Drypigment.net

I seldom mention any familial affiliations in my posts. Yet, I find myself preparing today to leave for Prague. I will take a break from my posts until June 24, returning to the life and times of Thomas G. Moses in 1910 that Monday.

109 years ago this fall, my paternal grandfather immigrated to the United States of America.

My story, as most Americans, begins with immigrants, immigrants who were escaping their country to seek a better life. It does not matter whether it was war, famine, or something worse; they escaped and took their chances, hoping for a better life for themselves and for future generations. I cannot fathom what they would think of our situation in the United States now, closing our borders and saying that our country is “full.” It is shameful.

My paternal grandmother, Rose Rapacz, came to the United States without any ability to read or write in her native tongue, let alone speak English. She never attended school, yet I have a doctorate. I have achieved what she could only dream of as a child.  In 1914, at the age eighteen, she escaped starvation and a difficult life, after watching a sibling kicked to death by her uncle on their farm, west of Warsaw. My great grandparents left her at the age of four years old and started another life in America, leaving her in the care of an uncle; gifting their farm for their children’s care.

My paternal grandfather came to the United States in 1910. He carefully calculated his exit before his 21^st birthday. Josef Waszut sailed to America during the spring in 1910. He left his hometown of Istebna (then listed as part of Austria) that spring. Ship records list his nationality as Polish, whereas six years earlier, the passenger ship records listed his brother’s nationality as Slovenian. My grandfather boarded to S.S. Finland in Antwerp and arrived in the United States on May 31, 1910. He turned twenty-one aboard ship on May 23.

My grandfather listed his final destination as Port Arthur, Wisconsin, where his brother was living at the time. Entering the country through Ellis Island, he followed his brother George, who had sailed to America in 1906, and later settled in Minneapolis.

The remainder of the father’s family remained in Istebna, never to visit America. Over the years, the letters became less frequent and then ceased in their entirety. Wars came and went; yet the majority of the Waszut family remained in Istebna. Only a few years back, we received a brief note – in a shoebox destined for Minneapolis from Poland for Josef Waszut’s family. The shoebox message eventually found its way to my father.

My paternal grandmother and grandfather left all that was familiar to them for a better life, as immigrants traveling to America still do today. They never saw their family again, but each sought a better future for their children and grandchildren.  They were part of the “tired, poor and huddled masses yearning to be free” that came and worked many of the jobs that established Americans refused to do – they were the common laborers.

It is difficult at this time not to think of the sonnet penned and committed to a bronze plaque that was once attached to the Statue of Liberty’s base:

“The New Colossus

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

To be continued…

In 1910, Thomas G. Moses wrote, “Fox Lake appealed to me all summer.  I went up as much as possible and made good use of my time.  How I wished in vain for time and money to spend all summer sketching.  I know I could do something worthwhile.” The Palette & Chisel Club kept an artists retreat at Fox Lake. Numerous Sosman & Landis artists travelled to the camp during their time off each summer, including Moses.

Moses continued, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him.  He was President of a city bank.  He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week.  He had prospered.  With his wife and two daughters he enjoys a cottage near our camp.”

Moses pasted a picture of R. J. Terwilliger in his scrapbook years later.  It noted that Terwillger was the founder and first president of the North-West Side Commercial Association. On the clipping, Moses wrote, “Paint boy for Burridge, Moses and Louderbeck during the years of 1887 and 1888.”

Burridge, Moses & Louderback only laster from 1887 to 1888. The company’s offices were located at 22 Chamber of Commerce in Chicago, Illinois, on the corner of Clark and Division Streets.  Burridge, Moses & Louderback used the paint frames at the Columbia Theatre. Located at the corner of Dearborn and Projects completed by Burridge, Moses & Louderback included “Gypsy Baron” for the Conried and Hermann Opera Company, 2 panoramas for Joe Murphy’s “Donah,” and 2 complete productions of “Kerry Gow.” The firm painted the scenery for the Duff Co.’s production of “Dorothea” at the Standard Theatre in New York, as well as Steele MacKaye’s “A Noble Rogue” at the Chicago Grand Opera. During these two busy years, Burridge, Moses & Louderback stocked six theatres with all of the necessary scenery, including the Grand Opera House in Columbus, Ohio, and Foster’s Opera House in Des Moines, Iowa. 

Moses and Burridge were two successful and well-known artists when they partnered in 1887. Advertisements listed Louderback as the firm’s business manager. He was and established and well-respected owner of an auction house and fine art galleries. In November of 1888, Burridge pulled out of the studio because he and Louderback couldn’t agree on the running of the business. Louderback came from a “managing art” background while Burridge came from a “creating art” background.

