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Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, the staff and network of support for touring shows. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters.

Julius Cahn was the manager of the Charles Froman’s Booking Department at the Empire Theatre.  In the theatrical guide’s foreword Cahn states his reason for the publication, citing the need for a “complete and official Theatrical Guide that would give the managers of theaters throughout the country, the managers of traveling attractions and others closely interested in their affairs, a complete and exhaustive volume pertaining to the various braches of business, arranged in a concise and clear manner, so as to make it both valuable and available as a book reference” (Julius Cahn’s Official Theatrical Guide, 1895-1896, page VII).

Great idea, but there is the element of human error. Theaters owners, manager and staff submitted the information in regard to their space, mailing it to Cahn’s office.  As far as I can determine, there was no independent study to verify that the submitted information was correct. I have noticed that the names of many scenic artists are misspelled.

In the case of the Howell opera house, the scenic artist credited with the stock scenery in Cahn’s Theatrical Guide is “S. E. Landis (Chicago).” This was Sosman and Landis. My guess is that the individual submitting the information read the ampersand as the letter “E” – so he read “Sosman E. Landis.” Thinking that this was an individual and not a company, he further shortened the name to S. E. Landis. I have encountered Sosman & Landis spelled in various ways throughout Cahn’s Guide, including Sausman & Landis, Sussman & Landis, Sosman & Lundis, and Sussman & Lundus to name a few.

In regard to their work for the Howell Opera House, however, corroborating information from many other sources confirms that the company painted the original scenery for the Howell stage.  An 1882 article published in the “Macomb Journal” lists all of the theaters “fitted up” by Sosman & Landis from June 1881 to July 1882.  The New Opera House in Howell, Michigan, is one of the 73 theaters listed in the article.

Regardless, it is possible that local individuals or other professional scenic artists added to the original scenery collection over the years. In regard to the Howell, the roll drops that have not been unfurled in decades. Although they look in fair shape from the stage floor, there is no way to anticipate the condition of the painted surface or verify a specific scenic artist.

When I visited the Howell opera house on July 11, 2019, I had the opportunity to examine an enlarged photograph of the original drop curtain.  It depicted a lovely Venetian composition, one popular for drop curtains at the time, especially those credited to Sosman & Landis.  Purportedly, the original drop curtain is still in place, and the painted details visible from the stage floor support that idea.

During the 1880s, Sosman and Landis sent out teams of scenic artists to paint scenery. Joseph S. Sosman and Thomas G. Moses traveled as a team, following Abraham “Perry” Landis as he secured contracts across the country. At the time, there were five scenic artists on staff; it is unclear if this number included studio founder Sosman.

The 1882 “Macomb Journal” article reports, “A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen at this time give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.” Any one of the five scenic artists working for the firm at this time could be responsible for the drop curtain in Howell.  Until the Howell drops are unrolled, it is impossible to identify any potential artist.

Although Moses painted in the studio, he was on the road – a lot – traveling from city to city to paint stock scenery and drop curtains on site. In addition to painting scenery at their Chicago shop and shipping it by rail to distant venues, scenery was still painted on site. When looking at the listed of theaters supplied with scenery from 1881 to 1882, the main Sosman & Landis studio could not accommodate the sheer amount of work contracted by their salesmen. Therefor, pairs of artists were also sent on site to paint scenery. Paint frames were constructed for each stage, providing a temporary studio for scenic artists to work.  This not unusual, a common practice for nineteenth century itinerant artists, especially as the scenic studio system was relatively new to the country.  Keep in mind, that at the time only a handful of scenic studios had been established, with the majority of work being completing by individual scenic artists or pairs or artists in temporary partnerships.

At Sosman & Landis, Moses records that he went on the road to paint scenery with not only with Sosman but also Will Davis and Lem Graham.

More about the Howell Opera House tomorrow.

I left Minneapolis on June 11, to head east for the League of Historic American Theatres national conference in Philadelphia.  Breaking down the drive into two days, I decided to visit family in Michigan. On the way, I planned a stop at the Howell Opera House.  Rick Boychuk had visited the small opera house last year and shared images of the space. 

I was familiar with the name, as Sosman & Landis delivered the original stock scenery collection. Over a year ago, I discovered an 1882 article published in the “Macomb Journal” that listed all the performance venues “fitted up” by Sosman & Landis from June 1881 to July 1882 (see past installments #384 and 385). Here is the article in its entirety:

“SOSMAN & LANDIS – A Leading Firm in Their Line in Chicago – The Senior a Macomb-Raised and Educated Boy” (The Macomb Journal, 13 July 1882).  “Nearly all the county readers of the Journal know “Joe” Sosman, and that he is in Chicago in the scenery-painting business, but few, if any, are aware of the prominence of the firm of which he is the senior partner. “The News Letter,” a paper devoted to the theatrical interest, in an article not long since, gave some account of the prominence and business of the firm, which article we append below. We know it will be perused with interest by hundreds of the “Journal” readers, who have a lively solicitude not only for Mr. Sosman, but for every McDonough county boy who goes out in this great world to carve his fortune, his head and hand being his only capital. Here is the article:

“One of the surest indications that Chicago is fast becoming one of the most important dramatic centers in America is the evidence before us, that in all matters pertaining to the theatrical profession Chicago has become, so to speak, a manufacturing center. Theatrical printing, etc., have long been staple industries, but of late years, matters which hitherto might have been considered as peculiarly belonging to the great metropolis of the East, have taken prosperous root in Chicago. Among the industries we refer to is that of fitting up opera houses and out of town theatres.

