The Rex Theater pictured on Washington St. in Iowa Falls, Iowa.
In 1914, Thomas G. Moses wrote,
“Several hustle up jobs came our way.
Flint, Michigan, Muscatine, Iowa, Geo. Dameral, Kansas City, Mo. And
several drops for the Kedzie Avenue Theatre.” The majority of projects that
passed through the Sosman & Landis studio each month will never be
known. I use Moses’ typed manuscript as
a guide, supplementing his entries with newspaper articles.
One project not mentioned by Moses during 1914 was scenery for
the Rex Theatre in Iowa Falls, Iowa. The Rex was a theater “devoted to moving
pictures.” A small snapshot in time, in 1914 new movie theaters were still
purchasing painted settings as a “frame” for the projection screen. This setting established a unique atmosphere
that bridged the gap between the old and the new.
Here is the article: published in the “Evening
Times-Republican” on 28 July 1914, (Marshalltown, Iowa, page 5):
“NEW THEATRE COMPLETED.
Fine Modern Picture House to Be Opened at Iowa Falls Soon.
Iowa Falls, July 26 – About Aug. 15, one of the finest
theaters in Iowa devoted to moving pictures will be opened in this city by
Middleton & Gephart. The new house s now in the hands of the finishers and
the seating is being put in place this week. This new theater is modern in
every detail. Architectural, it is a gem and reflects much credit on the men
who are back of the improvement. It will seat 350 people and has a stage
equipped with Sosman & Landis scenery and a fine plate glass mirror screen.
The interior decorations are in the best of taste and the front of the building
makes a fine improvement to the business district. The theater will be known as
the Rex and a large electric sign in front of the building heralds its location
to the public. The lobby is most attractive and the best of equipment has been
installed for the projection of pictures. A fine electric piano has been
installed to furnish music for the place. The second floor of the building is
being finished off as flat.”
In 1914, Thomas G. Moses wrote,
“Got an early start on the Globe Theatre, Philadelphia, for New York Studios.”
Two years earlier, Moses wrote
that he also painted a New York studios set for “a new theatre in Philadelphia,
the Globe.” New York Studios was the eastern affiliate of Sosman & Landis,
founded and run by a one-time employee David H. Hunt. Hunt was a theatrical
manager, as well as scenic studio founder. In the 1890s he convinced Sosman and
Landis to establish the theatrical management firm of Sosman, Landis &
Hunt. By 1910, Hunt convinced Sosman to
invest in New York Studios, run by Hunt and his second wife, Adelaide.
In 1914, the “Philadelphia
Inquirer” reported, “New Globe Theatre to Open Tomorrow” (May 31, 1914, page 25). Located on the corner of Market and
Juniper Streets, the seating capacity of the Globe Theatre was 2000, with a
stage, “equipped with every modern improvement in the line of gridiron,
lighting devices, scene shifting apparatus.”
The article noted that the stage also had a clearance of 30 by 50 feet,
noting that the Globe Theatre was “located in the shadow of City Hall and in the
heart of the business section.” It provided “a suitable place for those who,
with business finished still have an hour or two to while away recreation
before taking a train for home” (31 May, 1914, page 9). Of the theater, “The
Globe stage is large enough to accommodate the most pretentious of vaudeville
acts and the acoustic properties are such that in every nook and corner of the
building the audience will have no difficulty in hearing as well as seeing all that
is transpiring on the stage. A competent orchestra under the direction of
Charles Kitch, formerly of the Metropolitan Opera House, has been engaged and
the orchestral effects will be supplemented by a $15,000 pipe organ.”
The new Globe Theatre featured vaudeville
acts and motion pictures from 11:30AM until 11:30 PM daily. “Continuous vaudeville” was to prevail at the Globe;
with two complete shows every day. Prices for the matinees were 10, 20 and 30
cents, with loges and boxes at 50 cents.
From the “Evening Public Ledger” (Philadelphia, PA) 14 April 1915, page 9.
Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.
In 1914, Thomas G. Moses wrote, “Did a drop curtain and two gardens for Shay’s Theatre, Buffalo. “ In 1914, Buffalo was home to Shea’s Theatre and Shea’s Hippodrome. Shea’s Hippodrome on Main Street in Buffalo, a venue that opened in 1914. It is likely that the drop curtain and two garden settings were for Shea’s Hippodrome, as garden scenes were frequently used as a setting to frame a projections screen. Shea’s Hippodrome is not to be confused with the 1926 Shea’s Buffalo Theatre, a 4000-seat venue that is now known as Shea’s Performing Arts Center and features touring Broadway musicals. Shea’s Theatre hosted vaudeville acts and kinetograph pictures. Shea’s hippodrome opened in 1914 and is the focus of today’s post. The namesake for both venues, however, was an interesting man in his own right.
Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.
