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Travels of a Scenic Artist and Scholar. The Cleveland Scottish Rite, July 18, 2019

I stayed in Cleveland, Ohio, on my return to Minneapolis after the League of Historic American Theatres national conference in Philadelphia. In 1905 Thomas G. Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park. Ed Thompson went with me and J. H. Young went to do the properties and papier mache work.” Moses had a long relationship with amusement park attractions and exciting projects with entertainment visionary Frederick Thompson. Luna Park in Cleveland, Ohio, opened in 1905 and lasted until 1929, when it was destroyed by fire. Constructed by Frederick Ingersoll of Ingersoll Construction Company, the park was located on a 35-acre site, bounded by Woodland Avenue, Woodhill, Mt. Caramel, and East 110^th Street. Four years later, Moses was working in Cleveland again. This time it was for a Masonic theater.

In 1909, Sosman & Landis delivered a new set of scenery to the Cleveland Scottish Rite Theatre. That year, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” Scottish Rite installations delivered by Sosman & Landis during 1909 included Masonic theaters in Dallas, Texas, San Francisco, CA, Cleveland, OH, Kansas City, KS, Winona, MN, and Atlanta, GA. Several months ago, I wrote about the Cleveland Scottish Rite and its recent purchase by an investment group that was targeting Masonic theaters. Here is a brief recap on the history and why I made a point of stopping at the Scottish Rite in Cleveland.

The Scottish Valley of Cleveland consists of a ten-county area in northern Ohio. The four Scottish Rite bodies include the Eliadah Lodge of Perfection, Bahurim Council, Ariel Chapter and Lake Erie Consistory. Before their move to their home at 3615 Euclid Avenue, the previous home to the Cleveland Scottish Rite bodies, was built in 1883 and located at Superior Avenue and East 6^th St.

Like many Scottish Rite Valleys during the early twentieth century, Cleveland’s membership dramatically increased, necessitating a new facility. Construction for a new Masonic building commenced during 1918. Interestingly, in 1919, Toomey & Volland scenic studio records indicate that they created scenery for the Cleveland Scottish Rite Temple. Ten years earlier, Sosman & Landis created the scenery for degree work in Cleveland. It is unclear how much of the original scenery may have been enlarged and moved to the new facility, if any.

Once the Scottish Rite Theatre in Cleveland, Ohio. Now owned by TempleLive.

Newly repainted ceiling at the Cleveland Scottish Rite

Original seats in at the Cleveland Scottish Rite theater

After 1915, it was not uncommon for Toomey & Volland to underbid Sosman & Landis on Masonic projects, especially in the Northern Masonic Jurisdiction. However, even a second scenery collection delivered by a competitor would not preclude the retention of some original scenes for the new stage. Some favorite settings were simply enlarged and installed in the venue alongside the new scenery collection.

Keep in mind too, that many Northern Jurisdiction Scottish Rite installations were delivered by a scenic studio located in the Southern Jurisdiction (Toomey & Volland of St. Louis), and many Southern Jurisdiction Scottish Rite installations were delivered by a scenic studio in the Northern Jurisdiction (Sosman & Landis of Chicago). This may have been a calculated move for the scenic studio owners who were Masons, as working outside of their personal jurisdiction may have prevented any pressure on the studio owner to donate time, money, services, or goods.

Hubbell & Benes, the same firm that designed the Cleveland museum of art in 1916, designed the new Masonic Temple in Cleveland. The new fraternal complex was home to many Masonic Orders, including Scottish Rite, York Rite, Shrine, DeMolay, Job’s Daughters, Eastern Star, etc. The massive building covered 102,000 square feet of space, with a 2200-seat auditorium. Acclaimed for its acoustics at the time, the Masonic Temple was even home to the Cleveland Orchestra for a decade, before their moving in 1931 to Severance Hall.

Backstage at the Cleveland Scottish Rite

Individual lines at the Cleveland Scottish Rite

As with many other Masonic buildings of this scope, the Valley cited declining membership after World War II and escalated expenses from deferred maintenance when they put their building on the market in 2017. The corporate secretary of the Cleveland Scottish Rite admitted that it cost $400,000 a year to maintain the building, “an outlay that would soon exhaust the operating endowment.” Keep in mind that the endowment is now used for rent paid to the new owners). Cleveland’s Masonic building is listed on the National Register of Historic places, so the property is eligible for preservation funding including state and federal tax credits.

Nearly one hundred years after construction began on the Masonic Auditorium in Cleveland, it was sold to a private developer. The affiliate of Arkansas-based Beaty Capital Group, Inc. paid only $725,000 for the entire complex on March 31, 2017. TempleLive, a subsidiary of Beaty Capital Group is the same company that purchased the Scottish Rite in Forth Smith, Arkansas, and most recently, the Scottish Rite in Wichita, Kansas. They also attempted to purchase the Zembo Shrine building in Harrisburg, Pennsylvania during January 2018.

In Cleveland, Fort Smith and Wichita, the Fraternity will never be able to afford the expense of constructing anything comparable. In many cases, the materials and craftsmanship necessary to build these types of buildings are often no longer available. It is the future generations of Masons who lose in the end, as they are the ones who will never experience the space, or the physical sense of heritage. The buildings were planned and constructed by men with vision. It also takes vision to contemplate how these venues can be saved and marketed. The winners are those who purchase these jewels for pennies on the dollar.