Some five years ago, Messrs. Sosman & Landis, a firm composed of a couple of enterprising young fellows established in this city what they termed a scenic studio. The beginning gave them a good deal of hard work, but in the period we have mentioned above, their business has grown from comparatively nothing to being one of the most important of its description in the United States. This all speaks volumes for Chicago as a theatrical center, and say what we may, there is no disavowing the fact that next to New York city, Chicago is without a question the most important locality in America in all matters pertaining to general amusement affairs.

Perhaps no better recommendation could be given to the firm we have referred to above than the information which is contained in their circulars to managers, and which tells the actual number of houses they have fitted-up since the first of June, 1881. We give the list as a matter of curiosity as much as anything else:

New Opera House, Rockford, Illinois

Academy of Music, Minneapolis, Minnesota

Grand Opera House, Richmond, Indiana

Hill’s Opera House, Ann Arbor, Michigan

Humblin’s Opera House, Battle Creek, Michigan

Union Opera House, Kalamazoo, Michigan

Russell’s Opera House, Bonham, Texas

Brownsville Opera House, Brownsville, Texas

My Theatre, Fort Worth, Texas

Leach’s Opera House, Somerville, Tennessee

Kahn’s Opera House Boliver, Tennessee

King’s Opera House, Jackson, Tennessee

Stummer’s Hall, Washington, Georgia

Vicksburg Opera House, Vicksburg, Mississippi

McWhinney’s Opera House, Greenville, Ohio

Yengling Opera House, Minerva, Ohio

City Hall, Athens, Ohio

Freeman’s Opera Hall, Geneseo, Illinois

Odd Fellows Hall, Peshtigo, Wisconsin

Hyde’s Opera House, Lancaster, Wisconsin

Klaus’ Opera House, Green Bay, Wisconsin

Storie’s Opera House, Menominee, Wisconsin

Holt’s Opera House, Anamosa, Iowa

King’s Opera House, Hazleton, Iowa

Opera House Nanticoke, Pennsylvania

Opera House Athens, Georgia

Opera House Gainesville, Texas

Opera House Reidsville, North Carolina

Edsell Opera House, Otsego, Michigan

New Opera House, Howell, Michigan

Stouch Opera House, Garnett, Kansas

Germania Hall, Blair, Nebraska

Bennett’s Opera House, Urbana, Ohio

Klaus’ Opera House, Jamestown, Dakota

Opera House, Westville, Indiana

City Hall, Mineral Point, Wisconsin

City Hall, Lewisburg, West Virginia

Opera House, Denison, Iowa

Opera House, Nevada, Ohio

Opera House, Hoopeston, Illinois

Opera House Cambridge, Illinois

Turner Hall, LaSalle, Illinois

Kolter’s Opera House, Wausau, Wisconsin

Opera House Moberlv, Missouri

Krotz’s Grand Opera House Defiance, Ohio

Opera House, Montague, Michigan

Opera House Eutaw, Alabama

Opera House, Greyville, Illinois

Opera House, Carthage, Illinois

Masonic Hall, Macomb, Illinois

New Hall, Good Hope Illinois

Music Hall, Eau Claire, Wisconsin

Temperance Hall, Seneca, Illinois

Opera House, Jefferson, Iowa

Opera House, Waupaca, Wisconsin

Soldiers’ Memorial Hall, Milwaukee, Wisconsin

Opera House, Mexia, Texas

Opera House, Wilson, North Carolina

Opera House, Newbern, North Carolina

Opera House, Goldsboro, North Carolina

Grand Opera House, Cheyenne, Wyoming

Cosmopolitan Theatre, Miles City, Montana Territory

Arbeiter Hall, Ludington, Michigan

Opera House, West Bay City, Michigan

Opera House, Detroit, Minnesota

Opera House, Lockport, Illinois

Opera House, Fort Atkinson, Wisconsin

Opera House, Grass Lake, Michigan

Opera House Demopolis, Alabama

Opera House, Unionville, Missouri

Opera House, Harrodsville, Kentucky

Opera House, Hancock, Michigan

City Hall, New London, Ohio

Opera House, Stevens’ Point, Wisconsin

A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen at this time give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.

We take some little pride in the success of these gentlemen. It has always been, and still is, our ambition to see Chicago ahead in all matters pertaining to western dramatic affairs, and the unusual success which has attended the venture of Messrs. Sosman & Landis is a feather in the cap of our wishes.

It is true that much of the success attended these gentlemen has been due to the fact that they have proved entirely reliable in all their transactions, and that their work has always been of the very best. They take contracts to fit up the entire stage of any new house in course of erection, and we venture to say from undoubted information that no contract that they have ever undertaken has proved aught but most highly satisfactory. With their success the success of Chicago as a dramatic center is blended, and we are more than glad to see that to-day, in nearly every opera house in the West which is under erection, the contract for fitting up the stage has been let to Sosman & Landis.”

Between 1880 to 1889, Sosman & Landis outfitted 1000 thousand theatres. By 1894, the company’s brochures advertised that 4000 places of amusement were using scenery made by their firm. In 1880, Thomas G. Moses wrote that he and Sosman traveled a great deal in the beginning and Landis was always away, traveling to secure orders. Sosman and his crew followed Landis, painting whatever was contracted. It would take six months before Moses even meet Landis after being hired as he was constantly traveling across the country to drum up work.

Interestingly, Thomas G. Moses left the Sosman & Landis studio for the first time during May 1882, just a few months before this article was published.  He left his position at Sosman & Landis to partner with Lemuel L. Graham. Graham would later found Kansas City Scenic.

Tomorrow, I will share some images of the many treasures that still remain in this delightful building.