Michael “Mickey” Shea was born
on April 17, 1859 to Daniel and Mary (Griffin) Shea. After graduating from
public schools, Shea first worked on the docks as a labor. He soon found
employment as a structural ironworker at the Union Iron Works before trying his
hand at entertainment. It was not until 1884 that Shea started his own
business, opening a saloon at 535 Elk Street in Buffalo. By 1892, he opened the
Shea’s Music Hall at 11 Clinton Street in the Arcade building. Unfortunately,
fire destroyed the complex the following year. This did not deter him from
continuing in the entertainment business, and in 1898 he opened Buffalo’s first
vaudeville theater, Shea’s Garden Theatre. By 1905, he opened another venue
called Shea’s Vaudeville House on Court Street, advertising as “Shea’s –
Devoted to the Highest Class of Exclusive Vaudeville Attractions.”
In 1914, Shea opened Shea’s
Hippodrome on Main Street near Chippewa in Buffalo, New York. He purchased the property from B. F. Keith,
who had abandoned it as a theater site some years before. The “Buffalo Courier”
reported, “As soon as Mr. Shea came into possession immediate plans were made
for the erection of a theater, although the policy of this house was not
decided upon until the present season. (Buffalo Courier, 30 Aug, 1914, page 8).
The article continued, “The photo play is attracting world-wide attention at
present and Manager Shea, ever abreast of the times, has secured for his
Buffalo patrons for Shea’s Hippodrome the exclusive rights to screen the dramas
of the famous players.”
This was during a time when Shea
expanded from vaudeville into motion pictures. When it opened, Shea’s new venue
was considered one of the finest picture houses between New York City and Chicago.
Theaters opened after this one by Shea included Shea’s North Park Theatre on
Hertel Avenue, the Great Lakes Theatre, the Seneca Theatre, the Century Theatre,
the Community Theatre, the Park Theatre, the Bailey Theatre and the Riviera
Theatre in Tonawanda.
Shea’s Hippodrome opened its
doors on August 31, 1914, and was advertised as “the handsomest and most
complete photo-play house in America” (The Buffalo Times, 30 August 1914, page
47). The “Buffalo Times” reported, “Manager Shea has always given his patrons
the best and the latest in the field of amusement that money could procure, and
he is now placing in this magnificent theater the great photo-plays from the
world’s greatest producers. Within the few years that the screen drama has been
attracting attention of theater-goers that form of amusement has undergone a
great change and that rapidly growing business is now placed on the high plane
its merit deserved. Manager Shea has secured for Shea’s Hippodrome patrons the
output of the Paramount Picture Corporation, which represents the best element
of the various interests involved in photo-play production, Through this
corporation the public is promised the best plays and the best stories,
interpreted by the best talent; presented in the best theaters for the
entertainment of the best people. The famous plays to be seen at Shea’s
Hippodrome have been produced by such master artists as David Belasco, Daniel
Frohman, Charles Frohman, Henry W. Savage, Jesse L. Lasky and Hobart Bosworth;
famous stories from the pens of such popular writers as Jack London, George
Barr McCutcheon, Hall Caine, Anthony Hope, Thomas Hardy, Harold McGrath and
others of equal note. Those attractions from the Paramount Corporation will
only be seen in Buffalo – Shea’s Hippodrome – and after their production here
will not be shown at any time in any other house in the city; and for this
service and privilege of exclusive use, Manager Shea is paying the sum that has
that has made this same service prohibitive in any other theater in the city.
The great seating capacity of Shea’s Hippodrome makes the use of this service
possible, as patrons will see these great productions for the low price of
admission of 10, 15 and 25 cents.”
Shea’s Hippodrome was under the management of A. R. Sherry and George Bouchard. Among the great features was the $25,000 orchestral organ that played at every performance.
In 1914, Thomas G. Moses wrote,
“Early in April a number of Palette and Chisel Club boys, including myself,
went to Fox Lake to look for a new site.
We didn’t find anything worthwhile, so we will remain where we are for
another season… I am not very regular at Fox Lake this year and I miss
sketching. I also miss my rocks and
running brooks. I have to go some
distance for that kind of a motive… Miss Maude Oliver, Art Critic of the
Herald, wanted to see the animals fed and housed, so she went to Fox Lake to
the camp. She requested that we all act
perfectly natural and not put on any frills and do nothing out of the ordinary
to entertain her. I never saw a bunch
act worse. It was awful. I think she got plenty of local color and
artistic atmosphere for her article in the Sunday Herald the next week –
convinced me that she had drunk a glass full of camp life.”
The Palette & Chisel club
made the news on multiple fronts during 1914. In January, John B. Woodruff was
elected the Club’s new president (Inter Ocean, 9 Jan. 1914, page 3). In March, Club
members and Sosman & Landis artist, Victor Higgins, received the gold medal
in the annual exhibit. Higgins had recently returned from studying abroad in
Paris (Chicago Tribune, 27 March 914, page 10). In July, the son of a past Club
president, poster artist Walter Colonel Foerster, eloped with well-known
heiress Marietta Hawthorne (Oakland Tribune, 3 July 1914, page 5). Club members
were active and in the news across the country.
