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In 1911, Thomas G. Moses wrote, “Syracuse, N.Y. claimed my personal attention for awhile, and I did my best work for it.” Without the name of a show or a specific theater, it is difficult to know where Moses worked in Syracuse during January of 1911.

Syracuse theaters listed in Julius Cahn’s Official Theatrical Guide for the 1910-1911 seasons included the Bastable Theatre, the Crescent Theatre, the Grand Opera House, Grand Theatre and the Wieting Opera House.  The following year, Syracuse theaters expanded to include the Empire Theatre and Keith’s Theatre. Based on that information, I started to do a little digging and discovered that Sosman & Landis delivered the stock scenery collection to the Empire Theatre in when it opened in 1911. The Onandaga Historical Association includes a collection of photographs taken during February 1911 when finishing touches were being completed in the auditorium.

By March 1911, there were regular advertisements placed in the Amusements section of the “Post Standard.” Tickets were on sale for shows at the Onandaga Hotel, with prices ranging from fifty cents to two dollars.

The original drop curtain depicted a picturesque forest scene, divided by a babbling brook – a signature Moses composition.

Located on S. Salina Street, the theater was designed by the local architectural firm Tabor & Baxter. Previously, the firm was responsibly for a series of residential structures. The seating capacity for the Empire Theatre was 1709, including 707 on the lower floor, 452 in the balcony, 486 in the gallery and 64 in the boxes.  The proscenium measured 40 feet high by x 50 feet wide. The depth if the stage was 42 feet from the footlights to the back wall, with 72 feet between the side walls and 54 feet between the fly girders. The height of the stage house measured 70 feet from the stage floor to the rigging loft and 30 feet from the stage floor to the fly gallery. The backstage area boasted fifteen dressing rooms, a sizeable number for a large touring production.  There was also an orchestra pit that accommodated up to eight musicians.

The Empire Theatre was renamed DeWitt Theater during the 1930s. By 1940, however, the name reverted back to the Empire Theater name while under the management of RKO, primarily featuring movies. At the time, the space was also “modernized,” to give the auditorium a Streamline-Moderne appearance. The ornamental makeover was completed under the direction of architect Michael J. DeAngelis. Part of the renovation included walling over the original opera boxes and decorating the space with Art Deco elements.

The original building still stands and is now known as Empire House. Unfortunately, the rear auditorium was demolished in 1961, and the remainder of the building divided into apartments and offices.

To be continued…

In 1911, Thomas G. Moses wrote, “As a member of the Chicago Society of Artists, I had a water color with a Society Exhibition, and sold it for a good price.” The fifteenth annual exhibition for the Chicago Society of Artists opened on January 31, 1911 (Chicago Tribune 31 January 1911, page 5).

Founded in 1887 and incorporated in 1889, the Chicago Society of Artists had two primary objectives: to advance art in the Chicago area, as well as cultivating the production of art and displaying artworks by its members.

The organization is noted as the oldest continuing association of artists in the United States, with membership including painters, print makers, graphic artists, photographers, sculptors, art critics and art educators. Here is a link to the Chicago Society of Artists website: http://chicagosocietyofartists.org/

Here is the current membership application process for the Chicago Society of Artists:

“The Board of Directors has developed a juried process for the selection of new members that insures maintenance and vitality of high professional standards. Applications are accepted at any time during the year from local, national, or international prospective members.

Please submit the following items for membership consideration:

Five (5) images of personal work via slides and/or digital prints for each medium in which the applicant works. If personal work is in a single medium, ten (10) slides/prints need to be submitted. Works may be submitted on a CD.

A biographical résumé (complete contact information, art training, educational background, etc.).

An art résumé (exhibitions, group shows, juried shows, awards, publications,
other art related activities, professional affiliations, etc.).

A check for $35.00 made payable to the Chicago Society of Artists, Inc. This check covers the cost of $30.00 for annual dues and a $5.00 initiation fee. If the applicant is not accepted by the jury, the $35.00 will be refunded.