To be continued…

I leave town this morning for the League of Historic American Theatre’s National conference in Philadelphia. The life and times of Thomas G. Moses will be put on hold until my return around July 20. As with past travels, my blog will shift to “Travels of a Scenic Artist and Scholar.”

On June 17, 2019, I present a session as part of the Tools & Techniques Segment on Wednesday, July 17– “Uncovering the History of Your Theatre or Cinema: Knowing Where to Look.” Here is the link to the conference schedule: http://www.lhat.org/conferences/national-conference/schedule

Here is the LHAT session description: “Tracking down information pertaining to any historic theater is a challenge. Important records are lost and significant artifacts disappear over time. Those with institutional memory depart before sharing their knowledge. The search for your theater’s history may seem impossible.  Fortunately, we live at a time when access to historical information is just waiting to be discovered online – one just has to know how and where to look for it.  Uncovering little gems connected to your theater’s past not only draws a community together, but also helps market your theater, generate community support, and secure grant funding. This session will help you track down information about your historic theater, its original construction, ornamentation, painted settings, past productions, and performers that graced your stage.  Whether you are a theatre manager, board member, professional, or enthusiastic novice, this session will help you discover lost information that is much needed whether you are starting a renovation, applying for a historical register, or submitting a grant application. After attending this session, you will be better enabled to successfully locate valuable information about your venue. Whether you represent a cinema, historic theater, or are a theatre professional, you will leave with a better understanding of our shared theatrical past.”

The topic for this session was prompted by my daily research pertaining to the life and times of Thomas G. Moses. Like many, when I first started researching historic theaters and scenic artists I paged through a card catalogue and wandered the stacks. Hundreds of hours were send carefully paging through various publications and bound journals in rare book rooms. As technology and Internet resources continue to expand, I encounter more information that I could have conceived as an undergraduate.  The problem now is that there can be too much information, unless you know how to refine the parameters of your search.  Over the years, I have developed a few tricks that help direct the search; where to look and what to look for in regard to historic performance venues.  Simply typing in a question will often lead to too much information, therefore complicating the task.

As with many business trips, I have decided to drive to Philadelphia. Time on the road often results in the opportunity to visit at historic sites, small-town opera houses, and abandoned theaters. This factor always transforms a long drive into a treasure hunt.

To be continued…

In 1911, Thomas G. Moses recorded that one of the studio projects was for the Columbia Burlesque Theatre.

Opening on January 10, 1910, the venue was operated by the Columbia Amusement Company from 1910 until 1927.  Located on the northeast corner of Seventh Avenue and 47^th Street in Manhattan, it specialized in “clean” and “family-oriented burlesque.” In other words, a series of variety acts, often with an overall theme. Similar to a vaudeville house, it was advertised as “the house that brought distinction to burlesque” (New York Times, 12 Nov. 1911, page 11).

Featured in the publication, “Architecture and Building” the Columbia Theatre and Office building was a twelve-story structure in the Italian Renaissance style, designed by W. H. McElfatrick. Interestingly, Julius Cahn’s 1912, Official Theatrical Guide listed W. H. McElfatrick’s offices as “Columbia Theatre Building, NY, Cor. Broadway and 47^th St.” His advertisement noted, “Theatrical Bldg. A Specialty, “ with other New York theater projects including the Knickerbocker Theatre, the Metropolitan Opera House, the Manhattan Opera House, Manhattan Opera House, Lincoln Square Theatre, New York Theatre, Criterion Theatre, Broadway Theatre, Empire Theatre, Bijou Theatre, Bronx Theatre, Hudson Theatre, Harlem Opera House, Alhambra Theatre, Proctor’s 58^th St. Theatre, Proctor’s 125^th St. Theatre, Murray Hill Theatre, Metropolis Theatre, Grand Opera House and the Wadsworth Theatre.

Interior decorations for the Columbia Burlesque Theater were credited to John Wanamaker, with the mural above the proscenium, “Goddesses of the Arts,” painted by Arthur Thomas, R.A. The building had a frontage of 88 feet on Seventh Avenue and 148 feet on Forty-seventh Street. (Vol. 42, page 218) The theater had a seating capacity of 1,340 (Orchestra, 548, balcony 346, gallery 350 and boxes 96). The stage from the curtain line to the back wall was 30 feet deep, with a proscenium opening measuring 34 feet wide by 31 feet high.

As an aside, in 1910, “College Girl” was staged at the Columbia. This was in this production that Florenz Ziegfeld, Jr. noticed Fanny Brice, and then secured Brice’s release from her Columbia contract to appear in his 1910 Follies.

Although Moses did not mention any details pertaining to his work for the Columbia in 1911, it is possible that the project was Cliff Gordon and Robert North’s staged adaptation of “The Merry Whirl.” The show settled at the Columbia Burlesque Theater for the summer run of 1911, after a successful spring touring the country. The one-act comedy featured the comic duo of Morton and Moore. Known as “The Crown Kings of Comedy,” the show was paired with another one-act burlesque “The Magic Ring” (Brooklyn Times Union, 25 Nov. 1911, page 7).

The “Merry Whirl” featured the Morton and Moore as the Cock and the Snowman; the two characters were a specialty from the previous season. In the second part of the show they played the roles of an American prizefighter and his manager, stranded in Paris and disguised as commissioners for a dressmaking establishment (The New York Times, 13 July 1911, page 9).  One hit song from the show was “Alexander’s Ragtime Band” by Irving Berlin.