Of the art critic at Fox Lake, Moses
was referring to Maude Isabella G. Oliver. Oliver was an artist, art critic and
author. Born on May 10, 1872, in Rock Island, Illinois, she was the daughter of
commercial salesman Garrett H. Oliver and teacher Katie A. Spear. The couple
was married a few months after Maude’s birth, tying the knot on August 8, 1872.
The newly married couple and their new born lived with their extended family in
the beginning. But the marriage did not last and the couple soon divorced, with
Garrett remarrying and starting a second family. Until the age of 9 years old,
Maude enjoyed the comfort of mother’s family in Davenport, Iowa. Mother and
daughter moved to Chicago where the two would continue to live together until
her mother’s passing in 1922.
Oliver worked as an art critic
for the “Chicago Herald” and as an editor of the “Bulletin of the Art Institute
of Chicago.” She resigned from the Art
Institute’s publication in 1918 to enter war work and later became a correspondent
for the “Studio,” of London. She was also a member of the Illinois Women’s
Press Association, even becoming the treasurer of the organization.
1920 publication by art critic and artist, Maude I. G. Oliver.
Maude I. G. Oliver was one of two illustrators for the 1936 book, “Which Am I?”Maude I. G. Oliver was one of two illustrators for the 1936 book, “Which Am I?”Art critic and artist, Maude I. G. Oliver was one of two illustrators for the 1936 book, “Which Am I?” Oliver was well known for her portraiture of children’s silhouettes.Art critic and artist, Maude I. G. Oliver was one of two illustrators for the 1936 book, “Which Am I?” Oliver was well known for her portraiture of children’s silhouettes.Art critic and artist, Maude I. G. Oliver was one of two illustrators for the 1936 book, “Which Am I?” Oliver was well known for her portraiture of children’s silhouettes.
Oliver remained single her entire
life, passing away in a nursing home on February 17, 1958. She was survived
only by two cousins Thilo G. Knappe of Davenport and Mrs. Eunice Eddy Rickman
of Homewood, Illinois (Quad City Times, 19 Feb. 1958, page 5).
I discovered
this fraternal connection while looking for information about Al C. Field’s
“The Land of the Midnight Sun” spectacle. A 1925 newspaper reported, “Frank
Bliss attended the annual theatre party and dance given by the Lincoln Lodge of
Masons at Hotel Astor, Tuesday evening. Mr. Bliss was the guest of Anton
Kliegl.” Lincoln Lodge of Masons
(Lincoln Lodge No. 3, F. & A.M.) was formed in 1792 and is located
in Wiscasset, Maine. Still an active lodge, the “Wiscasset Newspaper” reported,
“When the Lincoln Lodge of Masons formed in 1792, Maine was still part of
Massachusetts” (17 Dec 2014)
As I processed the following information, my first thought was, “Of course he was a Mason.” I
think back to the many other theatre personalities who belonged to the
fraternity, including Sosman, Volland, Noxon, and the list goes on. Of all the
big movers and shakers in early twentieth century technical theater, the
question should be: “Who wasn’t a Mason?” and not “Who was
a Mason?” Theatre manufacturers and
suppliers needed these fraternal connections to secure new contracts; the
Masons built some of the best theaters in the early twentieth century and appeared
to possess almost unlimited funds. Who would pass up that connection; a leg up
on the competition?
I decided to see if I could dig up a little more
information about the Kliegl’s Masonic affiliations and immediately hit the
jackpot. My “jackpot” was the form of a blog post.
On April 3,
2012, “Inside and Abandoned Masonic Hall in Tappan, NY” was posted to Scouting
New York. Photos attached to the article showed the decaying German
Masonic Home in Tappan. Nestled in a picturesque setting, it was located across
the road from the German Masonic Park. The park is still home to Traubenfest,
Tappan’s Oktoberfest. Yes, lots of German heritage in Tappan. Masonic artifacts
sometimes hold more value for those who are not members of the Fraternity. I
stumbled across the Scouting post because Anton Kliegl funded to construction of
the German Masonic Home chapel in Tappan, New York. After his passing in 1927,
stained glass windows with portraits of Anton and his widow were installed as a
memorial in 1928. In 1928,
Kliegl’s widow was the sole recipient of his estate, valued at $305,756.
Today’s equivalent purchasing power is approximately $4,600,000.
The stained glass windows have since been restored and
re-installed in the United Brothers Lodge #356 in Whitestone, New York, according
to “Masonic News, Ninth Manhattan District (Summer Issue 2014, page 2).
Interestingly, in 1914, the Masters Association (Stuhlmeister-Vereinigung) and
Charity Ball Journal were founded. By 1939, the Gala Charity Ball was held in
the Hotel Astor in New York and celebrated the “Silber-Jubiläum” (Silver
Anniversary). The 1939 issue of the Charity Ball Journal was co-dedicated to the
founding of the Master’s Association and to Anton Kliegl. This means that
Kliegl’s involvement with the Fraternity was not minimal, he was extremely
active.