I was curious to see how a Masonic building was operating under the direction of Templelive, hence my stop. More on my experience at the Cleveland Scottish Rite tomorrow.

Update: TempleLive, a network of historic entertainment venues abruptly closed all location in September 2025. Owned by Beaty Capital Group, the venues often included Masonic structures such as Scottish Rite Temples.

To be continued…

Travels of a Scenic Artist and Scholar. The Collingswood Scottish Rite, July 13 and July 17, 2019.

The front of the Collingswood Scottish Rite includes the original mansion that was built on the property in the 1850s

The design for the Collingswood Scottish Rite

My visit to the Collingswood Scottish Rite on July 13, 2019

In 1991, I encountered a series of Scottish Rite scenic designs with “Camden, NJ” written on the back. This was while I was processing the Holak collection for the University of Minnesota Performing Arts Archives as part of an Undergraduate Opportunities Program grant. The Holak collection was the second of two Masonic scenery collections that I processed between 1989 and 1991. The Holak collection included a variety of designs created by “Sosman & Landis” and their eastern affiliate “New York Studios.”

By 1992, I journeyed to the East Coast for the first time, newly engaged and visiting my fiancée’s family in Delaware. Unfortunately, there never seemed to be any opportunity to track down the Camden Scottish Rite, so it sat on the back burner for a few decades until this month.

Over the years, I would think of the Camden designs every time we visited friends or family in New Jersey. Opportunity finally presented itself while I was attending the League of Historic America Theatres national conference in Philadelphia. I was on my way back to New Jersey with our eldest child’s godparents when we decided to stop by and take a look. I had not scheduled a visit or checked if the building would even be open, just hoping to catch a glimpse of the fly tower. The Collingswood Scottish Rite was only two blocks away from the Camden city line and bustling with activity when we stopped.

There were cars in the parking lot and many exiting the building – score! This meant that I might be able to venture in far enough to see the lobby, and possibly the theater. Unbelievably our arrival coincided with the break between the matinee and evening performances of “Seussical” – not by the Masons, but by a local community theater group. Although, the idea of a Masonic version of “Seussical” does make me giggle – “Oh, the Thinks You Can Think!” But I digress…

Once inside the building, I met with an enthusiastic woman who eagerly listened to my connection with Masonic theater and then introduced me to Mary, the woman in charge. She was also delighted to hear my history about Scottish Rite scenery and promptly offered us a tour of the stage, patiently waiting while I climbed up to the fly gallery. “Seussical” had not been presented in the theater due to lack of central air. Instead, it was being presented in the only air-conditioned space below- the banquet room.

Postcard depicting the auditorium and one stage setting at the Collingswood Scottish Rite.

The proscenium line at the Collingswood Scottish Rite

The fly gallery at the Collingswood Scottish Rite

After examining the toasty auditorium and stage, we wandered up to another room where some of the backdrops were stored. I would later learn that local riggers working touring shows at the Collingswood Scottish Rite demanded the removal of the historic drops. All this seems very odd and I sincerely hope that I have misunderstood the chain of events leading up to the removal of the scenery. In the end, some of the scenes were gifted to the community theater for productions. The gifted drops have been repaired and repeatedly used in local theatre productions.

Without being able to unfold any of the drops, or see a stage book, I had no way of knowing if the Holak designs were ever realized for this particular venue. The designs may have simply been for a preliminary proposals. My host suggested that I contact the Scottish Rite Secretary the next week and meet with him, specifically asking to see the stage book.

It was not until after the conference ended, that I returned to the Scottish Rite, scheduling a meeting with the Scottish Rite secretary and bringing a few LHAT friends. I enjoyed a second tour of the theater before examining the stage book and chatting with the Scottish Rite representative. Before the scenery collection was removed, each backdrop had been photographed and placed in a packet, noting the original line sets. As I slowly flipped through the packet, I recognized many of the compositions from the Holak collection.

Folded backdrops at the Collingswood Scottish Rite

A design from the Holak Collection, with “Camden, NJ” written on the back.

Photograph of the same scene in the Collingswood Scottish Rite stage book

Although the scenery collection is folded up and in storage, it still exists – for now. There is also a greater possibility that the historic backdrops may avoid a final resting place in a dumpster if there is any perceived value of the artifacts; I did my best and even left a copy of “The Santa Fe Scottish Rite Theatre: Freemasonry, Architecture and Theatre” for the Scottish Rite Valley library.

The history of the Collingswood Scottish Rite complex is quite unique and fascinating. The Masons purchased the parcel of land with the intent of leveling the existing 1850s mansion that remained on the property at the time of sale. At some point, plans changed and the mansion was not leveled, just abbreviated; the front portion was left standing to be used as Scottish Rite offices. The new theater building was then connected to the back of the old mansion.

Recently, the Scottish Rite sold its building to the city, reserving the right to maintain the offices and use the lodge room. This arrangement is becoming more common across the country, as Scottish Rite Valleys sell their buildings for pennies on the dollar and negotiate with the new owners to still meet in the space. I remain unsure as to how much the theater is used for Scottish Rite degree productions, if it is used at all. Remember that the Northern Masonic Jurisdiction has mostly transitioned from degree productions to video presentations for instruction. The Collingswood Scottish Rite auditorium hosts a variety of touring shows, including an upcoming performance by Pink Martini, my new favorite musical ensemble. The current bookings at the Collingswood Scottish Rite remain limited to spring, fall and winter due to the lack of any central air.

