Amusement Park Entertainment

Tales from a Scenic Artist and Scholar. Part 1117 – Thomas G. Moses and White City Work, 1921

In 1921 Thomas Gibbs Moses wrote: “White City work starts early in May and we had plenty of it.” Chicago’s White City Amusement Park was located at 63rd Street and South Parkway. In many ways it was Chicago’s answer to New York’s Coney Island. Named after the white lights that lined many of its buildings, there were other White Cities built across the country during the first two decades of the twentieth century.

Each amusement park offered ample opportunities for scenic artists and studios. Imitations of popular attractions, were repeated over, and over again, mainstays at each venue. For example, Luna Park’s “A Trip to the Moon” became White City’s “A Trip to Mars.” Most attractions and rides relied heavily upon scenic illusion and scene painting. Every year, Sosman & Landis completed projects for White City attractions across the country. Like grand circus spectacles, it was work that the studio depended upon.

*Note the scenic art on the exterior for the Maid of the Mist attraction*

Popular features at Chicago’s White City included “A Trip to Mars,” “Fire and Flames (the Chicago Fire),” “The Johnstown Flood,” “the Canals of Venice,” “Temple of Palmistry,” “Catacombs,” “The Third Degree,” “Infant Incubators,” “Midget City,” “Jewell’s Manikins,” and a whole host of other attractions and activities.

*Devil’s Gorge attraction at White City*

*Fire and Flames attraction at White City*

There was also a vaudeville theater on the grounds, stocked with scenery for vaudeville acts and concerts. Since the park’s opening in 1905, Sosman & Landis produced scenic elements for dozens of projects at the venue, most under the direction of Moses. During the park’s second season in 1906, an open-air amphitheater was erected with a seating capacity of 12,000. That year Soman & Landis delivered scenery for the outdoor spectacle, “The Last Days of Pompeii.” In 1909 Moses again recorded delivering scenery for another massive White City spectacle, “The Fall of Messiah.” From simple signs to outdoor displays, painted elements were in constant demand at White City.

Scenic studios accepted all kinds of projects to keep the shop doors open. They relied heavily upon a diverse clientele and a range of projects. In short, this diversification meant they could weather many storms, and survive economic downturns. War, pandemics, and other disasters may postpone theatre projects, but it did not necessary leave scenic artists without work. Legitimate theater was just one of many clients for a scenic artist. Amusement park attractions, charity balls, and other non-theatrical projects also required painted panoramas, platforms, props and scenic elements. Scenic studios were uniquely positioned to deliver themed environments for a variety of uses. In some ways, scenic studios followed the itinerant artist approach; accept any painting work that you can gets your hands on. Whether carriage painting, sign painting, ornamental painting, house painting, or drop curtains, all painting was good work.

In regard to White City projects in 1921, it is difficult to determine the exact work that Moses mentions in his memoirs. That year, there were many events held at the amusement park, including a series of professional ball games. However, White City advertisements during the spring of 1921 included a big entertainment at the Terrace Garden. On May 25, 1921, the “Chicago Tribune” published a notice in the Amusements section for “The Garden Follies.” This “Edition De Luxe” was called the “Spring Frolics, a riot of color and flash, beauty, fashion, song and dance” (Chicago Tribune, 25 May 1921, page 19). Advertised as a “a big outdoor feature” it was free to the public. There were both afternoon and evening performances on Saturday, Sunday and Decoration Day. Even Frederick Do Bell was part of the event with advertisements stating, “He’ll Make You Gasp!” Do Bell was a high wire artist, marketed as the “electronic wizard of the high wire.”

Variety acts in an outdoor setting suggest that vaudeville was adapting to the times too, taking their acts to a new level.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1050 – Frederick Ingersoll and Rendezvous Park, 1920

In 1920, Thomas G. Moses wrote, “A good order from Ingersoll for a lot of park work was very welcome. I started it at once so as to be ready on him.”

Thomas G. Moses first worked for Frederick Ingersoll in 1905.

That year, Ingersoll was involved with the construction of a new amusement park in Atlantic City, Rendezvous Park (Intelligencer Journal, 25 May 1920, 15). Rendezvous was built at a cost of $2,000,000 in 1921 by the Boardwalk Company. The property site was located in the heart of the big hotel district, near Ambassador, the Marlborough-Blenheim, and the Traymore. It had a frontage on the Boardwalk of 150 feet and a depth of 648 feet. The Pennsylvania Railroad unloaded passenger trains near the front entrance of the park, while the Reading and interurban lines were located only a black away.

Ingersoll Engineering & Constructing Co. was responsible for building Rendezvous Park.

