391 patrons, it was later renamed the Center Theatre in 1954. The sun, the sea and sketching must have been a welcome break from the hustle of the studio. Making models on site was a sure way to secure a contract. The client would be able to fully see what was being proposed and be amazed at the speed with which the model was built to his specifications.  It also required an experienced hand to quickly craft a professional presentation, hence Moses going on the road again as a designer and salesman.

Sosman & Landis delivered scenery to Atlantic City the previous year too. In 1913, Moses wrote, “We did a New York Studio job for Atlantic City – a theatre on the pier.” B. F. Keith’s Garden Pier Theatre of was located on the 700-foot Garden Pier at the end of New Jersey Avenue, opening in 1913. The firm was a well-known quantity, having been in business for 35 years.

Other 1914 trips for Moses included French Lick Springs. That fall Moses wrote, “I made the second trip to Indiana and French Lick Springs, then back to West Baden – a wonderful big hotel.  Got a frightful cold at French Lick Springs and November 28^th, I went to bed with bronchial pneumonia.  Pretty bad.  Was three weeks before I could get out. The doctors wouldn’t listen to getting up after I had been in bed for two weeks.  I was stubborn enough to get up and I made six models and felt better, forgot my worries and sold one set to Hopkinson of the Hamilton Theatre or $975.00.  He called at the house to see the model and we started work right away. The illness was the worst I ever had.  I ought to go south.”  Ironically, French Lick Springs and West Baden boasted spas and luxurious hotels, attracting those in search of cures for their illnesses.  Modeled after famed European spas, these luxurious locations were less than a half-day from Chicago. Here is a delightful post by Elizabeth Dunlop Richter that highlights the French Lick and West Baden resorts: https://www.classicchicagomagazine.com/french-lick-and-west-baden-resorts/

Moses turn for the worse in 1914 was likely a relapse after pushing through his illness and deciding to make the models. But this also signaled the beginning of respiratory concerns for Moses that would remain throughout his life. After years of questionable working environments an long hours, the frantic pace was taking its toll. At 58 years old, Moses could not sustain the same lifestyle and work habits that he established in his 20s without suffering some consequences. Although travel is never easy, making models on location may have been preferable to cranking out backdrops day in and day out, 10 to 12 hour days, six days a week. However, Moses was trying to do both.

To be continued…