To be continued…

Travels of a Scenic Artist and Scholar. LHAT Historic Theater Tours – The Walnut Street Theatre, July 17, 2019

The Walnut Street Theatre in Philadelphia

On July 17, League of Historic American Theatre (LHAT) conference attendees toured the famous Walnut Street Theatre. Located at the corner of Ninth & Walnut Street in Philadelphia, the theater opened its doors on February 2, 1809. Initially the structure featured a ring for equestrian acts. Initially built for the Circus by Victor Pepin and Jean Breschard, over the course of two centuries, the building underwent many renovations. The building was initially enlarged between 1811 and 1816, transitioning from a circus arena into a legitimate theatre with elevated stage. Remodeled again between 1827 and 1828, gaslights were added in 1837 and air conditioning in 1855, an American first for both. By 1863, Edwin Booth and John Sleeper Clarke purchased the venue, initiating a new era under their leadership. Throughout the duration of the 19^th century and well into the 20th, the Walnut Street Theatre underwent a series of renovations, including multiple scenery purchases.

One of the framed prints at the Walnut Street Theatre

Another framed print depicting interior of the Walnut Street Theatre in 1865

The LHAT tour in July coincided with Walnut Street Theatre’s summer camp. Seated in the second to last row of the auditorium, I watched young performers below on the stage. It reminded me of our eldest child’s summer camp program at the Wilma Theatre, an annual gift from generous godparents who lived in New Jersey. These were the same friends that I stayed with during the conference this year.

There is something very heartwarming about watching young children on a very old stage, as they become part of the theater’s legacy. With these future thespians in the background, our animated host explained the history of the building. The Walnut’s website also does an amazing job at presenting the past. Here is the link: https://www.walnutstreettheatre.org/about/history.php

Despite the gracious welcome by Walnut Street Theatre staff, I was very disappointed with the current interior, somewhat reminiscent of a grey shell. I understand that the interior aesthetic of many theaters shift over time, their interiors constantly being re-envisioned by a variety of personalities. It is unusual for a theater to remain its original glory, exact in every detail. I understand the push for change or modernization of any space. However, I should have prepared myself for the Walnut Street Theatre before my visit. Over the past few years I have repeatedly written about the variety of artisans that contributed to the Walnut’s past, primarily focusing on scenic contributions. Whatever I had been expecting to see was not the current decor. I really didn’t have the heart to take any pictures of the space, a first for me. The stage was also unavailable due to summer camp, an element that I had really hoped to see.

The interior of the Walnut Street Theatre in 1952

The interior of the Walnut Street Theatre by 1969

Fortunately, images from the venue’s past were prominently displayed everywhere. The hallway behind the balcony contained a variety of images ranging from performers and shows, to historic floor plans and broadsheets. Blurry images that I have repeatedly encountered online were hanging in their full-scale glory. For that alone, the trip was worth it.

One of the artistic contributions by a scenic artist was mentioned in an 1894 “Philadelphia Inquirer” article. A drop curtain by scenic artist Matt Morgan was installed in 1877.

Here is the section about Morgan’s drop curtain at the Walnut Street Theatre:

“The drop curtain at the Walnut Street Theatre is strikingly different from any other in town. It is skillfully painted to represent silk, and appears to be made of sixty-four squares of white silk deftly sewn together, on which, in a large oval in the center of the curtains is painted a charming picture, representing Shakespeare reading his play, “The Merry Wives of Windsor,” before Queen Elizabeth. It is known as the Shakespeare curtain, and was painted by that versatile artist, Matt Morgan, in 1877. Matt Morgan, now deceased, was a prominent figure in the art world. Though born in Ireland, he was educated in London, and worked on a number of illustrated papers. He was also a figure artist of marked ability, but was unsuccessful in his business ventures. The curtain was first unrolled September 10, 1877, and shows none of the effects of the seventeen years of constant use. Through the oval occupies less than a third of the square surface of the curtain, it contains more than a score of personages. The aged queen, habited in a robe of yellow silk with pointed bodice of coquelicot satin, puffed sleeved trimmed with velvet and an enormous white lace collar and lace cuffs, is seated upon a throne surrounded by courtiers, pages and attendants, while she listen with rapt attention to the reading of the play” (Dec. 18, 1894, page 45).

A celebrated scenic artist and caricaturist, Morgan was an Irishman trained in London. The favorite pupil of well-known artist Clarkston Stanfield, in 1866 Morgan was working as an assistant to Thomas Grieve at the Covent Garden Theater in London (The Era, 23 Dec. 1866, page 8). By 1870, Morgan immigrated to America, soon making a name for himself as an illustrator at Frank Leslie’s Illustrated paper. He became a rival of Thomas Nast, the German-born caricaturist and editorial cartoonist (Reading Times, 12 Oct, 1876, page 4). Before immigrating to America, however, Morgan worked as a cartoonist for “Tomahawk,” a weekly comic paper during the 1860s. Later Morgan became the head of the art department of the Stowbridge Lithographing Company in Cincinnati. In America, Morgan worked as both illustrator and scenic artist all across the country, and by 1875, a Chicago newspaper article described Morgan as “far above the ordinary level of scene-painters” (Chicago Tribune, 14 Feb 1875, page 10).