Submit the four items above to:

CSA Membership
C/o Corrie Lou Livingston Glass
383 Banbury Road
Mundelein, IL 60060

You will be notified by mail regarding the action of the jury.

Thank you for you for your interest in joining the Chicago Society of Artists.”

In 1892, Moses was one of the guests invited by members of the Chicago Society of Artists to a Bohemian party, complete with “music, dancing, red-hots, beer and smoke” (Chicago Tribune 12 Nov. 1892, page 6).  At the time, the society was five years old and membership continued to increase. At the time, many of his close friends were the host so the party; a party specifically aimed to honor both members of the press and professional men.

By 1906, Moses wrote, “I joined the Palette and Chisel Club at the Chicago Society of Artists.  I don’t know why, as I had so little time to give to pictures, but I live in hopes of doing something some day, that is what I have lived on for years, Hope, and how little we realize from our dreams of hope.  As the years roll by, I think one’s whole life is one continuous dream, unless we are wonderfully gifted and fame drops on us while we sleep.” 

In addition to Moses, there were many scenic artists who became members of the Chicago Society of Artists and its Palette & Chisel Club in the early twentieth century. Their ranks included many of Moses’ close friends and colleagues, such as A J. Rupert, Walter C. Hartson, Walter Burridge, Hardesty Maratta, Victor Higgins, Ernest Albert, Oliver D. Grover, Harry Vincent and Frank C. Peyraud.

During the spring of 1911, Wilson H. Irvine was chosen as the president of the Chicago Society of Artists (Chicago Tribune 5 April 1911, page 11). Other officers included Frank Phoenix as vice-president, George F. Schultz as secretary and Rudolph F. Ingerle as treasurer. Trustees were listed as H. Leon Roecker, Joseph Elliott Colburn, Lucie Hartrath, Charles Edward Boutwood, Water Marshall Clute, John F. Stacey, Frank C. Peyraud, Leonard Crunelle and Alfred Juergens.

To be continued…

In 1911, Thomas G. Moses wrote, “Some hangovers from last year started the New Year in good order, including some Los Angeles and Majestic work.  A large cyclorama for ‘Light Eternal.’  A view of Ancient Rome came out very good.”

“The Light Eternal” was a dramatization of Cardinal Wiseman’s historical novel “Fabiola,” written by Martin V. Merle in 1905.  Classified as a “devotional drama,” it was advertised as an “inspiring romance on Christian Martyrdom” (Fort Wayne News, 11 Jan. 1911, page 4). During this time, other popular Biblically-themes productions were “The Sign of the Cross,” “Ben Hur,” “Quo Vadis,” and “The Rosary.”

Martin penned the script during his senior year at Santa Clara College. It was solely intended for college theatre, until San Francisco’s Majestic Theatre manager decided to professionally produce the show (Sunset Magazine, Vol XVI, Dec. 1905, No.2 page 191). Merle later wrote “The Vagabond Prince” and “Lady O’ Dreams.” As an interesting aside, Merle is credited with providing American soldiers on the fighting lines with cigarettes during WWI (Los Angeles Herald, Vol. XLIV, No. 12, 15 Nov. 1918). He had “a score of aviators drop thousands of cigarettes as they flew over American lines. Each pack was labeled “Compliments of the Knights of Columbus.”  Pretty fascinating story, here is the digital article: https://cdnc.ucr.edu/?a=d&d=LAH19181115.2.327&e=——-en–20–1–txt-txIN——–1 His fraternal connection was as a Knights of Columbus secretary.

The 1907 touring production of “The Light Eternal” starred husband and wife team, James Neill and Edythe Chapman. It was advertised as “A powerful story of early Rome” with “gorgeous scenic investiture and a “superb dramatic company,” that was better play than “Ben Hur” or “Quo Vadis” (The Index, Pittsburgh, PA, Vol. 16, No. 9, March 2, 1907, page 18).