Burridge, Moses, and Louderback’s paint boy Terwilliger eventually left the theatre profession, finding success in the banking industry after moving to Kansas. The year after Moses reunited with Terwilliger in Fox Lake, the “Liberal News” pictured R. J. Terwilliger as president of T-W Land and Mortgage Co. (April 27, 1911, the (page 11).  The article noted the firm was “one of the oldest and one of the most active real estate concerns of the city of Liberal.” T-W Land and Mortgage Co., was described as “the first and last [business] encountered from the Rock Island depot on South Kansas Avenue.” Terwilliger was President, while C. M. Cole was Vice-President and M. F. Eidson, Secretary and Treasurer; Eidson was his son-in-law. The article continued, “The firm is the oldest and largest concern of its kind in Liberal. They do a general real estate business in farm, ranch and city property, and handle real estate loans of all kinds. Every member is a substantial business man of the town and all are well and favorably known to its citizens as men who are reliable in every way.”

To be continued…

In 1910 Thomas G. Moses wrote,  “On May 8^th I caught the 20^th Century for New York.  Arrived next morning at 10 – big night.  Had two models finished.  Next noon the whole show was schemed out, estimate made, check for payment received and I was on my way home.  The third day after my return, work was well under way for the show called “Girlies,” a summer show for the New Amsterdam.”

 “Girlies” was Frederick Thompson’s first musical play, a two-act comedy. Moses and Thompson were well acquainted, after working on several projects together at Luna Park when he lived in New York from 1900-1904. From Thompson and Dundy’s “Trip to the Moon” to “20,000 Leagues Under the Sea,” Moses & Hamilton delivered a variety of attractions to Luna Park when it first opened.

In regard to Moses’ travel, the 20^th Century Limited was an express passenger train that traveled between Grand Central Terminal in New York City and LaSalle Street Station in Chicago, Illinois. In service from 1902 until 1967, it was advertised as “the most famous train in the world.” Its passengers were mainly upper class and business travelers, such as Moses, with the train including a barbershop and secretarial services, comfortable accommodations and fine food. It first ran on June 17, 1902, completing a trip from New York to Chicago in only twenty hours at 70 miles an hour, a full four hours faster than previous trains. The 20^th Century Limited only making a few stops along the way, using track pans to take water at speed. Here is a YouTube video on the 20^th Century Limited: https://www.youtube.com/watch?v=kOzVdzte8gY

The 20^th Century train helped connect the theatrical communities in New York and Chicago, making quick turnaround project like “Girlie” possible. Sosman & Landis were able to directly compete with New York scenic studios, later establishing their own eastern affiliate in 1910 -New York Studios. The 20^th Century limited helped facilitate the constant swapping of Sosman & Landis artists between Chicago and New York.

“Girlies” was written George Hobart and Van Alstyne, with dances and ensembles by Jack Mason. The scenes were set at a co-educational college, called Hightonia, situated near ‘High Hill, Highland Country, U.S.A.” The New York Tribune described the plot: “Professor Spell wants to marry Marion See, director of deportment (Carrie E. Perkins). He fails to inspire her love because she wants to marry a hero. Spell gets a hint from the students, and he decides that the best way for him to become a hero is to dress himself in the suit of newspapers and start out on a two days’ journey, with no money in his pocket, and try to earn enough in forty-eight hours – without begging or borrowing – to clothe himself from head to foot. With the aid of his dog Blitzen (David Abrahams) and after innumerable amusing experiences, he finally returns an hour before the expiration of the time limit dressed in a complete suit of clothes. In spite of the interference of a woman detective (Maude Raymond), who tries to settle upon him the responsibility for a certain petty thieveries that have been occurring in the dormitories, he wins the hand of his ladylove” (14 June 1910. Page 7). The article continued, “The play was staged with elaborate attention to detail. Seldom have so many pretty girls been seen in a chorus. Their freshness and youth were delightful and the crispness and tasting coloring of their frocks were alluring.”

It was advertised as “Bright and lively, with clever specialty people to load the fun” and “Pretty Dancing Numbers with bevies of remarkably pretty girls in charming costumes and novel evolutions” (New York Times, 14 June 1910, page 11).

Only a few weeks after contracting the play on May 8^th, Moses wrote, “On my way back to New York, May 27^th, with the show, on my arrival I found Thompson wanted several new scenes.  I had to farm some of them out and I used the paint frame at the Amsterdam for two drops.  I had to stay in New York for three weeks.  In the meantime I made a model for a new show at Luna Park, and got Dodge and Castle to paint it.” Good thing Moses had connections in New York!  The quick turn around for painted scenery never ceases to amaze me during this time.