In 1886, Morgan organized a scenic art company in Cincinnati, Ohio. The company was to “present a series of accurate and historic pictures of the decisive battles of the late war between the states. These great pictures, now approaching completion for the northern victories, are to be exhibited throughout the country under the directions of competent lecturers; well known officers of both armies” (The Pulaski Citizen, Pulaski, Tennessee, 12 Aug. 1886, page 2).

Newspapers report that Morgan died of pleurisy, brought on by his work at the new Madison Square Garden (Logansport Reporter, 3 June 1890, page 3).

By 1905, the “Pittsburgh Daily Post” described one of Morgan as a “forgotten artist” when his work was exhibited at the 1905 Scene Painters’ Show. Held at the Grafton Galleries by the Scenic Artists association, the exhibit featured Theater Artists of Great Britain, including cartoons by Morgan. (14 May 1905, page 26).

To be continued…

Travels of a Scenic Artist and Scholar. LHAT Historic Theater Tours – The Forrest Theatre, July 17, 2019

The Forrest Theatre tour took place on the final day of the League of Historic American Theatres National conference in Philadelphia. The LHAT program noted, “The Forrest is a quintessential ‘road house’, used primarily by touring theatre and dance companies. It was built in 1927 to compete with rival A.L. Erlanger’s planned new playhouse at Market and 21st Streets. The Shuberts intended the new playhouse–named after Edwin Forrest, the great Philadelphia born tragic actor of the nineteenth century–to surpass Erlanger’s new theatre in terms of size and splendor.”

Costing over $2,000,000, the structure was designed by architect Herbert J. Krapp. The space boasted wider seats in the orchestra and modern ventilation and electrical systems. Interestingly, the dressing rooms are housed in a separate building, connected to the stage by an underground tunnel. Theater representatives explained that the reason for this layout is still unclear.

In the 1990s, renovations included redecorating the grand lobby and accessibility improvements. By 2017, the auditorium and mezzanine lounge underwent extensive redecoration, as well as improvements to air conditioning and heating systems. During our visit, there was still work being completed and much was draped in plastic.

The Forrest Theatre during our visit on July 17, 2019

During our tour, we learned that the painted fire curtain had also been recently removed. Our tour guides explained that the painting was stunning, but then proceeded to cite the reasons for its removal. I understand that in many cases, encapsulation of an asbestos curtain may be cost prohibitive. When contemplating restoring an auditorium to its original splendor, millions of dollars will be spent. Yet often the original drop curtain, a painted element that often completed the auditorium’s décor, is left out of the conversation. I am fascinated with this omission.

The proscenium arch and view of the fly gallery

The proscenium arch and view of the grid

As I contemplated the funds spent on the Forrest Theater’s auditorium and mezzanine lounged, I wondered why stopping at the proscenium opening was optional. After all, this is the focal point of the theater that every person faces while waiting for a show.

When I walk into a historic theater, or any theater for that matter, I look around the auditorium to briefly examine the space. This often occurs while trying to locate my seat. Even if I am fascinated with the architectural ornamentation, seldom do I stop, as there is often a stream of people behind me also navigating their way to a seat.

Ornamental detail at the Forrest Theatre

Once seated, I take in the space, to my right, left and above. Turning around to see the complete auditorium will often wait until my exit. Even the most ornate auditorium will not cause me to sit starring at the ceiling for extended periods of time while attending a performance. Like many, if not looking at my program or chatting with a companion, I will face the proscenium and patiently wait for the show. I like to think that I am not an anomaly and that my experience is similar to many who have attended the theater over the decades. As audience members, we face forward while waiting for a performance to begin. All told, a substantial amount of time is spent facing the proscenium opening. I can only hope that a painted front curtain, fire curtain, or decorative grand drape is filling that void. This is an integral part of the theatre experience. One may even note that whatever is hanging in the proscenium opening may be the pinnacle of the pre-show experience.

The 1894 newspaper article, “Well-known Drop Curtain in Philadelphia Theatres,” reported, “It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.” (“The Philadelphia Inquirer” on Dec. 18, 1894).

To be continued…

Travels of a Scenic Artist and Scholar. LHAT Historic Theater Tours – The Merriam Theatre, July 16, 2019

The Merriam Theatre’s 1917 design, 1918 as built, and after alterations from the 1970s and 1980s. Images posted at
https://www.inquirer.com/philly/entertainment/arts/kimmel-center-pursues-radical-plan-to-remake-the-merriam-theater-20170812.html

The second historic theater visited by League of Historic American Theatres members during the National conference was the Merriam Theatre. The LHAT program noted, “The Merriam Theatre, formerly the Sam S. Schubert Theatre, is Philadelphia’s most continuous location for touring Broadway show theatre. It is located at 250 South Broad Street within the Avenue of the Arts cultural district of Center City, Philadelphia. The Schubert Organization built the theater in 1918. In 1972 the theater came under the ownership of the Academy of Music, and was owned by the University of the Arts. In November 2016, it was purchased by the Kimmel Center for the Performing Arts.”