By 1925, however, the repertoire at the Columbia Burlesque Theatre began to change, introducing many more risqué acts. By 1929, the “Daily News” reported, “A report is the current that the Columbia burlesque theatre, on 7^th ave. will soon be demolished to make room for the largest theatre in the world. The Radio-Keith-Orpheum Corporation is said to be behind the deal. Plans for the new theatre, to exceed in size Roxy’s and the other big film cathedrals, are supposedly now complete”  (20 July 1929, page 21).

While looking for information about the Columbia Burlesque Theatre, an interesting article appeared in regard to activities on Fourteenth Street in New York. On May 11, 1925, the “Rock Island Argus” reported, “An immense Columbia burlesque theatre. Its curtain is the old kind that rolls up on a pole” (page 6). This refers to the standard roll drop that dominated much of 19^th century American theatre.

To be continued…

 In 1911, Thomas G. Moses wrote, “I did a good ‘Mme. Butterfly’ set for Joe Sheehan.” 

Joe Sheehan was the star of the Sheehan Opera Company of Chicago, also known as the Sheehan English Opera Company. While I was looking for information pertaining to the company and show, I happened upon an interesting blog by Mary Lois – “Finding Myself in Hoboken.” Unbelievably, one entry included a gentleman’s reminiscences about his wife’s grandfather, Joe Sheehan. Posted on May 29, 2008, it provides some basic information about Sheehan from an interesting and familial perspective. Slezak had been sent Lois a series of emails since he discovered her blog. Lois commented, “He likes to remember what Hoboken was like in the late 1940’s and through the 1950’s, and he describes it vividly” (https://myselfinhoboken.blogspot.com/2008/05/).

She included the following sample:

“My wife’s dad – what a nice guy he was…played with the big bands during the war. (His dad was an opera singer from Dublin who toured Europe with the Carl Rosa opera company..he came to America in 1900…and started his own opera company, Joseph Sheehan Opera Company …you can look him up on the computer. In them days he was the greatest tenor English opera singer in the world. After he retired from that he worked for RKO Radio studios in NYC…and later it became NBC studios…he lived on Garden Street just across the street from me) My wife’s both grandmothers lived across the street from me when I was a kid. I have a picture of me and my wife in the same picture – she was 5. I was 9, not knowing I would marry her some day and spend the rest of my life with her. I got lucky and always had good luck…with every thing I did in life.”

In advertisements, Sheehan was billed as America’s Greatest Tenor and Famous Opera Star” (The Akron Beacon, 5 April 1913, page 8). He toured the company, starring in a series of operas that appeared in not only large metropolitan areas, but also many small towns.

As I was examining the various performance venues where Sheehan appeared, one jumped out – the Wieting Theatre in Toledo, Iowa. His performance is mentioned on their current website (https://wieting.tamatoledo.com/theOpening). The history page noted, “The new curtains of the Wieting Opera House parted for the first time at 8 o’ clock on the evening of Sept. 12, 1912. A capacity “house,” all dressed for the gala occasion (especially those in the box seats), had paid $1.50, $2.00 or $2.50 per ticket to see the Sheehan English Opera Company’s presentation of “Il Trovatore.” The show featured Joseph F. Sheehan, “America’s Greatest Tenor” and a supporting cast of more than one hundred.”

Until two years ago, I was unaware of Toledo, Iowa. A scenery evaluation brought me to the small town during the spring on 2017 to examine their front curtain and present some information about the painted aesthetic for early-twentieth-century stages.  At the time the Wieting Theatre was well ino the process of renovating their entire stage area. I stayed at the home of the executive director and learned quite a bit about how the history of the Wieting theatre, and its two sister theaters in Syracuse and Worcester, New York.  These three memorial theaters have an intereting history in their own right.  

The theaters are connected to Dr. P. G. Wieting and Helen “Ella” Wilder. The couple was married on December 5th 1866, and initially lived in Worcester, New York. Only staying in the area a short while, heir second homes was located in Toledo Iowa by 1867. Dr. Wieting was successful dentist in Toledo, but also was involved in many other business ventures. In 1878 Dr. Wieting and Helen’s father started the Toledo City Bank. Though the Wietings eventually returned to the East Dr. Wieting continued to be involved with the Toledo bank until his passing in 1906. 

To honor her husband after his death, Mrs. Wieting donated theatres to the communities of Worcester, New York, and Toledo, Iowa. These theatres were intended to carry on the name of her late husband while enriching the communities.  The Wietings were also responsible for the construction of a previous Wieting Opera House in Syracuse, New York. Although there had been a series of Weiting Opera Houses in Syracuse since 1852, Mrs. Wieting was responsible for the third and final building. The first Wieting Opera House was donated to Syracuse by 19^th century physician and medical lecturer John M. Wieting, M.D. (1817-1888).

Attached are a few images of the front curtain from Toledo, Iowa.

To be continued…

In 1911, Sosman & Moses secured $25,350.00 in contracts for the Brewers’ show at the Chicago Coliseum. The companies created a series of exhibit booths for various breweries at the show. Thomas G. Moses recorded that one of the clients was a Brewing Company in Dubuque, Iowa. The unnamed brewery was likely the Dubuque Brewing and Malting Company.

The organization of the Dubuque Brewing and Malting Company primarily resulted from a prohibitory state law in Iowa that proceeded national legislation. Details of the company’s origin are quite fascinating, so here is a brief summary. In 1892 an estimated fifty heirs from the four original Dubuque brewers wanted to sell their interests. Unfortunately, they were unable to do so because local and state legislation governing brewery property made the business almost unsalable. To enable the legal sale of brewery interests, the men owning the greats shares established the Dubuque Malting Company. This entity took over the property from the heirs and simply paid them a rental fee. Now despite Iowa’s prohibition law, brewing continued – go figure. Production continued to such an extent that an estimated 50,000 barrels of beer were still produced annually.