Advertisements during the planning and construction of the park reported, “The construction will be handled by the Ingersoll Engineering & Construction Company, famous throughout the land for its work in this field. Notable examples of the craftsmanship of Ingersoll builders are to be found in all the greater American amusement parks including Riverview, Chicago; Euclid Beach, Cleveland; Kennywood, Pittsburgh; Chester, Cincinnati; White City, Chicago; Rever Beach, Boston; Hanlon’s Point, Toronto; Belle Isle Bridge Approach, Detroit; Idora, Oakland, Cal.; Venice, Los Angeles; Forest Park Highlands, St. Louis; Lakeside, Denver; Savin Rock, New Haven; and a great many other places throughout the country” (Pittsburgh Press, 24 May 1920, page 7). Here is a great article on Rendezvous Park: http://lostamusementparks.napha.org/Articles/NewJersey/RendezvousPark.html

Frederick Ingersoll (1876 – 1927) was an American inventor, designer, builder and entrepreneur. He created the world’s first chain of amusement parks. Ingersoll, was also known as “the father of the American roller coaster” (Des Moines Register, October 24, 1927, page 1). One of five brothers, Ingersoll started out as a designer, with Ingersoll Construction Company initially focusing on the “figure eight” coaster, scenic railways and Shoot-the-Chutes.

Moses first recorded working for Ingersoll in 1905. That year he wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park” (see past post #493). Cleveland’s Luna Park operated from1905 to 1929. The park was located on a 35-acre site, bounded by Woodland Avenue, Woodhill, Mt. Caramel, and East 110^th Street. Ingersoll opened other Luna Parks across the country; all were independent from Frederick Thompson’s original Luna Park on Coney Island. However, Ingersoll replicated many of the famous attractions from Coney Island, such as the Old Mill ride, Fire and Flames, Coasting the Gorge, Trip to the Moon, miniature railways, the Circle Swing and Infant Incubators.

Advertisement for Ingersoll’s Luna Park in Pittsburgh. From the “Pittsburgh Press,”18 June 1905, page 34.

In 1906, Moses briefly partnered with Will Hamilton to produce scenery for attractions at Ingersoll’s Luna Park in Pittsburgh. He wrote, “Did some designs for a Park in Pittsburg for my old partner Hamilton. I did them in black and white, rather effective” (see past post #554).

During Ingersoll’s lifetime, he owned and operated 44 amusement parks. However, it was not an easy ride. In 1908, Ingersoll declared bankruptcy and was forced to sell Luna Park in Cleveland. By 1911, the “Boston Globe” announced, “Frederick Ingersoll, well known throughout the country as an amusement proprietor, filed a voluntary petition in bankruptcy in the U.S. district court today. His assets are three suits of clothes valued at $75 and liabilities are $179,668.94” (June 8, 1911, page 17). He never really bounced by from the financial instabilities associated with his amusement parks.

Tragically, Ingersoll took his own life in 1927. Newspapers across the country reported that Ingersoll was found dead in a concession stand at Krug Park, Omaha. Articles reported that the doors and windows were tightly closed, and an open gas jet filled the room with its fumes. The county coroner convinced that death was self-inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill health.

On April 28, 2019, the “Akron Beacon Journal” reported, “A historical marker dedicated Saturday in a ceremony by the Heinz History Center, American Coaster Enthusiasts (ACE) and the Pennsylvania Historical Society & Museum Commission notes the contributions of coaster builder and amusement park entrepreneur Frederick Ingersoll.” Here is a link to the rest of the article:https://www.newspapers.com/image/589458591/?terms=%22Frederick%2BIngersoll%22

To be continued…

Tales from a Scenic Artist and Scholar. Part 1003 – Fred Ingersoll and the Coliseum of Amusements, Detroit, 1918

In 1918. Thomas G. Moses wrote, “Went to Detroit to see Ingersoll about a lot of work he wants done.” Moses was referring to Manager Frederick Ingersoll, manager of Detroit’s Coliseum of amusement and many other entertainment venues.

Portrait of Fred Ingersoll, a client of Thomas G. Moses in 1918.

Fred Ingersoll (1876 – 1927) was an American inventor, designer, builder and entrepreneur, credited as “the father of the American roller coaster, responsible for more ups and downs in American merrymaking than any other man” (“Des Moines Register” 24 October 1927, the page 1). Starting out as a designer, Ingersoll Construction Company initially focused on the “figure eight” coaster, scenic railways and Shoot-the-Chutes.