On March 30, 1918, the “Evening Public Ledger” reported,

“Plans for New Schubert Theatre.

“Theatrical patronage has recovered bravely from the melancholy slump which afflicted it last December. It weathered the fuel administration’s ruling and it has even experienced a rather lively ante-Easter period. And now, despite the war, there are definite prospects for additional footlight activity in this city.

“The handsome Schubert Theatre, under construction on the former site of the Horticultural Hall, is scheduled from completion on May 10. There are rumors that the daring venture of giving summer musical plays in Philadelphia may be made. The plans have not yet fully matured, but it is asserted on reputable authority that the new house will be opened as soon as it is finished. The initial attraction may be “Maytime” or the new Winter Garden potpourri, “The Passing Show of 1918.”

“Less frivolous offerings will, of course, be presented there when the regular season is on, and by next autumn eight so-called “first-class” theatres will be in operation here for the first time in the city’s history. This figure can be swelled to eleven if the Little Theatre, whose policy has lately been variable, and the Academy and the Metropolitan, devoted to music, are included” (Philadelphia, page 10).

Horticultural Hall. The previous building on the Merriam Theatre location. From the City of Philadelphia, Department of Records
https://www.phillyhistory.org/photoarchive/Detail.aspx?assetId=110805

To be continued…

Travels of a Scenic Artist and Scholar. LHAT Historic Theater Tours – The Academy of Music, July 16, 2019

Painted detail on the ceiling of the Academy of Music, Philadelphia

From July 11 until July 20, 2019, I was on the road, traveling from Minneapolis to Philadelphia and then back again. In Philadelphia I attended the League of Historic American Theaters National conference from July 14-17. My good intentions to daily write about interesting sites and events were rapidly dashed when I realized that there was simply not enough time each morning.

As one of 330 attendees, I participated in a series of educational sessions and networking opportunities. The conference also included trips to visit nearby historic theaters on two of the four days. Our first visit was to the well-known Academy of Music in Philadelphia, an entertainment venue considered to be the oldest opera house in the United States that is still used for its original purpose. As noted in the LHAT program: “The Academy of Music is currently owned by the Philadelphia Orchestra and managed by Kimmer Center Inc. but the long-term caretaking of the building is overseen by a third entity: the Academy of Music Restoration Fund Office, a non profit with its own board of trustees and a mission to raise all the money required for the ongoing capital projects that ensure the structural integrity and long-term preservation of a National Historic Landmark.”

I was excited to see the Academy of Music because of one particular scenic artist who once painted for the venue. Although this aspect of the theater’s history is no longer part of the current steward’s story, the nineteenth century scenic illusion and dramatic painting delivered to Philadelphia audiences should not be forgotten; it is extremely exciting in its own right. Exciting enough that I felt my eyes tear up when I walked into the space. Creating the drop curtain and scenery for this theater placed a feather in the cap of any scenic artist during the nineteenth or twentieth century. His work was viewed by thousands of theater patrons.

This spring, my “Tales of a Scenic Artist and Scholar” looked at painted contributions to Philadelphia theaters noted in an 1894 newspaper article. “Well-known Drop Curtain in Philadelphia Theatres,” was published in “The Philadelphia Inquirer” on Dec. 18, 1894. One section of the article described four painted curtains by Russell Smith for the Academy of Music. They included the drop curtain, a Romeo and Juliet drop, an asbestos curtain, and a Japanese silk tableau curtain.

Of Russell Smith’s scenic contributions to the Academy of Music, the article continues:

“It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.”

“One of the happiest examples of this style of curtain is seen on the handsome ‘drop’ at the Academy of Music. It was painted by Russell Smith in 1857, and has been in continuous use for the past thirty-seven years, during which time has apparently lost none of its original freshness of coloring, and is considered one of the finest specimens of that famous artist’s work. It is entitled “Como,” but the actual scene is from sketches made by the artist at the head of Lake Lugano, in Northern Italy. A conventional design representing a huge frame, surrounds the picture while in the center of the lower border is a Greek bust. The scene pictures a view of “Como” in summer time. There are the finest of Italian skies, the glitter and sheen of the greenish blue waters of one of the loveliest lakes in the world. In the left foreground rises a terrace with broad, low steps leading down to the shimmering waters of the lake. To the right, in the immediate foreground is a mass of semi-tropical foliage overhanging the cool and sparkling waters of the lake. Beyond rise several palaces of the nobility; while in the background the sloping sides of the mountains are gemmed with castles and palaces. Gondolas float on the placid waters of the lake, while some of the palaces seem set like jewels in the opalescent waters.”

I am still surprised that the drop curtain had remained in place for thirty-seven years by 1894, when many other theaters replaced their drop curtain and scenery every decade. This suggests to popularity of Smith’s work, especially in light of the drop curtain’s purpose described above. To last in place for almost four decades and remain unknown by the current theater stewards today is surprisingly. The 1894 article continued to describe the composition of another drop painted for the Academy of Music by Smith in 1883:

“The main curtain, often called the Romeo and Juliet drop, in use at the famous temple of music was painted by Russell Smith in 1883. It represents a moonlight scene from a terrace overlooking a lake. A gondolier has approached an overhanging balcony window, and delivers himself of his tender passion to the lady, who leans over the balcony rail while she listens to the music of his mandolin. The whole scene, faintly illuminated by the mystic light of the silvery moon falling on the rippling waters of the mist-covered lake, and the blue velvet curtains that drape the door opening on the terrace, with its mosaic floors and stone balustrade, making a witching moonlight scene.”