Of the 1907 scenic effects, “The Index” reported, “…the stage settings are unusually handsome, the garden scene in the second act, bring forth bursts of applause. The climax of the third act, when the image of Jupiter, before which Diocletian forces Marco to pay homage, is­ struck by lighting, and a cross of fire appears, is a particularly fine mechanical effect, and is reached by a cleverly contrived electric storm” (The Index, Vol. 16, No.11, March 16, 1907, page 232). The script provided ample opportunities for miraculous events to be stage with cutting edge theatrical technology.

In regard to the scenery that Moses produced for the 1911 production, it was possibly for the version featuring Eugenie Blair and thirty-five member cast. “Light Eternal” initially appeared at Fort Wayne’s Majestic Theatre on January 14, matching Moses’ diary entry. “The Light Eternal” then toured to Chicago where it was featured at the Crown Theatre before continuing the tour (Chicago Tribune, 18 Jan. 1911, page 11). The show eventually returned to Chicago that fall, playing at the National Theatre the week of October 29. Advertisements reported “massive scenic equipment,” yet failed to credit any individual or scenic studio (Englewood Economist, 30 Oct. 1911, page 3).  

As I explored the various “Light Eternal” productions that appeared during 1911 and 1912, one particular event caught my eye.  It is unlikely that Moses worked on this production due to the timing, but the theatre is quite interesting.

“The Light Eternal” was the featured production at the newly opened Parish Theater in Fort Wayne. With a cast of thirty people, the Parish Theatre production in the Athenaeum building included the talents of Maud Schillo, Margartet Schumaker, and Louise Charbonier. Advertisements for the production were published in the “Fort Wayne News” reporting “The stage settings for the play are massive and the costumes gorgeous” (14 Dec. 1912, page 3). The theater was erected by the Redemtorist priests in charge of St. Alphonsus church on Lincoln and Southport avenues, for the exclusive use of the members of the congregation. The space was intended “to be used by the young people of the congregation for operettas and entertainments by the children of the parish schools and for moving pictures illustrating historical lectures, comedies and refined sketches, all given under the direct management of Redemptorist fathers in charge of the parish.”

The “Fort Wayne News” described the new building on Dec. 14, 1912:

“The theatre which forms the rear section of the great parish athenaeum is complete in every detail. It has a seating capacity of 1,000, one of the largest stages in the city, steel curtain and fireproof scenery. The drop curtain has a painting of a rural scene in France and the feature of the gold, cream, and blue decorations of the playhouse is the large circular painting of Dante’s meeting with Beatrice.  Boxes and balconies are arranged close to the stage. In the main lobby are wardrobe rooms, reception rooms and men’s smoking room. The orchestra pit, ten dressing rooms, lavatories, wardrobe and rest rooms beneath the stage. The main section of the Athenaeum, which fronts on Southport avenue, has on the lower floor a gymnasium 80×100 feet, bowling alleys with four alleys, pool and billiard rooms with four tables each, library, reading and music rooms for young men, also bath rooms, lockers, lavatories and three shower baths. The young ladies are provided for on the main floor with library and reading rooms, assembly halls seating 500, reception rooms, tea room, music room, bath and shower baths. On the second floor there are five spacious society halls, with seating capacity from two to four hundred. The top floor will be occupied by the superintendent of the building and his family.”

It is unclear who provided the stock scenery or the production’s settings, but the scope of the project was quite elaborate overall.

To be continued…

Thomas G. Moses and Fred R. Megan became partners in 1923. They purchased the Sosman & Landis name after Hoyland-Lemle purchased the company contents at that same time.

Frederick R. Megan’s history is elusive, but the little that I have uncovered to date is quite interesting. Megan periodically pops up in various newspaper articles during the late nineteenth century, eventually working for the Kansas City Scenic Co. by 1901.