Ingersoll also created a chain of amusement parks, and during his lifetime owned and operated 44 amusement parks. Moses first mentioned Fred Ingersoll, of Ingersoll Construction Company in 1915 when Sosman & Landis delivered painted scenery for the attractions at Pittsburgh’s and Cleveland’s Luna Parks; the first two parks in his chain. Ingersoll’s Luna parks are not to be confused with Frederick C. Thompson’s Luna Park on Coney Island. Moses also designed and delivered amusement park attractions to Thompson’s Luna Park.

On May 5, 1918, the “Detroit Free Press” announced, “Thousand’s Attend Coliseum Opening” (page 16). The accompanying article reported, “Boardwalk bigger and better than ever, is verdict. Better than ever and giving promise of maintaining its reputation as one of Detroit’s most popular places of recreation, the Boardwalk at Jefferson avenue and Belle Isle bridge, with the Coliseum of 25 amusements, opened for the season Saturday night. Responding to the announcement of the opening, thousands took advantage of the balmy spring evening and journeyed down to the breezes and take part in the hilarious fun that occupies every minute of one’s stay in the coliseum. Manager Frederick Ingersoll had taken particular pains to have everything in the best working order and to provide in all possible ways for the comfort and convenience of his patrons. The slides, the numerous ingenious contrivances that give thrills alike to those who venture upon them and onlookers, the mirth-provoking ‘theater’ and all the other stunts that have been devised to give clean, healthful pleasure alike to men, women and children were in full blast. Several new fun devices have been installed in the coliseum in addition to those of past seasons. The boardwalk will be open every evening and all-day Sundays, beginning today. Its variety of amusement, the modest price of admission, which entitles one to enjoy all the features, and its easy accessibility to all parts of the city and to Belle Isle bid fair to render of the mecca of merrymakers throughout the summer.” Ingersoll’s Coliseum of Amusements was located on Jefferson Avenue and was under the management of C. S. Rose.

I have written quite a bit about Moses’ work for Ingersoll in past posts. In 1915, Moses recorded, “A short trip to Detroit to see Fred Ingersoll. Closed a picture set for $1,500.00. He had a fine theatre.” Again, Ingersoll was the manager of Detroit’s Coliseum Theatre, a 450-seat venue at 4321 Hamilton Street that opened in 1916. In 1920, Moses still received work for Ingersoll, writing, “A good order from Ingersoll for a lot of park work was very welcome. I started it at once so as to be ready on him.”

Unfortunately, Ingersoll’s life came to an abrupt end in 1927. Newspapers across the country reported that he was found dead in a concession stand at Krug Park, Omaha. Articles reported that the doors and windows were tightly closed, and an open gas jet filled the room with its fumes. The county coroner convinced that death was self-inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill health.

In Des Moines papers, Ingersoll’s obituary remembered him as “the amusement park magnate who installed the roller coaster and other amusement devices at Ingersoll park, the vanished center of gayety once operated at Forty-eighth street and Ingersoll avenue. At that time, he was regarded as the foremost amusement park magnate in the country, with important financial interests in parks in Pittsburgh, Cleveland and Philadelphia, as well as Des Moines. At one time he operated five Luna parks in five eastern cities. Besides his interest in the Omaha amusement park, Ingersoll was associated with similar enterprises in Lincoln, Neb. and Detroit. At the time of his death, he has lived for the last eight years in Omaha. Among amusement men, Omer Kenyon of the Garrick Theater said last night; Ingersoll was regarded as the foremost amusement park promoter in the country. To Ingersoll is given credit for the discovery, long before the airplane became a more practical imitation of a bird’s flight, that American’s like the thrill of bird-like soars and dips and glidings. His inspiration led to the rapid blossoming of gaunt white roller coaster structures on the outskirts of most American cities of any size. Later he extended his idea to other thrillers, such as whirling chairs, crack-the-whip rides, and swift revolving swings, on which zestful men and women spent three or four exhilarated minutes for 10 to 15 cents.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 904 – Thomas G. Moses and Frederick Ingersoll, 1915

In 1915, Thomas G. Moses wrote, “Some of our early work for the season was a black and white window decoration, rather effective. A small church job for Sterling, my hometown. Another job for Youngtown, Ohio, followed by one for Akron, Ohio. A short trip to Detroit to see Fred Ingersoll. Closed a picture set for $1,500.00. He had a fine theatre.” In Detroit, Ingersoll managed the Knickerbocker Theatre.

Advertisement for Detroit’s Knickerbocker Theatre. From the “Detroit Free Press,” 5 Sept 1915, page 49.

A picture setting incorporated elaborate painted settings for a projection screen, complete with a painted surround, tormentors, wings and borders.