Their plan was to ensure that Dubuque Malting Company would always continued to legally operate, despite any future legislation. They would simply manufacture and sell brewers’ supplies, as well as all kinds of grain products. Also, if any prohibition laws were then repealed, the managers could quickly return to the brewing business again. In Iowa, prohibition closed the brewery part of the on December 31, 1915. Iowa became one of thirty-two states that became “dry” prior to the law being put into effect nationally in 1919. For more history about the Dubuque Brewing and Malting Company, visit http://www.encyclopediadubuque.org/index.php?title=DUBUQUE_BREWING_AND_MALTING_COMPANY

Returning to the Brewer’s Show of 1911, Moses recorded a trip to Iowa. Of the work in Dubuque, Moses wrote, “I made a trip to Dubuque, Iowa, to close a contract with a Brewing Company and did so.  We went out for a drive.  Gathered in Jake Rosenthal of the Majestic Theatre.  On crossing the river, we ran into a team.  The driver was not hurt but his horses got to rearing and upset the wagon, which was loaded with dynamite.  Nothing exploded.  Rosenthal stood aside and said, ‘What a lucky JEW I am.’”

Jake Rosenthal was a veteran showman, having been connected with theaters in San Francisco, Los Angeles and Omaha before settling in Dubuque. He managed one of the first two theaters on the Orpheum circuit and was noted as introducing vaudeville of the Orpheum circuit type in Omaha and Los Angeles (The Courier, 10 Feb 1938, page 12). In Dubuque, Rosenthal managed the Majestic Theatre for twenty years, as well as the outdoor Airdome before relocating to Waterloo to manage the Iowa Theatre in 1929 (The Courier, Waterloo, Iowa, 10 Sept 1934, page 14).  

Rosenthal was credited with giving a start to many famous performers, including Harry Houdini and Elsie Janis “on their upward climb” (The Daily Times, Davenport, Iowa, 22 Sept, 1936, page 11). Rosenthal was also known as being the one to give Fred Astaire his start on the legitimate stage (The Des Moines Register, 24 Sept. 1936, page 13).

In Rosenthal’s private life, he was affiliated with the Benevolent Order of Protected Elks, the Knights of Pythias, Woodmen of the World, the Showmen’s League of America, and many Masonic orders, including the Shrine. Rosenthal passed away in 1936 at the age of 65 years old, his death caused by a coronary obstruction.

His funeral was conducted at the Waterloo Masonic temple by Rabbi Harold Gordon, pastor of the Sons of Jacob synagogue, Waterloo (The Courier, 23 Sept. 1936, page 2). On September 23, 1936, “The Courier” reported, “Scores of telegrams of condolence were received from persons associated with the theatrical world, and other friends. Wires were sent by Morgan C. Ames, Chicago, president of the Orpheum circuit; Doc Banford, general manager of the Metro-Goldwyn-Mayer film exchange, St. Louis, Mo.; Mrs. Louis Murphy, widow of the late Senator Murphy, Dubuque; John P. Mulgrew, Dubuque, author and playwright, and Charles and Mary Brown, owners of the theatres in Iowa City.”

To be continued…

The Sosman & Landis studio was scrambling after losing a foreman carpenter and lead scenic artist during the month of February in 1911. On top of the loss, Joseph S. Sosman took another family vacation.  Unfortunately for the studio staff, work kept pouring in that year. One of the largest projects handled by the studio that spring included a series of exhibits for the Brewer’s Show. Chicago hosted an International Brewers’ Congress during October 1911 that was devoted to showing visitors various beer exhibits.

In 1911 Thomas G. Moses wrote, “Early in April I started on the designs for the Brewers’ Show, in which they wanted to demonstrate that beer is a food and not a beverage.”  What a great marketing ploy, proposing that beer was a meal. Advertisements in “Western and Daheim,” a German-language Chicago newspaper, included articles pertaining to the International Brewers’ Congress that year, characterizing various beer and malt products as “The Family Beer,” “The Source of Energy,” and “Malt-Marrow: A Perfect Score in Health” (“Geschichte des Chicagoer Brauwesens,” Westen and Daheim, October 15, 1911).

For the opening, the “Chicago Tribune” interviewed Henry E. O. Heinemann, the secretary of the exposition. Heinemann reported, “Thousands of dollars have been spent for the foundations alone, so tons of brewing machinery must be properly set. An army of painters, decorators, scene builders, and machinists was busy all day and far into the night getting everything ready for the opening” (12 October 1911, page 7). Of the event, the article commented, “Every brewer in the exposition is an ardent missionary, eager to convert America to the ways of Germany, of Belgium, of France…Beer, they asserted during the day, is not an ‘alcoholic’ drink. Continental Europeans do not regard it as such. Americans would not, they argues, if it were not for their habit of standing at bars and drinking in a hurry.”

As the project commenced, Moses wrote, “We started Brewer’s work at the 20^th Street studio, with an extra number of men.”  Of the event, Moses wrote, “The Brewer’s Show opened October 12^th with enormous crowds.  Had a lot of trouble getting our work into the building….Sosman was well pleased, as there was a good profit in the work.  Some of the brewers thought I had overcharged them.” In the end, the Brewery Show of 1911 was a success. By October 23, over 94,000 patrons attended the exposition and consumed over 500,000 glasses of beer (Statesman Journal, 24 Oct, 1911, page 9).