Megan’s business career initially appears in print during 1894. That year, Megan is listed as the editor for Dr. Megan & Son, publishers (Leonardville Monitor, Leonardville, Kansas, 8 Nov. 1894, page 4). The publication was advertised as “a spicy 5-column quarto, neatly printed and is Republican in politics,” suggesting the progressive leanings of the family and publication at the time.

Fred R. Megan was the son of a physician and surgeon. Dr. James W. Megan. Like many in the medical profession, Megan traveled throughout a region, establishing practices as the family moved from one small town to another. With each move Dr. Megan established his practice in a slightly larger town, until supplementing his income as a publisher. Megan’s various residences included Pawnee Rock, Kansas, Little River and Home City, Kansas. By 1894 Megan relocated his medical practice from Home City to Olsburg (Westmoreland Recorder, 12 Oct.1893, page 8). On October 18, the “Olsburg News-Letter” reported, “Dr. J. W. Megan expects to move to Leonardville after election and will practice medicine there as well as look after editorial duties of the Monitor” (1894, page 8).

In Olsburg, Dr. Megan was an active member of the Independent Order of Odd Fellows, Randolph Lodge, No. 216 (Randolph Enterprise, 3 May 1894, page 1). The Megan family also attended the Fostoria Baptist church in Olsburg (Olsburg News-Letter, 9 August 1894, page 8).

After Olsburg, the Megans moved to Leonardville, Kansas, where father and son commenced a new business venture – publishing.  On October 25, 1894, the “Clay County Star” reported, The Leonardville Monitor has changed hands, assuming editorial charge, F. R. Megan, assuming editorial charge, and Dr. Megan & Son appear as publisher. From appearances they start in with an excellent patronage and will no doubt keep the paper up to its former high local standing”  (25 Oct. 1894, page 3).

By 1896, Megan relocated to Kansas City (The Topeka Daily Capital, 9 April 1896, page 8). It is unclear what prompted the moved, or caused the younger Megan to seek a career in the theatre. However, he worked his way up through the profession from usher to technician, not an uncommon progression at the time. A decade later, he would still be living in the area, working as a well-known scenic artist and traveling salesman, representing Kansas City Scenic Co. The “Lead Daily Call” described the painting of scenery for the Lead Opera House, reporting, “”Fred R. Megan, who has the work of painting the scenery and decorations was on arrival on the Burlington last evening. He comes from Kansas City, and is an artist in his line, one of the best in the country. He will begin just so soon as the carpenters give him room, which will be in a day or so, to erect his stagings and make other preparations for doing the work of adornment, and when he has finished the interior of the little opera house will be one of the handsomest in the west, and no pains will be spared to make it so. Mr. Megan will have his work well under way before the week is over, and will have it completed before the winter season really begins” (Lead Daily Call, Lead South Dakota, 8 Oct. 1906, page 1).

Like Moses, Megan not only contracted the work to produce new scenery for a variety of entertainment venues, but also designed and painted the contracted settings. “The Columbus Courier” reported, “Fred R. Megan, representing the Kansas City Scenic Co., is in the city today with full samples of scenery. He sold a good sized order for the LaRue Investment Co. for the Opera House” (Columbus, Kansas, 10 Jul 1902, page 5). What us interesting about this particular article is the use of the wording “full samples of scenery.” It is unclear whether “full” suggest the size of the samples or the completeness of the selection. Likely, it was a series of standard designs for purchase.  However, I have yet to locate any another reference describing the samples carried by Megan on behalf of Kansas City Scenic Co.

The earliest mention of Megan’s association with the Kansas City Scenic Company is in 1901. For the scenic firm, Megan primarily traveled throughout Kansas and neighboring states. In 1908, Megan’s arrival to hang scenery at the Haydn-Parke theatre in Gasden, Alabama, was even reported in the “Gasden Daily Times-News” (26 Sept. 1908, page 2). Earlier, Megan had toured with the Barrett & Barrett Company (The Leonardville Monitor, Leonardville, Kansas, 2 Dec. 1897, page 8).