Smith also painted a fire curtain for the Academy of Music three decades after delivering the initial drop curtain. His asbestos curtain was claimed to be the first of its kind in the United Stated:

“The asbestos curtain at the Academy of Music is distinguished as the first asbestos curtain ever put in any American playhouse in America, and as far as is known, is the first in use in the world. It is made in three sections, the lower third of which has the asbestos pressed in on both sides. It was also painted by Russell Smith in 1887, and represents only a flight of steps nearly hid by a mass of red drapery.”

Finally, the article noted another scenic contribution by Russell, a tableau curtain:

“Another curtain at the Academy is the tableau curtain, made of pure Japanese silk and handsomely decorated along the border by Russell Smith, who has also painted 80 per cent of all the scenery at the Academy. The tableau curtain is made of a series of alternating perpendicular breadths of light blue and white Japanese silk with a satin finish to its surface. The curtain is divided down the center and has a border of flowers around each half. Along the bottom on an eight-foot border, are placed six large medallions representing scenes from ancient history and mythology on the left and modern views on the right.”

I was most intrigued with this particular scenic piece described in the article. This is the first description of a tableau curtain that I have encountered to date. The specific mention of Japanese silk makes me consider the incredible expense of the piece, as well as the difficulty in its painting. The decoration of the eight-foot high border was quite complex, especially when considering that individual scenes were painted in each of the in six medallions within the floral area.

This is such an astonishing heritage, transforming the theater experience for each event. It is a shame that we have lost so much beauty over the decades. Just imagine if those same scenes were redelivered today, would they still stun audiences?

To be continued…

Travels of a Scenic Artist and Scholar. The Howell Opera House and the Donaldson Guide, 1894

In 1894, the “Donaldson Guide” listed that the Howell Opera house had a seating capacity of 750. This number was 100 seats less than those included in earlier directories, such as Harry Miner’s or Jno. B. Jeffery’s theatrical guides. It may simply suggest the purchase of new seats, or a clerical error, but the number varies from earlier seating capacities. The Donaldson Guide also listed that the theater was now under management of W. E. Beach, with ticket prices being 25, 35, and 50 cents. No rental information was provided.

The “Donaldson Guide” was published by W. H. Donaldson (1864-1925) in Cincinnati, Ohio. It is certainly a publication worth perusing.

Col. William H. Donaldson was born in Dayton, Kentucky, the son of William M. Donaldson. After High School, Donaldson worked for his father who ran an art store and picture-framing establishment in Cincinnati. His father then established a poster business at 127 West Eighth Street, Cincinnati, which later became Donaldson Lithographing Company. Donaldson worked for his father as a salesman and “proved to be remarkably capable, winning and acknowledged place as the best poster salesman in the country” The Cincinnati Enquirer, 2 Aug. 1925, page 5). Donaldson rose to nationwide prominence as a circus and theatrical publisher.

Advertisement in the Donaldson Guide, 1894

In 1894, Donaldson founded and published two new publications – “The Donaldson Guide” and “The Billboard.” That same year, he was appointed Secretary of the Protective League of American Showman (The Cincinnati Enquirer, 31 Dec. 1894, page 8). The first issue of the Billboard was published during November at 127 East Eighth Street, Cincinnati, containing only eight pages, with its contents being devoted solely and entirely to billposting, poster-printing and advertising agency interests. In 1899, the Donaldson plant moved to Newport, Kentucky. Donaldson remained with the business until 1904 when he resigned to devote his entire time the Billboard. He was the president of the Billboard Publishing Company.

The Donaldson Guide was published “for the use of showmen, theatrical managers, circus managers, managers of opera-houses, dramatic, musical, and variety agents, bill posters, show printers, costumers, and all Persons identified or connected with the show business in an manner whatever.”

The publication was advertised as, “containing a list of all opera-houses in the United States and Canada with description of their stages, their seating capacity, and the names of the managers of each; the populations of cities, and the names and population of adjacent towns to draw from; the names of city bill-posters, baggage express men, hotels, boarding-houses, newspapers, vaudeville resorts, museum, beer gardens, fairs, race meetings, circus licenses, and miscellaneous facts, dates, etc., of great value to managers.” Donaldson Guide also noted that it was published “in conjunction with the Showman’s Encyclopedia, “the International Professional Register,” and “the complete code of the Donaldson cipher.”

The “Showman’s Encyclopedia” portion of the “Donaldson Guide” was noted as “A compilation of information for showmen, performers, agents, and everyone identified with the theatrical, vaudeville, or circus business, such as ticket tables, internet tables, the address of show-painters, costumes, dramatic agents, theatrical architects, scenic artists, aeronauts, playwrights, etc…” and “the International Professional Register, a directory of the names and address of dramatic people, variety people, minstrel people, circus people, freaks, acrobats, operatic artists, musicians, and farce-comedy artists.