Of course, there were many groups opposed to the event too, including the Anti-liquor force headed by the Chicago Christian Endeavor union who were rallying for a mass meeting to protest against the brewers’ exposition (Dixon Evening Telegraph, 16 Oct, 1911, page 5). Local headlines also reported, “Brewer’s Show Drinking is On Increase. Consumption of Beverage is Three Times Greater Than the Growth of Population” (Star-Gazette, Elmira, New York, 21 Oct, 1911, page 3). The “Star-Gazette” noticed that “The volume of beer business has reached its highest point in the history of the trade.”

Moses also added, “Mr. Sosman would have nothing to do with it, and told me to go after it and get $10,000.00 out of it if possible.” There was $25,350.00 in contracts before all was finished for the event.  Today’s equivalent purchasing power of $25,350 in 1911 is $683,361.28 – a sizable amount of work.

The studio’s first contract for the event was for $1,150.00.  Moses recorded that the Schoenhoffen Brewing Company exhibit featured the “celebrated ‘Edelweiss.’”  Edelweiss was the Schoenhoffen Brewing Company’s flagship brand. Advertisements from the time included “Delicious Satisfaction is an Edelweiss Attraction,” “Phone Before Eleven – Delivered before Seven,” “Here’s the Case, You be the Judge,” and “Phone for a Case to be Sent to Your Place.”

Founded in 1860 by Prussian immigrant Peter Schoenhofen (1827-1893), the brewery was located 18th and Canalport by 1862. During the 1860s, the made approximately 600 barrels of lager beer each year. Production continued to increase throughout the nineteenth century. By 1868, the annual output was 10,000 barrels. By 1890, Chicago was the nation’s sixth largest beer producer, with thirty-four breweries manufacturing over 1,000,000 dollars worth of  beer annually. By 1900, the annual capacity of Schoenhoffen Brewing Company was 1,200,000 barrels – big business. The Schoenhofen brewery eventually housed fifteen buildings over seven acres, two miles south of downtown Chicago. The last expansion to the brewery’s complex at this location occurred during 1912, the year after the Brewer’s Show.

As an interesting aside, www.forgottenchicago.com reports that members of the Schoenhofen family used the Brewery’s tower to broadcast radio messages to German agents during World War I, prompting federal agents to seize the brewery. This claim, however, remains unsubstantiated.

The Schoenhoffen Brewing Company was acquired by the National Brewery Company in 1928. Operations ceased during the Prohibition Era, but reopened in 1933 after the national ban on alcohol production was lifted. The Schoenhofen-Edelweiss Co. was eventually purchased by the Atlas Brewing Co. in the late 1940s, then became part of Dewery’s Ltd. of South Bend, Indiana, in 1951. Dewery’s even reintroduced the famous Edelweiss brand in 1972.

To be continued…

In 1911, Thomas G. Moses wrote, “Mr. Brown, our foreman carpenter, died February 27^th, very suddenly.” Sosman & Landis suffered the loss of their foreman carpenter the same month that they also unexpectedly lost one of their veteran scenic artists. David A. Strong passed away on February 5, 1911. This caused a monumental shift for the company; one compounded with the increasing absences of company founder Joseph S. Sosman.

Two deaths and an absentee studio owner could not have come at a worse time, as it was an extremely busy year at Sosman & Landis. A few of the 1911 projects mentioned by Moses in his typed memoirs include, the Columbia Burlesque Theatre, a “Mme. Butterfly” set for Joe Sheehan, multiple designs for the Brewers’ Show, stock scenery for the Keeley, two unidentified projects in St. Louis, “picture contracts” in Fort Wayne and Chattanooga, Masonic work in Lawrence, Kansas, Cheyenne, Wyoming, and, Memphis, Tennessee, as well as a “good curtain” for Lincoln, Nebraska.  In addition to Moses records, historical newspapers list dozens of projects that were not mentioned by Moses during 1911.

Work was plentiful across the country, with many of the contracts being secured by Moses. Since 1904, when he returned to the studio for a final time, Moses continued to increase his national reputation for speed and quality. He was becoming synonymous with the high standard associated with Sosman & Landis.  In a sense, Moses had slowly become the face of the company, securing many contracts based on the strength of his sketches and design work. He wrote, “Closed another contract on the strength of my sketches – $1,800.00.  I was obliged to remain at the Clinton Street studio only going to 20^th Street every other day.” It was no surprise that the Board of Directors immediately elected Moses president of Sosman & Landis when Joseph Sosman passed away in 1915.

Sosman & Landis’ 20^th Street studio, also referred to as the annex, is where Moses and his crew were often working – unless Sosman was away on business.  The main studio on Clinton Street housed the company’s official offices, sewing rooms and carpentry area.  In a sense, the annex was a bit of an oasis, apart from the hustle and bustle of sixty employees in the Clinton Street space.  The 20^th Street studio only employed a quarter of the main work force, approximately fifteen artists and their assistants.  

Unfortunately, after the passing of Strong and Brown during the month of February, the main studio on Clinton Street needed guidance, and direct supervision. Moses needed to fill a few roles by March, while scrambling to replace a lead artist and carpenter. In the past, Moses’ right hand man, Ed Loitz would manage the 20^th Street studio during Moses’ absence, but there were too many moving parts and Loitz was working on other projects that spring. Of the crew at the annex, Moses wrote,”Pausback had his hands full. Scott acted bad.  Got Geo. Schultz on the staff at 20^th Street.” A quick turnover was happening and new personalities were constantly being added to the mix.

Everything was going to rapidly change, with Toomey & Volland of St. Louis, soon surpassing their Chicago competition.