In 1901, the “Rooks County Journal” of Stockton, Kansas, reported, “F. R. Megan of Kansas City, spent Saturday in the city soliciting advertising to place on a new drop curtain which he will place in the opera house. We were told he sold Mr. Bigge about $300 worth of theatre supplies of various kinds”(27 June 1901, page 50).

His association with the company continued until 1915. The reason for his departure is unclear, but Megan began working in Washington D. C. By 1918, Megan was appointed to the Liberty Theatre office in Washington as Supervisor of Maintenance and Construction (Variety, Vol. LII, No. 10, page 19). The theater, designed by architect B. Frank Meyers, opened in 1914 at 1419 N. Capitol Street, near O Street.

To be continued…

Thomas G. Moses and Fred R. Megan became partners in 1923. They purchased the Sosman & Landis name after Hoyland and Lemle purchased the company contents at that same time. While they were negotiating the purchase of the name, Moses and Megan worked under their own names – Moses & Megan. However, they needed to wait for Sosman & Landis to completely liquidate and get their own charter before commencing work as the new “Sosman & Landis.” During this time, they leased the old Fabric Studio in Chicago.

By 1924, Megan was on the road most of the time, with Moses making models in his studio. The two would close the contract for the Salt Lake Consistory during 1926. The two would also provide the scenery for the Oakland Scottish Rite in 1927. Moses and Megan would continue working together until 1931. In 1931, Moses turned 75 years old.

Since 1901, Megan had worked as a salesman for Kansas City Scenic Co. In 1910, he was mentioned in an article published in “The Wichita Daily Eagle” (8 Dec. 1910, page 3). I am including it today as I near the end of 1910 in the life and times of Moses. It also provides great insight into border lights in that year delivered by Kansas City Scenic Co.

Here is the article in its entirety:

“For More Stage Life.

Scenery Agent Says Forum Stage Will Be Too Dark.

F. R. Megan of the Kansas City Scenic Co was in the city yesterday and advised the city commissioners that more border lights are needed for the stage of the Forum than the number ordered. Mr. Megan says that the stage of the Forum is second only to that of the New York Hippodrome and that five series of border lights will be required to properly illuminate the stage. The specifications call for two borders of 216 lights each. Of this number 120 are white lights, 48 are red and 48 blue lights.

Mr. Megan advised the commissioners that the freight on 5 border lights will be no more than that on 2 pieces of these lights and that as the work of installing the additional lights will be immaterial, practically the only added expense will be the cost of the three extra pieces which is $385 per border, or $1,165. The present order calls for two borders at $385 each, or $770. Mr. Megan said that as the switchboard which is being built will accommodate five borders and as the lights will be needed now is the time to order them, for if they are not installed with the other lights, the three extra pieces will cost more than $385 each.

Commissioner Roetzel said he wished to give the local electrical supply companies a chance to figure on these lights.

The matter of purchasing the additional lights was referred to a committee consisting of Mayor Davidson and Commissioner Stewart.”

To be continued…

In 1910 Sosman & Landis studio was bustling with activity, producing hundreds of drops for a variety of clients. Regardless of the numerous projects completed by the company, Moses also took on extra work of his own.  This was part of the agreement that Moses negotiated upon his return to the company in 1904.  