Once the show opened, “Girlies” was advertised as “a delightful form of summer amusement, free from vulgarity and full of pretty spectacles, good humor, graceful dancing and tuneful music” (New-York Tribune, 3 July 1910, page 52).

On July 14, 1910, the “Brooklyn Daily Eagle” reported:

“A Roof Garden Downstairs.

Thompson’s ‘Girlies’ at the New Amsterdam will go up higher.

‘First impressions count for a great deal,’ continually repeated that exceptionally little clever little woman, Maude Raymond, in the opening production of ‘Girlies,’ at the New Amsterdam Theatre in Manhattan, last night, but it is to be hoped for the good of the piece that the first impressions of ‘Girlies’ will not be the final one. It was Frederic Thompson’s opening venture in the field of musical shows and evidently believing that a success is secured by giving the public the old, old story, the manager presented an entertainment that was without a single but of novelty.

‘The tired business man’ need not be afraid of ‘Girlies.’ It will not worry his brain a bit. It is the same old plotless piece with the same old tunes and the same old business. Interlarded in ‘Girlies’ are numerous ‘specialty,’ and these alone saved the show. The burlesques and the vaudeville turns in the second half are clever and should be acceptable in any old kind of weather, W. Browners, F. Walker and A. Crooker as three ‘Rube’ gymnasts, were the best of what, in burlesque houses, would have been called the ‘olio.’

“Maude Raymond worked hard in the hopelessly impossible part of Gloriana Gray. As usual she succeeded in winning the audience by her singing, and her song, ‘That’s good,’ was very good indeed. A burlesque of Mrs. Fay, that came later in the piece, showed that Miss Raymond also is an excellent mimic. Joseph Cawthorne, co-star with Miss Raymond, went through the full category of a German comedian’s tricks. The hit of the evening was made, however, by Doris Mitchell, in her burlesque of ‘Madam X.’

“When warm weather comes ‘Girlies’ will move to the New Amsterdam roof. Properly trimmed it should last; through the summer in its aerial home. Last night, it was almost midnight before the hard working chorus sang the medley finale. The chorus was made up of sixty” (page 21).

To be continued…

In 1910, Thomas G. Moses wrote, “Mme. Sarah Bernhardt bought the nucleus of several plays.  We contracted to fill the necessary scenes to make her plays complete, which amounted to over $7,000.00.  Our first one was ‘L’Aiglon.’ At the close of her engagement, we did a special production of “Judas” which was produced in New York City.  I had to visit her every morning at her hotel to arrange the models for ‘Judas.’  I had to talk through an interpreter.  She was very nice about everything and seemed pleased when I would catch her idea quickly.  After she had produced the play she sent a telegram, thanking us for the brilliant success of the scenery – no trouble to please a person of Bernhardt’s class, but a rough neck actor, like a great many I know, it is next to impossible to please.”

The amount of scenery purchased by Bernhardt in 1910 is equivalent to $188,298.53 today, a significant contract for Sosman & Landis at the time. On October 22, 1910. The necessary scenes designed by Moses and produced at the Sosman & Landis studio in Chicago was for Bernhardt’s seventh tour in the United States.

Newspapers reported that the trip was Sarah Bernhardt’s final tour in America. A theatrical icon, the public embraced the sixty-six-year-old actresses. Her tour began in Chicago at the Studebaker Theatre on October 31. Her first appearance was in “L’Aiglon” (The Joliet News, 12 Oct. 1910, page 4).  

The first week’s bill included:

Oct. 31 – L’Aiglon

Nov. 1 – La Tosca

Nov. 2 – L’Aiglon

Nov. 2 – Les Bouffons and Las Bois Sacre

Nov. 3 – Camille

Nov. 4 – Fedore

Nov. 5 – Phedre

Nov. 5 – Jeanne d’Arc

After performing in Chicago, she traveled to New York for four weeks before beginning her cross-country tour. In 1910, Bernhardt’s repertoire included the following:

“L’Aignon” by Rostand

“Jeanne d’Arc” by Emile Moreau

“Les Buffons” by Miguel Zamacois

“Sapho” by Alphonse Daudet

“La Sorcerie” by Victor Sardou

“La Dame aux Camelias” by Dumas

“La Beffa,” “Phedre,” and “La Rampe” by Rothschild

“La Tosca” by Sardou

“La Passe” by G. de Porte-Riche

“Fedora” by Sardou

“Monna Vanna” by Maeterlinck

“Hamlet”

“Resurrection” by Bataille, from Tolstoy’s novel “Le Bois Sacre”

“Romanesques” and “La Princess Leontine” by Rostand

Prior to her departure, the French actor Le Bargy arrived during her last week of performance. He appeared with Bernhardt in both “La Princess Leontine” and “Faust.” Once the tour was completed, Berhardt returned to Paris where she began another season, opening with “La Princess Leontine” and “Faust.” The productions for both shows were made in the United States and exported to France.