To be continued…

In 1911, Thomas G. Moses wrote, “Sosman left for a California trip February 9^th.  Again I had to buckle down to the desk.”  In addition to overseeing the artistic design, construction, and installation of all projects, he was now responsible for Sosman’s administrative duties.  The previous year, Sosman left for fifteen weeks, only giving Moses a few days notice before his departure. 1911, was another busy year for the studio as the projects kept increasing in number and scope.

During this time, Moses was also negotiating with the union. He wrote, “The Pictorial Sign Painters got our Artists in line for their Union – all’s good if they get all our competitors.” Moses was speaking of the artists who belonged the Brotherhood of Painters, Decorators and Paper Hangers of America at the time. At this time, the Union label began to appear on many Sosman & Landis drops, as well as their competitors, such as the Twin City Scenic Company. The shops employed proud union members that had a label to prove it.

The Brotherhood of Painters and Decorators of America was organized formally in 1887. Within a year, the union boasted a membership of over 7,000 tradesmen and more than 100 local unions. In 1910 the Brotherhood of Painters, Decorators and Paper Hangers issued eighty-three charters and gained in membership 6,658; death benefits $86,249; death benefits members’ wives, $9,325; disability benefits, $10,975, donations to other unions $5,000 (The Indianapolis News, 28 Jan, 1911, page 14).

By 1911, there were 75,000 members in good standing and were the third largest organization of the A. F. of L. (The Barre Daily, 7 June 1911, page 1). Of the all the membership, two were women. On June 28, 1911, the “Indianapolis News” reported, “Champaign, Ill., June 28 – Miss Kathleen Durham, of Urbana, has been elected a member of Champaign local 363, Brotherhood of Painters, Decorators and Paper Hangers of America. She has the honor of being one of two women members of the union in the United States.” That same year, a Miss Madge Claiborne from Galveston, Texas, was also listed as the “only woman sign painter” (Washington Post, 22 July 1911). Women had played an active role in the profession for years, but had seldom recognized or recorded for their contributions. 

In regard to the Union in 1911, National President George F. Hedrick explained, “during the past ten years the organization has increased its wages in 700 cities and has reduced its working hours from 10 and 11 hours per day to 8 hours, and that the organization was doing everything that it could to promote the labor movement in this country (The Barre Daily, 7 June 1911, page 1). The “Barre Daily” article continued, “In speaking of the trusts [Hedricks] said that he was not a man to be continually howling against the trusts. He said that he believed in the combination of capital just as much as he believed in the combinations of labor organizations ‘I believe an employer has his rights and that they ought to be respected, but when they bear down unjustly upon the rights of their employees it is time for the laboring men to act. If it had not been for the labor unions the working men of his country would be even worse off than they were years ago when working 10 and 11 hours a day. But now through the efforts of the unions the time has come that if you asked manufacturers to go back to 10 hours a day and no Saturday half holidays he would hold up his hands in holy horror at the very thought of doing it. Still when the movement was first advanced they said that they unions were ruining their business, but it has proven that the labor organizations are doing a great work towards bettering the conditions of humanity in this country.’”

That fall, an interesting article appeared in several newspapers.  I am including the article in its entirety, as it provides additional context for Moses’ mention of union artists that year. Here is the article in its entirety:

“An Interesting Election.

Chicago, Nov. 27. – An election for general officers of the Brotherhood of Painters, Decorators and Paper Hangers of America will take place in December. It is attracting a great deal of attention among labor men in general, for more reasons than one. It is claimed by members prominent in the Painters’ union, that there last convention, which was held in Cincinnati, December, 1909, was largely dominated by the Madden gang of Chicago, as evidenced by the fact that his henchmen, John M. Finan, was elected first vice president. And further that Geo. F. Hedrick, who is now up for re-election as general president, was elected by the same influence.

“The Chicago local, of which John M. Finan is a member, local 147, is about as reactionary as they are to be found, and Finan is said to be representative of his local union. The progressive members of the Painters’ union are alive to the kind of men who have been representing (?) them officially for the past two years and are active in their efforts to defeat them.

“Charles Lammert of St. Louis, who is opposing Hedrick for the office of general president, is well and favorably known in labor circles, having been active in the St. Louis movement for many years, both in the federation of labor and the Painter’s union. He has the solid support of the progressive element of the painters and is in line with the advance movement of labor.

“The defeat of Finan for re-election as first vice president is almost conceded, he being opposed by one of the strongest men in the brotherhood of painters. Otto Damm of local 194, Chicago. This local union has the distinction of being the largest in the brotherhood with a membership of 2,000.

Among others whom the progressives are supporting to defeat the old machine, is listed: A. J. McKeon of Bridgeport, Conn., for second vice president; Wm. Rodriguez of Chicago for delegate to the American Federation of Labor convention 1912 and 1913, and Herman Jesse of Davenport, Ia., for delegate to the building reads department” (Black Hills Daily Register, 27 Nov., 1911, page 4).

To be continued…

In 1911, Thomas G. Moses wrote, “Our beloved David Strong fell dead on the Street February 5^th.  He was a grand old man – past 80 years.  He was employed and was at work in Fords Theatre in Washington on the night that Lincoln was assassinated.  The Doctor who attended Lincoln was a personal friend of Strong’s, and as the Doctor was cutting Lincoln’s hair to get at the wound, he put hair in his coat pocket instead of throwing it on the floor.  He forgot until sometime next day.  He gave Strong a bit of it, which he kept to his dying day.  Strong was the “daddy” of all Masonic designs and he was a 32^nd Degree man.  His color was deep and rich and his drawings very correct.”

I have explored Strong’s contribution to theatre history repeatedly over the past three years, but here is a recap. Strong was a designer, scenic artist and stage mechanic.