One example of a project credited solely to Thomas Moses was the scenery for “The Kissing Girl.” A review of the production was published in the “Oshkosh Northwestern” news on October 10, 1910 (Oshkosh, Wisconsin, page 10).  Here is the article in its entirety:

“’The Kissing Girl,’ which comes to the Grand opera house this evening is bright, tuneful and irresistibly funny, imbued with the charm of novelty and given with the finish of perfection. It tells a romantic story of Austria and Bohemia. A company of more than ordinary strength – both vocal and dramatic values  – will interpret the charming story. Miss Texas Guinan will have the role of ‘The Kissing Girl.’ Dick Temple will have the principal comedy character. Harry Hermson will be the baritone and Harold Rehill, a tenor, will romance with Marion Mills, at one time prima donna with the original “The Time, the Place and the Girl” company. An important member of the cast will be Ida Fitzhugh, a delightful old character woman from the principal Berlin theaters. These with a chorus of pretty girls and handsome men will bring the ensemble close to seventy people. The company’s orchestra will interpret instrumentally the beauty of Mr. von Tilzer’s musical numbers. The scenery is from the studio of Thomas Moses and the costumes – said to be unusually brilliant – were designed by Schoultz. The performance will be under the personal direction of Mr. Stange, conducted by Mr. von Tilzer and coached by Mr. George Jones, a master of the dance. Seats are on sale at Bauman’s drug store.”

The “Eugene Guard” reported, “ ‘The Kissing Girl’ is sumptuously mounted with scenery by Thomas Moses and costumes by Schoultz” when it appeared at the Eugene Theatre (Eugene, Oregon, 29 Nov. 1910, page 3). Written by by Stanislaus Stange, Vincent Bryon and Harry von Tilzer, “The Kissing Girl” was produced by the Cort Theatre Co. for its theatre in Chicago. The production enjoyed a run of 250 consecutive performances before going on tour.

To be continued…

As I near the end of 1910, it is time to recap this incredibly busy year in the life of Thomas G. Moses. A significant event was his falling out with co-worker David H. Hunt during Joseph S. Sosman’s 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio, with shops in both Chicago and New York. Hunt was the company secretary and treasure, whereas Moses was responsible for the design, construction and installation of all projects.

Prior to his departure, Sosman gave a few days notice, surprising not only Moses, but also the entire staff. Sosman’s involvement in the daily running of the business was beginning to decline, with the various duties being delegated to both Moses and Hunt.  However, his extended absence put a strain on the company during an extremely busy period of productivity. Painted settings, stage machinery and other scenic pieces were being manufactured at a remarkable rate.

Upon Sosman’s return, Moses wrote, “About this time, I heard some reports as to what Hunt had reported to Sosman about my treatment towards him.  I got mad and wanted to quit.  Sosman wouldn’t listen to me.  I finally got cooled.”

Part of Moses’ “cooling off” involved departing for New York to focus on some projects for Fred Thompson at both the New Amsterdam Theatre and Luna Park. During this period, Moses wrote, “Hunt remained away from the [New York] studio for some time, before going back home.  I took a run down to Woonsocket on the Fall River boat back to Buffalo and Niagara Falls for a day and Detroit for a day.  I arrived June 25^th.  Sosman had his doubts as to my coming back.”

1910 was the year that Hunt also started a new company – New York Studios. I have often wondered whether the tensions between Moses and Hunt were the impetus for the new studio. For New York Studios, Hunt expected current Sosman & Landis artistic staff to complete a great deal of the actual work. This meant that New York Studios incurred minimal overhead expenses as the majority of scenic artists and stage carpenters were already employed by Sosman & Landis; there was no need to keep a large staff on payroll, just pay for time spent on the project. Hunt even convinced Sosman to invest a small amount in his new firm. The corporation papers of New York Studios lists Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the company directors as Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29^th  Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company. New York Studios would become known as the eastern affiliate of Sosman & Landis, whereas Sosman & Landis would become the western affiliate of New York Studios.

Projects that Moses directly supervised during 1910 included stock settings for the Murat Theatre of Indianapolis, Detroit’s Temple Theatre, the Teatro Degollado in Guadalajara, and Scottish Rite installations for theaters in Yankton, SD, St. Paul, MN, Denver, CO, and Indianapolis, IN. During 1910 Moses also designed dozens of settings for touring productions, including Sarah Bernhardt, Al Ringling, and Frederick Thompson.