The “Donaldson Guide” also included a cipher and key that are quite intriguing. Here is what was offered at the time for telegrams:

TO CONSTRUCT a message use the Key to the Cipher. The phrases will be found arranged under convenient headings, with directions under each for finding readily any needed clause.

TO DECIPHER a message use the Index to the Cipher. The cipher words are all arranged alphabetically, and can be found as quickly as in a dictionary.

TELEGRAPH IN CIPHER TO the manager of any Opera House, Theatre, Museum, Music-Hall, or Vaudeville Resort; any Show-Printer, Costumer, Dramatic, Variety, or Vaudeville Agent, or “The Clipper,” “Mirror,” “Dramatic News,” “Dramatic Weekly, “Dramatic Journal,” “dramatic Star,” “Music and Drama,” or any theatrical paper whatever in the United States or Canada, whose name appears in the Guide or Encyclopædia. A copy of the index of the Donaldson Cipher has been sent to each and every one of then free of charge. Remember, if the names of any person engaged in any of the callings appear in either the GUIDE or ENCYCLOPÆDIA, you may telegraph to them in cipher with perfect impunity.

THE ADVANTAGES of the Cipher are many and varied. Foremost among them, of course, is the great savings which may be had in the matter of telegraph charges. A glance at the following pages can not fail to demonstrate the truth of this assertion to the entire satisfaction of even the most skeptical, for there are few messages indeed which can not be kept within the limit of ten words prescribed by telegraph companies. But economy is not the only advantage it has to recommend it. The mere fact that the message is unintelligible to anyone except the party for whom it is intended is often times a source of wonderful satisfaction, both to the sender and recipient; and this, added to the fact that experience has proven that there is less danger of errors, confusion, and mistakes in cipher message than those couched in ordinary language, renders it a most desirable medium of communication.”

The key to the “Donaldson Guide” cipher included phrases pertaining to actors, actresses, addresses, advertisements, aeronauts, agencies, agency business, agents, answers, attractions, billing, bill-boards, booking, burlesque people, business manager, calcium lights, calls, canvas-maker, circus manager, circus people, C.O.D. shipments, collections, concert, couriers, dates (printing house, calendar), deposits, dodgers, dramatic people-men, dramatic people-women, drunkenness, duns, engagements-artist to manager, engagements-manager to artist, expenses, financial straits, free list, hangers, heralds, hippodrome, house show, instructions-manager to agent, leaders, letter-style of, lithograph boards, lithographers, lithographs, local manager, mail, managers of combinations, managers of opera houses, managing editor, measurements, medicine show, minstrel people, money, musicians, no (street numbers, catalogue numbers, etc.), numerals (for quantities, amounts, etc., but not money), operatic people, opposition, orders, paper, partner, percentages, posters, printer, printing, programmes, property man, prospects, qualifications of people, receipts, remittances, repertoire people, reports, routes, salary, samples, sharing, shipping instructions, shows, side-show or museum, sizes, spaces, special delivery, specialties, stage carpenter, stands, streamers, terms, time of day, traveling managers, two weeks’ notice, Uncle Tom’s Cabin, Variety People, weather, and window work-lithographers.

The fact that any cipher was created to relay information about drunkenness says a lot. Here are a few examples for your amusement.

Unacted….I (we) understand my (or our) agent is drinking

Unactive…If this is the case wire me at once

Unapt….Let me know if he is in condition to transact business

Unarm….I understand that you are drinking

Unasked….Sober up at once

Unawed….And get down to business in dead earnest

Unbar….Or I shall discharge you forthwith

Unbed….I have no sympathy or patience with a drunkard

Unbend….Do not let him have any money

Unbit….Try and sober up

Charter….Any information you may see fit to let me (or us) have will be gratefully received and treated strictly confidential.

Hopefully the person operating the telegraph or delivering the telegram did not moonlight at the theatre. I wonder how often someone received:

Unarm. Unasked. Unawed. Unbar.

Donaldson passed away in 1925. That year, the “Cincinnati Enquirer” reported “Mr. Donaldson was a member of the Masonic Order and Odd Fellows, to which he devoted much attention” (2 Aug. 1925, page 5). Another article reported, “Colonel Donaldson founded the Billboard and published it until two years. Ago. He was interested in prison reform, employed many former convicts upon release from prison, and declared that he was never defrauded by any of them” (Cincinnati Inquirer, 4 Aug. 1925, page 2). He was survived by his widow Jennie (Hassan) and daughter Marjorie (Mrs. Roger S. Littleford), his father William H. and three brothers (Andrew, Lincoln and Archibald) and two sisters (Mrs. Charles Longley and Mrs. Dr. George W. Brown). Donaldson’s death in Sarasota Florida at the relatively young age of 61 came as a shock to his family. Having been in failing health for some time, he came to Sarasota at the suggestion of his friends, Charles and John Ringling (The Jacksonville Daily Journal, 2 Aug. 1925, page 3).

To be continued…

Travels of a Scenic Artist and Scholar. The Howell Opera House as Listed in Theatrical Guides, 1882-1884

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, staff and local network of support for touring groups. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters,” however, there were other theatrical guides too, including: Harry Miner’s American Dramatic Directory; The Donaldson Guide; Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America; and Henry’s Official Western Theatrical Guide. Each provides a unique snapshot of theatrical activity and stage houses in North America. From small rural towns to large metropolitan areas during the 1880s through 1920s, one understands the scope of American theater construction, as well as the daily operation. These guides are a wonderful resource for historians, historic theatre enthusiasts and theatre technicians.