An example of a picture setting, such as the one mentioned by Thomas G. Moses in 1915. That year Sosman & Landis delivered a picture set to Fred Ingersoll.

Frederick Ingersoll (1876 – 1927) is the focus of today’s post. Ingersoll is remembered as an American inventor, designer, builder and entrepreneur. He created the world’s first chain of amusement parks. These are the same Luna Parks that featured many painted attractions by Sosman & Landis artists. The chain of Luna parks is not to be confused with Frederick C. Thompson’s Luna Park on Coney Island. Moses mentioned Fred Ingersoll, of Ingersoll Construction Company, as the studio delivered painted scenery for attractions at the Luna Parks in Pittsburgh (see past post #554) and Cleveland (see past post #493); these were the first two parks in his chain. During Ingersoll’s lifetime, he owned and operated 44 amusement parks.

One of five brothers, Ingersoll was born in New Jersey. Starting out as a designer, Ingersoll Construction Company initially focused on the “figure eight” coaster, scenic railways and Shoot-the-Chutes.

On October 24, 1927, the “Des Moines Register” credited Frederick Ingersoll as “the father of the American roller coaster, responsible for more ups and downs in American merrymaking than any other man” (page 1). The exciting journey of Ingersoll’s exciting life came to a tragic end in 1927. Newspapers across the country reported that Ingersoll was found dead in a concession stand at Krug Park, Omaha. Articles reported that the doors and windows were tightly closed and an open gas jet filled the room with its fumes. The county coroner convinced that death was self inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill health.

In Des Moines, an article announcing his passing noted, “Ingersoll is well remembered here as the amusement park magnate who installed the roller coaster and other amusement devices at Ingersoll park, the vanished center of gayety once operated at Forty-eighth street and Ingersoll avenue. At that time he was regarded as the foremost amusement park magnate in the country, with important financial interests in parks in Pittsburgh, Cleveland and Philadelphia, as well as Des Moines. At one time he operated five Luna parks in five eastern cities. Besides his interest in the Omaha amusement park, Ingersoll was associated with similar enterprises in Lincoln, Neb. and Detroit. At the time of his death, he has lived for the last eight years in Omaha. Among amusement men, Omer Kenyon of the Garrick Theater said last night; Ingersoll was regarded as the foremost amusement park promoter in the country. To Ingersoll is given credit for the discovery, long before the airplane became a more practical imitation of a bird’s flight, that American’s like the thrill of bird-like soars and dips and glidings. His inspiration led to the rapid blossoming of gaunt white roller coaster structures on the outskirts of most American cities of any size. Later he extended his idea to other thrillers, such as whirling chairs, crack-the-whip rides, and swift revolving swings, on which zestful men and women spent three or four exhilarated minutes for 10 to 15 cents.”

There are many articles about this early-twentieth-century amusement king. For more information, here are two links that present the life of this interesting Sosman & Landis client:

https://en.wikipedia.org/wiki/Frederick_Ingersoll

‘Round about Pittsburgh: Local Man Revolutionizes Amusement Park Industry

To be continued…

Tales from a Scenic Artist and Scholar. Part 844 – McVicker’s Vaudeville Theatre, 1913

In 1913, Thomas G. Moses wrote, “Started a lot of work for McVicker’s Theatre – that was in June. I did all the exterior drops.”

The venue had changed hands again, and Moses created a set of scenery for the new lessees of the new “McVicker’s Vaudeville Theatre.” The well-known Chicago establishment had just become a combination house. McVicker’s Theater, located on West Madison Street, near State, was once considered the oldest playhouse in Chicago.

From the “Chicago Tribune,” 27 Aug 1913, page 8.

On May 10, 1913, “The Lancaster Intelligencer” reported,

“OLD THEATRE IN FILM RANKS

Chicago’s Fire-Baptized McVickers Sold for $500,000.

McVicker’s Theatre, Chicago’s historic playhouse, which has passed through five fires, including the great fire of 1871, and which has been rebuilt or remodeled after each fire, passed from the ‘legitimate’ on Thursday when it was sold to a moving picture firm for $500,000.”

The Jones, Linick & Schaefer circuit began leasing McVicker’s Theatre in 1913, presenting “popularly priced” vaudeville acts along with motion pictures. The ticket prices were 10,15 and 25 cents, an affordable option when compared with legitimate theater and you could stay as long as you wanted from 1p.m. to 11p.m. (Post-Crescent, Appleton, Wisconsin, 9 May 1913, page 7).

From the “Inter Ocean,” 14 Sept 1913, page 32.