To be continued…

In 1910, Thomas G. Moses wrote, “Miles of Detroit for $3,800.00 which was $1,050.00 higher that a close competitor.” Moses was referring to the new Miles Theatre at 1220 Griswold St., Detroit, Michigan, that opened on May 15, 1910. It was designed by the architectural firm Kees & Colburn of Minneapolis. George D. Mason of Detroit was the supervising architect for the project.

On May 15, 1910, “Detroit Free Press” described the auditorium, “The walls of the auditorium are so stenciled and tinted as to represent rare tapestries of red, pale and silver hues. Over the proscenium arch and in the frieze work of the foyer, Judson Smith, of Detroit, has wrought realistic presentations of scenes of the Caesarian epochs of Rome. Separating the orchestra from the first row of the parquet is a partition made to resemble Italian marble. The effect is realized by concrete work worked over with scagliola. The columns supporting the balcony are constructed in the same way, and give the same appearance. This entire decorative scheme followed is artistic, in every detail. The wrought work along the balcony is in festoons and garlands and the flowers are painted in natural color. Plate glass mirrors panel the walls” (page 1).

C. H. Miles was the president and general manager of the Miles Detroit Theatre Company. He operated the Miles circuit with many theaters scattered across the country, including in his hometown of Minneapolis. He set his sights on Detroit during 1909 to build another popular-priced vaudeville house. Arriving to the city that summer, Miles secured a 99-yer lease of the property between the Chamber of Commerce and the Bank. The theater’s policy included three shows a day, with extra matinees on Saturday and Sunday; listed prices for entertainment were 10, 20, and 30 cents.

The success of Miles’ policy was noted on March 16, 1913, in the “Detroit Free Press, “People soon found that they could go down-town after supper, see an entire performance and get back home in time to retire at the usual house. Or, if they were detained down-town by business or a dinner party, they found it convenient to drop in for the second show and still get home at a reasonable hour. Thus, very shortly, going to the Miles came to be a regular habit and the Miles clientele steadily grew larger. In the meantime, stores and offices erected by Miles as part of the general structure were leased by various concerns and Griswold Street, north of State, began to take a commercial look. Property values around Capitol Park began to soar. Men of large means began to take an interest in the development of Griswold Street. Car lines were re-routed, old brick pavements were supplanted by the more modern creosote block…That is the story of the rejuvenation of Griswold street, and to Mr. Miles, as the man who took the initiative, is due a large share of the credit. It is just another illustration of how much can be accomplished through that happy combination of courage, determination and far-sightedness” (page 83).

The property had a frontage of 152 feet on Griswold Street between State Street and Grand River Avenue. Once built, his theater’s policy included three shows a day, with extra matinees on Saturday and Sunday. On May 30, 1911, the “Detroit Press” included an advertisement to buy stock for the Miles Theatre, promising “You will be paid dividends every three months” (page 3). The advertisement commented, “It is the largest, most handsome, update and complete theatre in Detroit – the Miles Theatre has been in operation over one year and is earning money every day.” It continued to explain that the theatre was ideally located and convenient to every carline in the city, and near one of the busiest marts. Miles and Mr. C. W. Porter, local manager, personally looked after the sale of stocks in the Miles theatre building daily.

The last show at the Miles Theatre was on Nov. 28, 1927. By May 1928 the theater was demolished to make way for the Griswold Building, designed by Albert Kahn, a structure that still exists today.

To be continued…

In 1910, Thomas G. Moses wrote, “We did an odd set for Gallagher in vaudeville – three drops set to represent a battleship from any angle of the theatre, very effective.” 

Sosman & Landis created a naval-themed olio setting for Gallagher and Shean, the vaudeville comedy team. Their olio sketch was written by Edward Gallagher and called “Battle of Bay Run” (Philadelphia Inquirer, 30 Aug. 1910, page 5). The use of the term “olio” is referring to a musical number, one that is independent from the featured performance.