In 1884, the Howell Opera House was listed in “Harry Miner’s American Dramatic Directory.” Published by the Wolf & Palmer Dramatic Publishing Company, in New York, the publication was advertised as “a complete Directory of the Dramatic and Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls of America together with much other Information of Value to the Amusement Profession.”

The Howell Opera House entry listed a seating capacity of 825, with a stage measuring 26×44. Both Donaldson and Jeffrey confirm this size stage in their respective publications. It was only Harry’s Miner’s Directory that provided additional measurements and other technical specifications. The Howell’s proscenium opening was 19 feet high by 20 feet wide. This opening suggests that many of the roll drops were approximately that size, give or take a foot, depending on the painted side tormentors and other wings. The height from the stage to the top grooves measured 13 feet with 22 feet from the stage to the rigging loft. The groove height was to accommodate the painted side wings to mask the sides of the stage. The depth under the stage was 5 ½ feet with one trap in the stage floor. Traps allowed action to either emerge from, or disappear into, the stage floor, such as an apparition.

Harry Miner’s Directory also listed eight sets of scenery that were created by Sosman & Landis, with R. T. Holmes was listed as the stage carpenter. This was a standard delivery that would contain eight backdrops. The subject mater would range from landscapes, seascapes, woods and garden scenes to city scenes, fancy interiors, plain interiors and prisons. Each scene would utilize at least one pair of wings to conceal backstage activities. These wings were likely 4 to 6 feet wide by 13 feet high. It remains unclear how many sets of grooves were installed during the original installation of stage machinery and scenery. Additionally the original scenery installation would have included painted flats and profile pieces, such as garden balustrades, statuary, or rocks.

Some of the of the most exciting backstage elements that I noticed at the Howell were the extant border lights. A wooden base held the sockets; this same type of system was originally installed at the Scottish rite Theater in Guthrie, Oklahoma, only to be removed and replaced with a metal version less than a decade later. This was the first example that I have encountered since reading a description written by M. C. Lilley western sales manager, Bestor G. Brown.

Wooden border lights at the Howell Opera House.

Another exciting artifact was an original windlass, still positioned in the stage left wings, waiting to raise and lower the front curtain. There were so many other historically significant artifacts littering the old stage, that it blurred my focus; too much information to take in at once. I could have stayed for hours, but my guide had an impending dinner appointment.

From an administrative perspective, Harry Miner listed the Howell’s rental rates as $25 for one night and $50 for three nights. This number varies a bit from Jeffrey’s 1882 guide that reported rental rates were one night, $30; two nights, $50; three nights, $70, and one week, $125. Both publications noted that the preferred “to play on shares with good attractions.” The equivalent purchasing power of $100 in 1882 is around $2500 today. Between 1882 and 1884, the management of the venue went from Hunter & Holmes to just T. B. Hunter.

In addition to the above information, Miner’s noted the advertising protocol and local marketing expenses for touring production advertising. The local newspaper was the “Republican,” with advertising rates being $3 per column. Touring companies received a special rate at the hotels of $1.25.

Initially the Howell was illuminated by gas, with the gas jet holes for footlights, still being visible on the edge of the stage’s apron. As with many theaters during the turn of the twentieth century, gas jets were replaced with electrical fixtures. At the Howell, original gas fixtures were simply converted to electric. What is exciting about this aspect is that almost all of the original fixtures still exit, preserving the historical aesthetic throughout much if the building. The auditorium’s chandelier is a treasure to behold, instantaneously transporting any visitor to the 1880s.

Gas chandelier at the Howell Opera House that was later converted to electricity.

Later electric footlights installed at the Howell Opera House to replace original gas lights with reflectors.

Original holes for gas jest and reflectors for footlights at the Howell Opera House.

During my tour of the Howell, my guide discussed many of the original artifacts that still exist. For example, poster bills and the signatures of famous personalities still grace the walls backstage. The amount of information contained in a relatively small area upstage of the proscenium wall, would cause any theatre historian’s heart to rapidly flutter. Each pasted piece of paper represents a production, providing a sneak peak into the performers and technical crews of the past. Most recently, piles of peanut shells were found under the balcony’s floorboards, left from patrons munching during a show over a century ago.

A small sampling of poster bills pasted to backstage walls at the Howell Opera House

Although some physical alterations have occurred over the decades, most instigated by well-meaning architects and structural engineers, much remains preserved. For example, even though the original grand staircase that led from the street to the second floor theater was removed, the original front doors were carefully sets aside. One of two original box offices, located at the top of the grand staircase, also remains as a window into the past. Although some of the dressing rooms were walled off when I new backstage staircase was constructed, they were not gutted, just entombed for another generation.

This theater is silently waiting for the renovation to continue.

To be continued…

Travels of a Scenic Artist and Scholar. Sosman & Landis and the Howell Opera House, 2019

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.

Photograph of the original Howell drop curtain

Historic scenery still hanging above the stage at the Howell Opera House

Painted detail of scenery at the Howell Opera House,

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.

Travels of a Scenic Artist and Scholar. The Howell Opera House, 2019

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…