The same Masonic building was also the featured in an episode
of “Abandoned,” available on YouTube. Here is the link as it says a lot about
the current state of many Masonic buildings: https://www.youtube.com/watch?v=7O1Lss9sUjE&feature=youtu.be
The general public is always intrigued with the Masons and their spaces, in
some ways more so that the members that abandon these grandiose facilities.
Watching this YouTube video reminds us of how much has been squandered; the
lost history.
The German Masonic Home in Tappan, New York, 1920.
Here’s a little background on Tappan, New York. It is
steeped in history, especially revolutionary events. As an interesting aside, on
October 2, 1780, British Major John André was captured by American soldiers,
tried, convicted and hanged as a spy in Tappan. André had plotted the surrender
of the American fortress at West Point with American General Benedict Arnold
and was capture while returning to British lines. André was also a scenic artist and I spent
countless hours as an undergraduate student tracking down his theatrical ties.
German Masons in Tappan purchased 20 acres in 1872 for approximately
$14,000. Although construction did not
commence until 1906, the complex was completed by 1909. This was at the same time that the Kliegl
Bros. were really making a name for themselves and achieving some financial
success and discretionary income for charitable endeavors. The facility closed in
1983, less than eight decades after it was opened. This structure, however, may have a second
lease on life. According to Steven T. Scwartz, president of Noble Ninth
Incorporated, a Manhattan-based Masonic company that owns the property now,
renovation work to transform the facility to serve community senior citizens
was in the works. After viewing photographs and video of the dilapidated
complex, it really is a long shot.
As with many fraternities, care for aged members, their
widows and children were once one of the many benefits to belonging to a
fraternity, hence the creation of Masonic Homes. This was not unique to
Freemasonry. It was an early form of insurance for members that guaranteed
their loved ones would be cared for after they passed away. Masonic homes were
never intended as profit making ventures. Times change.
In 1914, Thomas G. Moses wrote,
“Did a spectacle set for the Stanley, Philadelphia. I went with it, and spent a whole week with
it. Got some good lighting effects. Kleigel [sic.] came on from New York to do
it.”
In 1914, the “Kliegl Bros.” were advertised as “the greatest
experts in their line in this country” (The Indiana Gazette, 1 Dec. 1914, page
1). The brothers had worked their way up
from employees in a factory that manufactured electric arc lamps, to
establishing their own company in 1896 – Universal Electric Stage Lighting Co.
Much has been written about their early history, but here is a link to some of
their patents: https://klieglbros.com/patents/default.htm
In addition to being marketed as the famous duo, “Herr Kleigl” was mentioned in newspapers for his design of special effects for stage spectacles. It remains uncertain whether “Herr Kliegl” was Anton T. or his brother Johann “John” H. My gut instinct says it was Anton.
Anton Kliegl
Regardless, newspapers claimed that “Herr Kliegl” created a specific effect for Al G. Field’s Minstrel Show in 1914. That year Field’s touring production included “sumptuous stage pictures” and “mammoth pictorial presentations” featuring four unique spectacles (Pensacola News Journal, 18 Oct, 1914, page 12). The four spectacles were “The Birth of Minstrelsy,” “Minnie Ha Ha,” “The Land of the Midnight Sun” and the “Panama Pacific Exposition.” The lighting effects for “The Land of the Midnight Sun” were credited to Herr Kliegl and described in great detail.
Al G. Field’s Minstrel Show“The Land of the Midnight Sun” featured lighting effects designed by Herr Kliegl in 1914. From the “Port Star,” (Glen Falls, NY,) 13 Feb 1915, page 8.Advertisement noting the special effects designed by Kliegl for the 1914 show, from the “Jackson Daily News,” (Jackson, Mississippi) 26 Oct. 1914, page 80.
Alfred Griffin Hatfield was the namesake of the touring
minstrel show, going by both Al G. Field and Al G. Fields by the early
twentieth century. Hatfield was born in Leesburg, Virginia, between 1848 and
1850; surprisingly, the date varies in many historical records. The man led an
exciting life and traveled extensively as he made a name for himself in the
beginning. Hatfield first appeared on stage at Jeffries Hall in Brownsville,
Pennsylvania. It was early in 1871, and his black-face portrayal of “Handy
Andy” caught the attention of Sam Sharpley. Sharpley was a well-known member of
Sharpley, Sheridan, Mack and Day’s Minstrels. Hatfield began performing with
the group by the winter of 1871, and his career took off. Later shows included Bidwell
and McDonough’s “Black Crook” Company, Tony Denier’s “Humpty Dumpty,” Haverly’s
“Blackbird’s of a Nation,” the California Minstrels, and Simmon’s and Slocum’s
Minstrels, Duprez and Benedict’s Minstrels.