In 1910, Gallagher and Shean partnered to present “Big Banner Show,” and toured across the country (The Buffalo Enquirer, 27 Dec. 1910, page 10).

The program was composed of a two-act musical comedy, “The Girl from Paris,” olios, and several high-end vaudeville acts. Gallagher’s olio “The Battle of Bay Run” featured a naval travesty, in used the setting created by Sosman & Landis (St. Louis Star and times, 31 Oct. 1910, page 3). Another olio for the show featured Shean as “The Dandy Little Dutchman.” Of the vaudeville acts, the Potter-Hartwell Trio, an acrobatic team, in “The Man with Two Heads,” Annette Goldie singing Southern songs, and a “Hokey-Pokey” girl chorus. (The Evening Sun, Baltimore, Maryland, 3 Sept. 1910, page 7).

 “The Baltimore Sun” commented on the production, “[It] is really a clever concoction, more of a musical comedy than a burlesque. At times it is very pretentious, both in musical numbers and scenery. Mr. Gallagher, as an American in Paris, is ‘roped in’ by one of those French maidens who conveniently faints, is clever in his manner of handling the comedy and the plot, and has a good voice. Mr. Shean’s droll German dialect is not introduced until the closing number, as the proprietor of a hotel in Switzerland. The girls are some numbers above the average and sing and dance well. With ‘Money,’ a novelty march song, and ‘Three Jolly Scotchmen,’ in which they are seen in the regulation Scotch attire, decided hits are made. Edna Davenport, as the girl from Paris, carried the house with her ‘Espanola Prance.’ The best olio feature was Gallagher and Shean’s naval travesty” (6 Sept, 1910, page 9).

Edward Gallagher partnered with Al Shean early in his career. Shean’s birth name was Abraham Elieser Adolph Schönberg. He was born in Dornum, Germany, the son of ventriloquist Levy Schönberg, and yodeling harpist Fanny Salomons. The couple immigrated to New York City in approximately 1880 with Shean and his sister Miene. Miene, nicknamed “Minnie,” married Samuel “Frenchie” Marx in 1884; they were the parents of the later well-known Marx Brothers.

Moses would also work with the Marx Brothers on a project in 1926, although he was not impressed with the famous performers at all. Of them, Moses wrote, “Made several sketches for Marks Brothers.  I have no faith in them.  I think them very cheap.”

Gallagher and Shean partnered in 1910, the same year that Moses was hired to create the battleship scene. Each had begun their career as a small-time performer in burlesque and variety shows. Shean initially made a reputation for himself performing in “Quo Vadis Upside Down.”

Gallagher and Shean were later featured in the “Ziegfeld Follies” and other reviews, associated with the popular patter song “Mister Gallagher and Mister Shean.” That song included the lyrics: “Absolutely Mr. Gallagher? Positively Mr. Shean!” and was recorded after their 1922 Ziegfeld Follies performance. The lyrics were credited to Brian Foy with music by Shean.

Here is a 1922 recording of their song: https://www.youtube.com/watch?v=6bBvYO5FigI

From 1914-1920, the duo briefly parted, but reunited after the urging of Minnie Marx. Their reunion would not last long, however, with the partnership ending in 1925. The dissolution of their partnership was one in a series of challenges that Gallagher faced during the 1920s. Other obstacles included a prolonged dispute with Foy over song writes to “Mister Gallagher and Mister Shean,” difficulties with the Schubert Brothers, and a divorce from his third wife. Gallagher finally suffered a nervous breakdown and later died in a sanatorium in 1929.

Shean, on the other hand, went onto enjoy a successful career on both the stage and screen, appearing in 25 Hollywood films from 1934 to 1943. He would continue performing the patter song, partnering with Charles Einninger for the 1941 Ziegfeld Follies. Here is their performance in front of an Egyptian setting: https://www.youtube.com/watch?v=HkzAEGarl9Q).  

To be continued…

In 1910, Thomas G. Moses wrote, “We received a good contract from Guadlahara, Mexico.  All Spanish correspondence.  Some job getting it translated.  Mr. Evans did most of it for us.”

Julius Cahn’s Official Theatrical Guide for the 1910-1911 season listed three theaters in Guadalajara. With a population of 101,208 at the time, the city government managed the Degollado Theatre. This venue had a seating capacity of 2,000 with a stage measuring 15×25 metres. The second theater listed in Cahn’s Guide was the Principal Theatre, managed by T. Davilla Suer and a seating capacity of 1,600. The Principal Theatre’s stage measured 8×12 metres stage. The third theater listed in Cahn’s Guide was the Apolo Theatre managed by C. Paniagua. It had a seating capacity of 1,400 with the smallest stage measuring 6×10 metres.