As a scenic artist, he was not only well known, but also at the top of his profession; only 54 years old. Business was booming and the economy thriving. Little did he realize that there would be a series of obstacles, one after another, in the ensuig decade. 

To be continued…

In 1910, Sosman & Landis Scene Painting Studio was a well-known firm with artists located in both Chicago and New York. On September 14, 1910, “The Times” described a production with scenery by Sosman & Landis – “The Girl and the Clown.” The show was advertised as musical comedy with “10 Big Song Hits” performed by a “cute girl,” a “funny clown” and “dancing girls” (Hiawatha Daily World, 4 March 1912, page 2).The story of the play depicted the misfortunes of a Circus Company stranded in a Kentucky town.

“The Girl and the Clown.

“‘One touch of nature makes the whole world kin’. It is just this touch of nature that has made ‘The Girl and the Clown’ so great a success. It was the one touch of nature that has made the ‘Old Homestead’ delight crowds for a quarter of a century. It was the one touch of nature which aides ‘Way Down East’. ‘In Old Kentucky’ and a few other famous plays. ‘The Girl and the Clown’ which will be seen at the Opera House Sunday matinee and night also has this one touch of nature. The title almost tells the story. The girl and the clown are both leading members of a stranded circus – of course they are sweethearts. There is another love story in the play that of an heiress and a German student from Heidelberg. Then there is a villain, not the proverbial heavy type but a gentlemanly villain and none the less a villain because he is a gentleman. There are various other characters in the plat and the complications and situation that are brought about by them are ludicrous, and uproariously funny. The play is a laugh from start to finish – the fun is genuine. A little bit of pathos is introduced which may bring a tear to the eye and this leavens the whole. The company is excellent and includes Gertrude Johns, Isabel Johns, Iona Bertrand, W. A. Orlmon, John Leach. Albert Bruce, Hal Lavin and others. During the performance a number of musical specialties are introduced by the Johns Sisters, Gertrude Johns giving her celebrated imitation of the great Harry Lauder which has made her famous in al corners of the country. Special scenery has been painted by the well known New York and Chicago artists, Sosman and Landis” (The Times, 14 September 1910, page 5).

Little is known of the production beyond a few newspaper articles and advertisements. The production with scenery by Sosman & Landis toured throughout the western region of the United States during 1910.  In the follwong years, a series of local interpretations appear across the country. 

To be continued…

By 1910, Thomas G. Moses and his family were living the American Dream. They enjoyed a comfortable life, benefitting from steady employment, fair wages and public education. Although Moses had grown up in a relatively modest home, the majority of his early obstacles were solely financial in nature. It was a time in America when the middle class was expanding and opportunities abounded, especially if you were a white Christian male.

When the couple was expecting their first child, Moses was given a raise to help cover the additional expenses. He simply expressed his concern to his employer. The family was fortunate as their annual income continued to increase with each child, directly supporting their expanding family. The couple’s four children were Thomas William “Pitt” Moses (b. 1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886) and “Rupert” Moses (1889).

In 1910, Moses wrote the following, “New Year’s, Lillian, Mary and Rupert were at home and we all enjoyed a good dinner.” Lillian Ella Moses, born on May 24, 1886, was the third child. He would later write that same year, “Lillian was married to George Salzman in New York City, March 31^st, 1910.” Lillian was now starting a new life on the East Coast with her new husband. That same year, his youngest son, Rupert, also left Chicago. Rupert sought employment in California. Of this departure, Moses wrote, “Rupert went to California to work for Shearer, but he was not put on.  He went to work for the irrigating company.  They treated him better.” 