By 1884, he organized his own show in Peru, Indiana; a
popular company that became known as the Hagenbeck-Wallace Circus. He remained
with the group until 1886 when he established the Al G. Field’s Minstrels. Later
in life, Fields claimed that his minstrel show was the first to carry their
entire stage setting and scenery, as well as being the first to operate their
own special train of cars. For more information pertaining to Field, see “Monarch
of Minstrelsy, from “Daddy” Rice to Date” by Edward Le Roy Rice (1911). Here is
the link: https://play.google.com/books/reader?id=rRc5AAAAIAAJ&hl=en&pg=GBS.PP10
By 1910, the Al C. Field
Minstrels company was incorporated and continued to expand their offerings,
producing increasingly elaborate shows each year. In 1914, the “Jackson Daily
News” advertised, “Al G. Field, the dean of minstrelsy, is the one minstrel
manager who dares invited the public to accept the past as a criterion of the
present, and hence the slogan of the Al G. Field Minstrels this season is
‘Twenty-ninth Successful Year.’ Likewise the annual guarantee is given
‘everything new this year.’(Jackson, Mississippi, 26 Oct, 1914, page 80).
The article continued to
describe “The Land of the Midnight Sun” reporting, “it is conceded to be the
most elaborate and impressive effort ever undertaken in a minstrel production.
The spectator beholds the Arctic north, with its seemingly boundless reaches of
ice, snow, and sea – all opalescent with every hue, color and tone from the
reflection of the sun, moon and stars. This evolves into the transformation
picture, ‘The Aurora Borealis,’ when this magnificent phenomenon of nature is
shown so realistically as to transport the audience. These wonderful scenes
accompany a travesty skit, which introduces old Doc Cook, the North Pole, a
Polar bear, cleverly acted by Henry Neiser, the Esquimaux, the seals, ice floes,
bottomless well, and other Arctic features that accentuate the comedy
situation.”
In 1914, the “Charlotte News” further
described the “Land of the Midnight Sun:” “The Arctic regions, with the sun
sinking behind the polar mountains of ice and snow, and yet illuminating all by
a reflected iridescence. Then is beheld the gorgeous phenomenon of the Aurora
Borealis with its irradiation of dazzling contrasted colors. Never before has
it been possible to project separate colors so as to give a representation of
this magnificent rainbow-like phenomenon. The device by which it is
accomplished is the invention of Herr Kliegl and he worked for over four years
before perfecting it. The exclusive rights to the stage use have been secured
by Al G. Field, and the spectacle can only be seen in connection with his
minstrel show. The scenery and effects employed in displaying this novelty are
of the most elaborate and expensive, and the combined results are among the
sensational surprises of the year. In starting work, Herr Kliegl had no
detailed scientific analysis of the real Aurora Borealis upon which to base his
experiments. Even today, the scientists have not fathomed the actual richness
by which the real Aurora Borealis is produced. They are all agreed that it is
caused by some kind of an electrical discharge in the atmosphere. This in turn
is brought about by a magnetic influence emanating from the sun. When the
particles of the earth’s atmosphere are thus charged magnetically, the
electrolyzation causes such an arrangement of the light rays that many of the
spectrum colors are visible. Thus it is that the crimson and gold, apple green,
sea blue, violet, purple haze, mellow yellow and azure blue, form magnificent
color arch, or band, or corona, or curtain that is known as Aurora Borealis. This
phenomenon is not visible to the people of this country very often. Here to see
it accurately reproduced in the theatre is a rare opportunity for the present
generation when it can acquaint itself with one of nature’s grandest and most
imposing spectacles” (10 Sept, 1914, page 7).
I would give anything for a time
machine right now and see the show.
The “Wilmington Morning Star” also
reported, “No invention of a mechanical device for realistic, beautiful stage
effects has aroused more interest and discussion than the one which creates the
awesome gorgeousness of the Aurora
Borealis, as pictured in the performance of The Al G. Field Minstrels. Just as
the tread mill device by Neil Borgess for the horse race in ‘The Country Fair’
made possible the one employed in ‘Ben Hur,’ so this new lighting contrivance
controlled exclusively by Al G. Filed, promises a revolution along lighting
lines. This is true because it enables the projectment [sic.] of separate
colors. The invention is the work of Herr Kliegl. Prior to his endeavor, little
had been done in trying to produce artificially the color sheen of the Aurora
Borealis. The most conspicuous experiment was that of German savant Kr
Birkland. [Dr. Kr Birkland was from Christiana, Norway, and he wrote about the
division of terrestrial magnetism, publishing his findings in 1911]. His
apparatus consisted of a vacuum vessel containing a magnetic atmosphere. A
partial Aurora Borealis effect was secured by sending electric currents through
the glass vessel to the magnetic sphere. With this elemental knowledge Herr
Kliegl evolved the present successful device. The Aurora Borealis is presented
in the number, “The Land of the Midnight Sun,” which shows the Arctic North,
with its sweep of ice and snow, indescribably brilliant from the reflection of
sun, moon and stars. This spectacle is only one of four, which the unrivaled
minstrel program of The Al G. Minstrels offers this season. The production is
at the Academy of Music tonight and seats are now selling at Woodall &
Sheppard’s” (28 Sept. 1914, page 6).