Of the three, it was the Teatro Degollado that underwent a significant renovation between 1909 and 1910. It was Roberto Montenegro who led the work, focusing on the reconstruction and decoration of the interior of the building. The project included the addition of a crystal lamp on the theater’s vault. Located in the central plaza of Guadalajara, on Belen Street between Hidalgo Avenue and Morelos Avenue, it is possible that Sosman & Landis received the contract for the new scenery. The grand opening for the newly renovated space was September 15, 1910. Here is a link for some history about the building: http://en.ofj.com.mx/teatro-degollado/

Cahn’s Guide included an entire section on Mexico:

“Mexico affords many allurements to the operatic, vaudeville or spectacular class of entertainment, as the natives liberally patronize performances that appeal to the eye or, in case of opera, to the ears, as they possess a remarkable musical liking and will respond in large numbers.

Every city owns one or more Spanish papers, with editors who will gladly translate English notices into the Spanish language.

The established local rates in Mexico on the principal lines are on the basis of, first class three cents, second class two cents, third class one and one-half cents, plus two per cent. per kilometer, about five-eights of one mile. These rates in Mexican currency. The railroad lines in Mexico are disposed to be liberal in matter of rates and conditions of tickers for the transportation of theatrical companies, with a view to encouraging them to visit the country.

The duty on printed matter taken into Mexico is little or nothing. In some cases a small tax or nominal charge is levied.

Special mention should be made of the strict observance of rigidly adhering to showing every act or scene that is advertised in papers, boards or heralds, for every failure to produce as represented in billing is subject to a heavy fine or imprisonment. At every performance an official witnesses the performance to see that the performance lives up to the representations in advance.

The best time for a tour of Mexico is from November to March. The days are warm, but the nights are cool and warm clothing is essential in cities on the high table land in the interior. The duty is charged on all articles purchased in Mexico over $100 by any one person. Theatrical property, costumes, scenery, etc., can be placed in bond, the bond being cancelled upon return of property to the United States.

So called “Diverse Route,” or “Variable Route,” tickets can now be obtained from San Antonio, Texas, via Laredo and the National Railroad of Mexico, to the City of Mexico, returning thence via Mexico Central Railway to El Paso, or returning via the Mexican Central through Torreon and the Mexican International Railroad to Eagle Pass, Texas, or vice versa, at very reasonable rates, this touring embracing nearly every important theatrical city in Mexico.

The prices of admission in Mexico run from 25c. to $3. The value of the Mexican dollar is now stable, being equal to 50c. in the United States currency.”

Cahn’s Guide listed theaters in the following cities: Aguas Caliented, Celaya, Chihuahua, City of Mexico, Ciudad Juarez, Durango, Guadalajara, Guadalupe, Guanajuato, Lampazos, Leon, Monterey, Morelia, Pachuca, Puebla, Queretaro, Saltillo, San Luis Potosi, San Miguel de Allende, Tampico, Toluca, and Zacatecas.

To place this project within some historical context of the times, I am including a brief article published in the “Boston Globe” on November 14, 1910. The article was entitled “Mutual Concern” and reported the following:

“Confronted by a more delicate situation than ever as a result of the occurrences of the past few days, the governments of Mexico and the United States were making every effort to restrain their citizens from acts of violence and to smooth over the difficulties. The already serious problem before the two nations, resulting from the burning at the stake in Texas of Antonio Rodriguez, and the riotous demonstrations against Americans in Mexico City and elsewhere, was further complicated during the past 48 hours by the shooting of Jesus Loza by Carlos B. Carothers, an American, at Guadalajara, Mexico, and the assassination of Chief of Police W. C. Temple of Anadarko, Oklahoma, by a Mexican. Ambassador De La Barra presented today to the state department the dispatch from Foreign Minister Creel in which Pres. Diaz addressed satisfaction with President Taft’s assurance that he would do all in his power to punish those guilty of the death of Rodriguez. Pres. Diaz in this message, said the Mexican government had instituted proceedings against the persons responsible for the misdemeanors in Mexico and expected to repress, with all the vigor of the law, all offenses whatsoever against Americans who live there.”

To be continued…

In 1910, Thomas G. Moses wrote, “Closed with the Murat Theatre of Indianapolis for $4,000.00.” The equivalent purchasing power today is $107,599.16, a sizable scenery project for the time. The building was named after the Nubian desert oasis Bin Murat. Bin Murat was named after Napoleon’s general, Joachim Murat, during his Egyptian campaign; an interesting nod to past French Masonic heritage.