Returning to Lillian in 1911, Moses wrote, “Lillian presented her husband with a bouncing son, Thomas George, in New York, March 9^th.  Mama went to New York to be with Lillian for a week or so.  Mamie surprised us both by informing us that she and Wm. Hanover were married in Wheaton, Illinois, on February 8^th, 1911.  We are becoming accustomed to these surprises.” By now, all four children were married and embarking on their own adventures,

Even though the Moses family was increasing in number, family gathering became less frequent due to distance. By 1914, Moses wrote, “Another Christmas without Pitt and family or Lillian.   Would like to have the children and grandchildren every Christmas.  We have a big house to entertain them, and I feel sure they all like to come to the old house, at least once a year.” By 1916, his wishes were granted when Lillian returned to Chicago with her husband and small child. Of the event, Moses wrote, “George, Lillian and little George arrived from New York City to make Chicago their home.  February 9^th, a big family reunion.” Lillian was pregnant at the time. That fall, she gave birth to a pair of twins, a boy and a girl on October 6, 1916. By Christmas, Moses wrote, “Our Christmas Family this year was Mary and William, Lillian and George and children, and little family of three, Rupert, Ula and Evelyn.”

Almost a decade later, there were established traditions with Lillian and George. In 1924, they only lived a short distance from Tom and Ella. That year, Moses wrote, “Madam and I started the new year in the usual way, by going to Lillian’s for dinner.  The weather was quite moderate so we enjoyed the short walk both ways.” The close proximity of the two homes, allowed for many family celebrations and holidays.

To be continued…

In 1910, Thomas G. Moses wrote, “We did a lot of work for the Hamlin Avenue Theatre.  This year has certainly been a busy one, and I hope we made some money.”  The numerous projects mentioned by Moses in his memoirs during 1910 ranged from Sarah Bernhardt and Fred Thompson productions to Masonic scenery and Coney Island attractions. It was quite a busy year for him running the shops at Sosman & Landis.

Information about the Hamlin Avenue Theatre is scarce. There is no mention of the building in any historic theatrical guides to provide technical details about the stage or auditorium. In fact, I have only stumbled across a few opening-week advertisements for the Hamlin Avenue Theatre and a few business directory listings. The theater was located on West Madison St. Between Hamlin and 40^th Avenue in Chicago. The official address of the Hamlin Avenue Theatre was 3822 W. Madison.  Cinematreasures.org notes that the theater was near Garfield Park and opened as a vaudeville house in 1910 with a seating capacity of 1,200 seats. It later transitioned to a cinema and closed by 1934. In 1938, it underwent a renovation and reopened as the Alex Theatre on May 22, 1938, continuing to operate until 1976 when the space became a parking lot.

An advertisement in the Chicago “Inter Ocean” noted that the theatre opened on Monday, Oct. 31, 1910, at 7:30 P.M. Opening week included an impressive line up, promising a “Mammoth Vaudeville Bill” with 6 acts.  The vaudeville acts included the Young Family, Mme. Bernice and her Performing Polar Bears, Tobey & Norman, Dorothy DeSchelle & Co., the Trocadero Four and Tom Braidford (Chicago “Inter Ocean,” 31 Oct. 1910, page 12). Ticket prices at the time ranged from 10 to 20 cents per seat.

Mme. Bernice’s act was advertised as the “Most Wonderful Animal Act in the World” (Chicago Tribune, 31 Oct. 1910, page 9). As an aside, I cannot imagine traveling any vaudeville circuit with polar bears! How did that even work for the vaudeville circuit? Polar bears traveling with a circus such as Ringling Bros and Barnum & Bailey are one thing, but transporting them to theaters across the country is another.

Beyond what I have mentioned above, the Chicago Public Library holds a Hamlin Avenue Theatre program in the Garfield Park Community Collection (Box 2, Folder 9).  The approximate date of the program is listed as 1900-1910. That is not much to go on.  If anyone is in the vicinity, however, and wants to take a peak at the original, here is the link: https://www.chipublib.org/fa-west-garfield-park-community-collection/

To be concluded….