Other than one advertisement, I
have been unsuccessful in locating an image of the spectacle. However, the
Kliegl Bros. electrical effects called the “Aurora Borealis” in Julius Cahn’s
Official Theatrical Guide, 1912-1913 (page 38).
Note the “Aurora Borealis” effect offered in the ad. A year later, Kliegl designed an “Aurora Borealis” effect for Al G. Field’s Minstrel spectacle “The Land of the Midnight Sun.” Universal Electric Stage Lighting Co. advertisement in Cahn-Leighton’s Official Theatrical Guide, 1912-1913.
As for Field, he passed away in
1921, a victim of Bright’s disease. He bequeathed his show and a substantial
estate to brother Joseph E. Hatfield and relative Edward Conrad. Field was a
member of the Elks. Tomorrow I look at Kliegl’s Masonic affiliations.
The first Stanley Theatre in Philadelphia, Pennsylvania.
In 1914, Thomas G. Moses wrote,
“Did a spectacle set for the Stanley, Philadelphia. I went with it, and spent a whole week with
it. Got some good lighting effects. Kleigel [sic.] came on from New York to do
it.” Although the venue is primarily remembered as a movie house, the first
Stanley Theatre in Philadelphia was a combination house. Largely devoted to
short-reel pictures, ornate wings and a painted picture sheet created the
surround for any projection. There were other lines to accommodate touring acts
and spectacles, such as the one mentioned by Moses.
Picture sheet design by the Great Western Stage Equipment Company of Kansas City, Missouri.Picture sheet design by the Twin City Scenic Co.Partial picture sheet design by the Twin City Scenic Co.Twin City Scenic Co. picture sheet design model by Prof. Emeritus C. Lance Brockman.
The Stanley Theatre opened on 19
April 1914. The venue was named after Stanley Mastbaum, a remarkable man in his
own right who was directly responsible for the evolution of films in
Philadelphia (“Philadelphia Inquirer,” page 35). The story of Stanley V. Mastbaum
and his Philadelphia theaters is quite fascinating. The Stanley Theater in Philadelphia
was the flagship of Stanley’s theatre chain and managed the venue. Stanley co-founded
the Stanley Company with his brother Jules Mastbaum. Stanley Mastbaum also
managed the Stanley Booking Corporation, a company that supplied pictures to
several hundred theatres across the country. The Mastbaum brothers controlled
several of the Philadelphia’s movie houses, later expanding to become one of
the largest motion picture chains in the country in a relatively short period
of time.
Stanley V. Mastbaum, from the “Philadelphia Inquirer,” 24 Jun 1918, page 7.
Their reign in the film industry
was short-lived, however, as Stanley Mastbaum passed away in 1918 at the age of
37 yrs. old. The cause of his death was listed as blood poisoning, developing
from a sever case of tonsillitis. At the time of his passing, his obituary
reported, “After seven years’ effort in the motion picture business, Mr. Mastbaum
was part owner of seven big ‘movie’ houses in Philadelphia, and a score or more
in other cities. His interests were in every branch of the industry from
production of movies to the placing of finishing touches on the screen” (The
Morning Post, 7 March 1918, page 1). The article continued to state that the Philadelphia
theaters run by Stanley Mastbaum included, the Stanley (Sixteenth and Market
streets), the Palace (1214 Market street), the Globe (Juniper and Market
streets), the Arcade (Chestnut street, below Sixteenth), the Alhambra (Twelfth
and Morris), the Rialto (Germantown avenue and Tulpehocken street), and the
Broadway (Broad street and Snyder avenue). The Paramount acquiring his company
by 1919, and the firm was later acquired by Warner Bros. in 1928.
The first Stanley Theatre of
Philadelphia was located at 1616-20 Market Street, east of Seventeenth Street.
When the venue opened, the “Philadelphia Inquirer” announced, “The Stanley
contains every modern device in perfect theatre construction, and many
innovations exclusive in this temple of Thespia. The house will comfortably
seat 1700 persons and the decorations are of a quietly attractive quality.” The
house count was actually a little lower than that.
The policy of the Stanley was
the presentation of the “highest grade photo plays.” Photoplays and comic films
constituted the program at the Stanley Theatre with live musical accompaniment.
Designed by W. H. Hoffman, the venue was later renamed the Stanton Theatre and
later the Milgram by 1968. The building was demolished in 1968. Also, the first
Stanley Theatre is not to be confused with the second Stanley Theatre that
opened on the southwest corner of 19th and Market Street in 1921; it
was a much larger theater.
From the “Philadelphia Inquirer,” 23 April. 1914, page 16.From the “Evening Public Ledger,” 14 Dec. 1914, page 9.