The Murat Shrine building was located at the corner of Massachusetts Avenue and New Jersey Street. The Shrine Theater opened on March 1. By March 3, 1910, “The Waterloo Press” included a lovely article on the new structure in an article entitled “New Murat Theatre Opens” (page 2). Here is the article in its entirety:

“The Murat Theatre contained in what is said to be the most elaborate Mystic Shrine temple in the United States, was opened at Indianapolis, Ind., under the management of the Schubert Theatrical Producing Company. The temple, completed, will cost $250,000 but only the theatre has been finished. James T. Powers and his company, in the musical comedy, “Havana,” gave the first performance in the theatre. Only the members of the Mystic Shrine were admitted but the subsequent performances will be public. The theatre is decorated with mural pictures representing camel caravans passing through a desert and approaching an oasis, and with other allegorical paintings symbolic of the significance of the Mystic Shrine.”

What is interesting about this theater is that the Shrine is using the stage for their ceremonials, but also leasing the house and generating a significant amount of income, a win-win situation. The Schuberts leased the theater from 1910 to 1930. In 1910 Sosman & Landis also provided stock scenery for the Schuberts’ newly acquired Great Northern Theatre in Chicago.

The Murat Theatre was a Moorish-revival style structure, with the building featuring minarets, terra cotta trim, and brown and yellow banding. In 1922, the structure was expanded to include an Egyptian-themed auditorium. Interestingly, it was planned prior to the discovery of Tutankhamen’s tomb that same year. The 2,500-seat auditorium offered a secondary performance venue, to the original 1,800-seat concert hall. Between 1948 and 1963, the venue was primarily used by road shows. In 1963 it became the home for the Indianapolis Symphony Orchestra. In 1968, the building was expanded; the addition collapsed after a fire in 1988.

Over the years, the building was known as the Murat Shrine Temple, Murat Shrine Theatre, Murat Theatre, and Old National Centre. It is now called the Murat Theatre at Old National Centre, located at North and New Jersey Street in Indianapolis. Noted at the oldest stage house in downtown Indianapolis, it is still in use. There are currently nine areas for hosting events, including the Egyptian room, the Corinthian Hall, the Corinthian annex, the Corinthian meeting room, the Great Hall, the Imperial Lounge (formerly known as the “Crowne Room”) and various lobby areas.

In terms of the Fraternity, the Ancient and Arabic Order of the Nobles of the Mystic Shrine was organized in Indianapolis during 1882, receiving a charter on June 4, 1884. Regular meetings were held at the old Scottish Rite at the Townsley and Wiggens Pork House; a space that I have written extensively about in past posts (see installments # 199-201, and 237). As a side note, Henry C. Tryon was the scenic artist responsible for the earliest scenery in the Indianapolis Scottish Rite where the Murat Shrine initially met; Tryon was later on the staff at Sosman & Landis and an asset to their Masonic projects at the time.

By 1909, the Indianapolis Shrine began the construction of the Murat Temple. Considering the reputation garnered by Sosman & Landis in 1909 and their connection with Tryon, it is not surprisingly that they received the contract for the Murat stock scenery collection. In terms of the architecture, the William P. Jungclaus Company used the designs of Murat Shriner Oscar D. Bohlen.

The theater opened on February 28, 1910, with Murat nobles and ladies treated to opening night; this became a tradition while the Schuberts leased the building. The theater had a seating capacity of 1,950 (lower floor, 1155, balcony, 624, and boxes, 24). Located on the ground floor, the space was illuminated with electricity (110-220 D.C., 1,500 Amp.). The proscenium opening measured 40×36 ft. with a depth of 40 ft. from the footlights to the back wall. There were 91 feet between the side walls and a 3 ft. apron. It was 76 ft. from the stage to rigging loft and 31 ft. from the stage to fly gallery.  The Cahn-Leighton Official Theatrical Guide for 1912-1913 Season listed the theater as the “Schubert-Murat Theatre” managed by Fred J. Daily.

Here is an interesting link to the Murat Shrine: https://www.muratshrine.org/PP_history.php

To be continued…

In 1910, Thomas G. Moses wrote, “We did an elaborate set for Mme. Butterfly for the Aborn Opera Company at McVicker’s.” The “Gibson City Courier” noted the production’s “special scenery of unusually beautiful design” (6 May 1910, page 6).