David Austin Strong was born on January 20, 1830 in East Windsor, a town in Hartford County, Connecticut. He was the youngest of ten children born to Erastus Strong and Lucy Wolcott Drake. As a young man, Strong moved to New Haven and primarily worked as a decorative and sign painter. It was not until the age of twenty-one that Strong entered the theatre profession, working as both a stage manager and scenic artist for Homan’s Theatre in New Haven. It was his early experience at Homan’s that greatly shaped both his personal and professional life. Strong married the star actress of the Homan’s Theatre Company, Esther Hosmer. However, his artistic life was shaped by friend and fellow artist Thaddeus Frisbie.

Strong and Frisbie formed a decorative painting company in New Haven, Connecticut during the 1850s.  The partnership ended when Frisbie passed away in 1859. At the time, Frisbie was only 34 years old and it still remains unclear the exact nature of their relationship. In the end, both artists shared the same gravesite with their respective wives and children. Frisbie, his wife and children are all interred in the Strong family plot at Evergreen Cemetery in New Haven.

Shortly after Frisbie’s death Strong left the area. Throughout the 1860s, Strong primarily worked in Eastern theaters, specializing in visual spectacles. His first nationally significant work appears in Washington D.C. during 1863. “Strong’s Washington and the War” opened on May 18, 1863. On May 22, the National Republican of Washington, D.C., advertised the panoramic exhibition Strong’s Washington and the War, as “designed and executed by the celebrated artist Mr. David A. Strong,” heralding Strong as a genius. The exhibition included a series of representations of the City of Washington, with its street, houses, public buildings, fortifications, promenades, public levees, hospitals, stores, and hotels.”

During March of 1864, Strong created the scenery for the “Grand Fairy Spectacle of the Seven Sisters and the Birth of Cupid in the Bower of Ferns.” This production played at Ford’s Theatre during November 1864. Strong was listed as living in Washington, D.C. during 1864, at 334 E Street N. In Washington, D.C., he worked at a variety of performance venues, including Williard’s Hall and Grover’s Theatre, as well as Ford’s Theatre. His work at Ford’s during this time gives credence to his story about being at the theatre the night President Lincoln was assassinated.

Throughout 1865, Strong lived and worked in the District of Columbia. By December of that year, Strong was credited as producing as elaborate spectacle for the production of “L’Africaine.” A December 29, 1865, article in “The National Republican”commented that the settings were “greatly superior to the one given in London, and in every respect equal to the famous New York Scene.”

It was Strong’s grasp of staged spectacle that would greatly affect his involvement with grand burlesque spectacles of this same era, such as the premiere of The Black Crook at Niblo’s Garden Theatre in 1866. Strong was part of the technical crew that created the original scenery for the production of “The Black Crook” in 1866 at Niblo’s Garden Theatre. His fellow scenic artists included, Richard Marston, Robert Smith, Lafayette W. Seavey, and William Wallack. That same year, he also painted “Rip Van Winkle” with E. Hayes. By 1868, he painted scenery for an act for “The White Fawn” at Niblo’s. During the 1860s, Strong began working in Chicago too.

In 1874, Strong permanently relocated to Chicago, establishing his new home in this bustling city that continued to rebuild and expand after the Great Fire of 1871. He worked as the scenic artist for a variety of theaters, including the Adelphi Theatre, Haverly’s Theatre and McVicker’s Theatre. In Chicago, Strong joined the Oriental Consistory of the Ancient and Accepted Scottish Rite. From 1878 to 1885, he primarily worked in Chicago at Haverly’s Theatre, receiving accolades for new scenery that accompanied new productions, such as Dion Boucicault’s “The Shaughraun.”

In Chicago that Strong joined the Ancient and Accepted Scottish Rite of Freemasonry. Raised in Hiram Lodge No. 1 during 1852, he entered the Oriental Consistory during 1876 and was instrumental in the development of Masonic degree productions in the Northern Masonic Jurisdiction. He received the Honorary 33^rd degree for his continued contribution to the theatrical settings for degree work. When Moses credited Strong as being “the Daddy of Masonic Design,” it was likely for more than simply his scenic art. Strong’s knowledge of stage machinery and spectacle would have been instrumental in transforming Scottish Rite ritual into degree productions.

In the larger context of American theatre history, Strong was one of the last scenic artists noted as a member of the Dusseldorf school. In the 1892 article, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Strong was noted as one of the premiere scenic artists working in the United States at the time (Chicago Tribune, Dec, 18, 1892, page 41). The article reported, “David Strong, ‘Old Trusty,’ still at work in this city, is the only survivor of the good old Dusseldorf school.  Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays.” It was this “quality of opaqueness” that was in direct contrast to the English practice of glazing, a tradition that dominated much scenic art along the Eastern Seaboard. The opaque application of solid color also meant that a subject could be worked up from dark to light. The use of glazes typically meant that the composition was worked up from light to dark. Each was successful, yet supported differing approaches when mixing paint and applying color to the composition. For example, the scenic art of Russell Smith (1812-1896) is characteristic of the English practice of glazing, whereas the scenic art of David A. Strong is characteristic of the “slap dash” tradition.

The significance of Strong’s passing in 1911 is more than the passing of an individual artist, it signified the passing of a generation.  His influence in the production of scenery for Scottish Rite collections and commercial scenery delivered by Sosman & Landis vanishes at this point. Strong’s work represented an older generation of scenic artists, one that is still preserved in Scottish Rite theaters across the country. Although his painting for commercial theater primarily disappeared over a century ago, his work still lives on in Masonic degree productions.

To be continued…