Of the programming, the
“Philadelphia Inquirer” reported, “The subjects were well chosen and of varied
character, so that the serious blended excellently with the lighter vein of
motion picture. The list included The Dishonored Model, Martha’s Rebellion, A
Soul Astray and Our Mutual Girl. One of the pleasing features was the rendition
of selections by the orchestra during the exploiting of films and during
intermissions” (12 May 1914, page 7). In June, the “Philadelphia Inquirer” noted,
“As a forerunner to a series of feature photo-dramas which will be shown during
the remainder of the week, two interesting picture entertained audiences at the
Stanley Theatre yesterday. ‘Good for Nothing’ was the title of the headliner,
followed by ‘The Gem.” Both subjects were well acted by capable companies. The
special attraction for the week is a five-part dramatization of “Home Sweet
Home,” to be shown today and tomorrow. Selections on a new organ add to the
entertainment” (16 June 1914, page 7).
Musical selections that
accompanied the photo plays ranged from a full orchestra to the Doria Opera
Trio of the Metropolitan Opera Company. Of the trio, they toured with
photodrama productions, performing opera and other vocal selections each day
and evening to accompany select films (The Philadelphia Inquirer, 10 July 1914,
page 4). The Philadelphia Orchestra also furnished the incidental music for the
Stanley, with the “Philadelphia Inquirer” commenting that summer: “The Spitfire,” a nautical comedy drama, was
the chief attraction among the Stanley Theatre’s films yesterday. Written by Edward
Peple, acted by Daniel Frohman’s Company and starred by Carlyle Blackwell, the
intricate plat included a gem robbery, several fights, false correspondence,
two rescues, one at sea and the other in the Arabian desert, with a charming
love story woven through the whole. The latest and finest developments of
moving picture art were exhibited in this an other films, all as remarkable for
the clearness of their definition as for the quality of the stories, fantastic
and humorous, they presented. “The One Best Bet,” a comic story of the racetrack,
and “Tragic Trinkets,” a murder mystery film, in which an alchemist figured,
presented scenic features of an unusual character. Members of the Philadelphia
Orchestra furnished the incidental music” (7 July 1914, page 6).
Stage designs that highlighted the technical skill of the scenic artist began to shift during the second decade of the twentieth century. A new vision and stage aesthetic began to appear; one with the increased use of draperies and three-dimensionality objects. New lighting accentuated this type of setting, taking on its own importance. By the 1920s, the demand for beautiful painted visions of pictorial landscapes continued to diminish, an in its stead were a variety of abstract interpretations that defined the stage space. Contrasting fabrics with minimal paint application suggested interior and exterior settings rather than replicating them. In some cases, curtains even replaced cumbersome flats for interior walls, with only the use of a fireplace, window or door.
Traditional interior setting, advertised in the Service Studios sales book. Service studios was established in 1920, and later acquired by ACME Studios, also of Chicago.Backside of Service Studios photograph, ca. 1920-1925. The company was acquired by ACME Scenic Studios in 1926.Real fabric interior setting, advertised in the Service Studios sales book. Service studios was established in 1920, and later acquired by ACME Studios, also of Chicago.Real fabric interior setting, advertised in the Service Studios sales book. Service studios was established in 1920, and later acquired by ACME Studios, also of Chicago.Exterior setting with real fabric and minimal painted illusion, advertised in the Service Studios sales book. Service studios was established in 1920, and later acquired by ACME Studios, also of Chicago.
I explored the popular
production and setting of “Daddy Long Legs” prior to the holidays. In 1914,
Thomas G. Moses recorded that Sosman & Landis delivered scenery for the
production. Of the stage setting, he wrote, “It was a very delicate interior,
real fabric walls.”
There are two ways to look at
Moses’s comments: “real fabric walls.” The
first is the use of fabric panels as in residential homes. In that regard,
fabric panels were falling out of favor for home use by 1914. Newspaper
articles reported, “Not so many years ago the walls of the boudoir would have
been silk panelles, but sanitary specialists have pronounced fabric covered
walls uncleanly abiding places for germs” (New York Tribune, 6 May 1914, page
7). It is possible that the “delicate interior, real fabric walls” referred to
the use of actual draperies on stage, another type of setting that was gaining
popularity on the stage by 1914. Real fabric walls for interior settings
instead of painted backdrops or flats.
Artistically patterned and
draped fabrics were becoming a popular alternative for painted backdrops, both
exterior and interior sets at this time. Scenic studio sales books would
promote this cost-effective trending interpretation for modern stage settings. This
is where scenic art quickly becomes a craft, requiring a different skill set.
The once thousands of painted settings that created scenic illusion for a
variety of entertainment venues begin to disappear. Delicate landscapes painted
with skilled hands give way to contrasting fabrics and minimalist stencil work to
suggest a setting. It was new, fun, more versatile for the stage, and in many
cases cheaper.