On May 6, 1910, “The Daily Herald” reported, “ ‘Madame Butterfly,’ the most popular of the modern reperatory of operas, will be used by the Aborn Grand Opera Company to inaugurate their season of grand opera in English at McVicker’s Theatre, Chicago, Sunday night, May 8” (Arlington Heights, Illinois, page 9). Other shows that season included “Il Trovatore,” May 15; “Faust,” May 22, and “Aida,” May 29.

The “Daily Herald” also noted, “ Edward Temple, stage manager at the wonderful New York Hippodrome for three years, and for many seasons stage director at the Metropolitan Opera House in New York, has been engaged to stage the grand operas in English, which will be heard at McVicker’s Theatre, beginning Sunday, May 8, with a production of Puccini’s ‘Madame Butterfly” (15 April, 1910, page 5).

The cast included Dora De Fillippe in the title role, with Joseph Sheehan playing the role of Pinkerton. Other performers in the cast included Ethel Dufre Houston, Ottley Cranston and Chevalier N. B. Emanuel.

The “Daily Herald” reported, “There has never been an attraction in Chicago which has received such an enthusiastic praise as has the Aborn Grand Opera Company in its performances of grand opera in English at McVicker’s Theater, Chicago…The critics of Chicago, without exception, have talked of the wonderful orchestra, the complete mise-en-scene, the splendid principals, the adequate scenic production and the excellence of the big chorus employed by the Aborn company.”

Prices for the production in Chicago were the standard 25 cents, 50 cents, and 75 cents with $1 options.

The Aborn Opera Company was active from 1895 until 1922. Founded by Milton and Sargent Aborn in New York City, the company toured extensively across the country. The two brothers began as theater managers in 1885.

To be continued…

In 1910, Thomas G. Moses wrote, “We did a very unique exhibit for the Cement Show.  A model farm, imitation of cement.  It was very interesting and finished very good.”

He was referring to the third annual convention for the National Exposition of American Cement Industries. The Cement Show was held at the Coliseum in Chicago and ran from February 18 to the 26. Educational in its nature, the event was intended to illustrate and explore the various uses of cement and concrete. Millions of pounds of material were used in exhibits ranging from crude products to floating boats that could carry a great weight (Chicago Tribune, 18 Feb. 1910, page 9). There were concrete burial vaults, water tanks, fences, silos, curbs, homes and other exhibits such as the model farm that Moses mentioned (Chicago Tribune, 20 Feb. 1910, page 6).

The show included a series of lectures to inform the public, by word and picture, the varied uses and economic advantages of cement. Lecture topics included small farm uses of concrete, how to build a concrete silo, concrete sidewalks, concrete bridges and culverts, concrete in seawall construction, concrete in factory construction, artistic uses of concrete, concrete sheets and floors, concrete tanks, cement stucco, concrete surface and finish, concrete piles, concrete poles, concrete drain, tile and pipe construction, and the basics of mixing and placing concrete.

There were an estimated 100,000 people who attended the event from all over the country that year. Exhibitors filled the entire first and second floors the Chicago Coliseum, including both floors of the annex. There were other meetings of allied interests also scheduled to coincide with the Cement show, including the American Society of Engineering Contractors, the National Association of Cement Users, the National Builder’s Supply association, the Illinois Association of Municipal Contractors, Northwestern Cement Products association, and the Interstate Cement Tile Manufacturers association.

On February 20, 1910, the “Inter Ocean” reported, “The cement show is simply a competitive exhibition for showing the purpose of showing the progress of the industry. Through the combined efforts of the manufacturer and the user it has reached its present high state development. No really great invention ever reached perfection through the work of one man, but through the results of the advice and criticism of the public. Knowing this fact, it is apparent how great a benefit to the entire industry is a competitive exhibition of this kind and size” (page 11).

The article continued, “Record attendance was attained last evening when the largest crowd that has ever attended a cement show thronged the aisles. The most interesting attraction was the second floor of the Annex, where Percy H. Wilson, secretary of the American Portland Cement association, is conducting a moving picture display and lecture. Exhibitors yesterday reported numerous sales as a result of the first business session. One concern closed a contract for 50,000 barrels of cement to be used in constructing a dam on a ranch in the West”  (page 11).

President Edward M. Hagan and his associates of the Cement Products Exhibition company were responsible for the annual exhibition. In 1910, their plan was to take the Chicago event to Madison Square Garden for the week of Dec. 12.

To put the use of cement during 1910 in context: In 1880, only 42,000 barrels of cement were manufactured nationwide.  In 1909 that number increased to 60,000,000 barrels (Chicago Tribune, 18 Feb. 1910, page 9). 

To be continued…