Like other studios of the time,
the Sosman & Landis Scene Painting Studio was not simply a firm that
specialized in painted backings; they manufactured all types of settings,
draperies and stage equipment for differing entertainment venues. It was this
diversity that helped the company expand over the decades, being able to offer
a variety of products and services for all types of stages. The mention of
fabric walls for a setting, instead of hard covered flats, was a cheap
alternative that could be quickly manufactured and shipped to any stage in a
matter of days, not weeks. No complex rendering or skilled scenic artist was
necessary to create this popular stage setting.
Scenic art branches off into two
separate directions at this point: increased realism for the film industry and
diminished realism for live theatre. Scenery for many films became increasingly
realistic, tightening the scenic art style and application of paint for
cycloramas. On the other hand, live theatre was moving in the opposite
direction, broader strokes and non-traditional approaches to interior settings.
The manufacture of scenic illusion, for projects other that moving pictures,
diminishes to such an extent that many studios no longer require a full staff
of highly-skilled scenic artists. The hiring of craftsmen becomes a prudent option,
as painted illusion was no longer required for every project. By the 1920s,
many master painters could be hired on a per project basis. This also allows
room for new studios to open across the country, replacing many of the main
studios that heavily relied on a legion of high-skilled scenic artists. The
painting work is still there, but the demand had decreased.
Fortunately for Sosman & Landis and other
well-established studios, certain social halls, fraternal theaters and other
public spaces continued to demand painted illusion for the stage.
In 1914,
Thomas G. Moses wrote, “August found Germany starting a new war with the
Huns who helped them. France and England
are both in the game.”
At the time, United Stated newspapers reported, “The War in
Europe. Following the declaration of war by Austria-Hungary against Serbia,
Russia took up the gauntlet for Serbia whereupon Germany declared war against
Russia. In the mobilization of troops Germany invaded a French territory, a
practical declaration of war against France, and also Belgium, which is under
the protection of England. England asked the withdrawal of the German army from
Belgium, and not receiving a satisfactory reply, Wednesday declared war against
Germany. Italy proclaimed neutrality, but it is feared she will not be able to
maintain it. Hostilities have begun, both on land and seas, and the world fears
the most destructive war in history. President Wilson has proclaimed neutrality
of the United States, and Congress is busy with plans for bringing Americans
home from Europe and for protecting all interests of this country” (“Middletown
Transcript,” 8 Aug. 1914, page 1).
Although the United States did not officially enter the war
until 1917, the conflict overseas affected many American individuals and industries,
including the world of theatre. As with many political events and military
conflicts, we look back now with unknown “what ifs” and “we should haves.” It
often takes a century to pass for the lens of history to provide snapshots of
behind-the-scenes motives, mistakes, and missed opportunities of our leaders.
Here is a little background about the draft registration
pertaining to WWI in the United States. Three registrations occurred between 1917
and 1918. The 1st was held June 5, 1917 for men ages 21-31. The 2nd was held
June 5, 1918, for men who turned 21 since the 1st registration. The 3rd started
Sept. 12, 1918 for men ages 18-45. My maternal grandfather was not
drafted, but enlisted at the age of twenty-eight years old for WWI. Born and
raised in Maple Plain Minnesota, he grew up on a farm but went to work for the
Great Northern Railroad, where he became a bridge and building foreman. When he
enlisted, my grandfather was still single, only dating my grandmother, Elvina
Dressel. Both were German-American. My
great grandfather arrived in the US during 1861 and immediately fought in the
Civil War (Union Army). Then as now, there was an unjustified lash back against
immigrants; during WWI it was the German-Americans and their families, even
when they had resided in the country for decades. American intolerance, a
shameful legacy continues today.
John H. Kohnen. WWI photograph from when he enlisted in 1917.Wedding photograph of John H. Kohnen and Elvina Dressel, 1919.
WWI draft registration cards provide an amazing wealth of
information about the theatre professionals; a snapshot of men, their families,
and work. Due to the wide range of ages, 18-45, information for many
long-forgotten scenic artists is available in the draft registration
database. Instead of looking at a black
and white photo or reading a newspaper obituary, the height, physical frame,
hair color and eye color of these individuals in their prime is recorded. We
know if they were gainfully employed, or just starting at a new scenic studio.
We known if they were married, single, and where they were living.
WWI draft card for my grandfather, John H. Kohnen.
Moses did not mention the war again until its conclusion in 1918.
During the Fall of 1918, Moses wrote, “The Big World War ended November 11th,
and the biggest kind of rally was pulled off.
I never saw such a crowd. It was
not safe to be on the street with a hat on or a good suit of clothes.”
Keep in mind that his 1931 typed memoirs were a compilation
of annual diaries, of which only the last five years of his life remain. I have
scans of the five, each in a private collection. Of those five years, I have
transcribed two and am working on the remaining three. Moses’ daily records
provide a wealth of information not included in his final 1931 manuscript titled
“My Diary.” His thoughts on the WWI or friends that were lost in the fight may
have been mentioned, but are now lost.