The firm’s partners were Aaron J. Jones, Adolph Linick and Peter J. Schaefer, They first established their firm in 1899, leasing Keebler & Co., a store on Clark Street just south of Madison Street, and establishing a penny arcade. As their operation grew, Jones, Linick & Schaefer became primarily interested in entertainment, running amusement parks and theaters. They eventually managed the Orpheum Theatre on State Street, opposite of the Palmer House (Chicago Tribune, 5 Jan. 1913). By 1913, the firm operated eight Chicago theaters.

On April 29, 1913, the “Chicago Tribune” announced, “All arrangements for the acquisition [of McVicker’s and the Colonial] have been made…The Jones, Linick & Schaefer people will open a vaudeville booking agency of their own on Thursday in offices in the Orpheum Theatre building in State street, in preparation for the increased business. They have been booking from the Western Vaudeville Managers’ association” (page 3).

From the “Chicago Tribune,” 1 Aug 1913, page 12.

On May 22, 1913, the “Washington Herald” reported, “Jones, Linick & Schaefer, Chicago’s new theatrical triumvirate, who practically dominate the popular vaudeville and moving picture field in the Windy City, have just signed a contract with the Kinemacolor Company of America to install the original nature-colored features of the vaudeville bills at the Colonial and McVicker’s Theatres, their latest acquisitions…Both are located in the heart of “The Loop,” and their cosmopolitan patronage demands the best and latest novelties. Kinemacolor scored such popular success at the Willard, Wilson, and other theaters of their circuit that Jones, Linick & Schaefer decided to make it a permanent feature of their vaudeville bills. In this they were following the example of F. F. Proctor, William Fix, Oswald Stoll, and other leading showmen of America and England” (page 11).

“Moving Picture World” published an article about Jones, Linick & Schaefer, commenting that moving pictures were replacing all other vaudeville at the Willard Theatre by 1914. The article, “Picture Programs Supplant Vaudeville in the Willard” noted, “Vaudeville has been withdrawn from another of the Jones, Linick & Schaefer houses – the Willard, at Fifty-first street and Calumet avenue. The Willard was closed Sunday night, Jan. 18 to make the necessary changes for straight picture programs. A $10,000 organ will be installed. It will be reopened Monday, Jan. 26. ‘There is no significance in this change, ‘said Mr. Linick. ‘Our patrons in that neighborhood prefer moving pictures to vaudeville, and we’re trying to give then what they want. The price will be ten cents, as against the ten-twenty-thirty we charged for vaudeville. Our downtown houses, the Orpheum, La Salle, Colonial and McVickers will go along just as they have been” (Sat. January 14, 1914, page 551).

Moses would also deliver scenery to the Colonial Theatre, also managed by Jones, Linick and Schaefer. In 1913, Moses wrote, “ “A good, big contract for the Colonial, city– a very complete set.” The addition of “city” means that it was a complete city setting for the theater, a perfect setting for many vaudeville acts.

To be continued…

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…

Tales from a Scenic Artist and Scholar. Part 755 – Frederick Thompson’s “Girlies” at the New Amsterdam Theatre, 1910

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…

Travels of a Scenic Artists and Scholar: W. F. Hamilton, inventor

William F. Hamilton was not only a well-known scenic artist, but also an inventor of stage effects. Manager Charles H. Yale purchased Hamilton’s “The Dance of the Elements” in 1900. Hamilton’s attraction was added to Yale’s annual production of “The Everlasting Devils Auction.” Yale created a new edition of the production each season, advertising, “New and timely matter, clever novelties, original ideas in scenery and costumes, imported and native artists in all branches of the profession, sumptuous ballets and features that were exclusive to this attraction” (“The Montgomery Advertiser, Montgomery,” Alabama, 14 Sept. 1902, page 11). By 1902, the “Everlasting Devil’s Auction” announced it’s twenty-first edition. Each year, announcements advertised that existing acts were replaced with “new ideas, features, scenery, costumes, and mechanical effects.”

Poster advertising Chas. H. Yale’s Everlasting “Devil’s Auction.”

The “Indianapolis Journal” reported, “Mr. Yale has bought outright from the Inventor, W. F. Hamilton, for presentation solely with this attraction, a new electrical sensation entitled ‘The Dance of the Elements.’ The paraphernalia employed in this scene are elaborate and intricate, and is developed by two clever dancers, who, costumed as the Elements Pirouette among real rain, snow, gold storms and cyclones, these effects being aided by the introduction of a number of new ideas in electric lighting and a multiplicity of harmonious coloring, abetted by special scenic investiture, forms one of the most beautiful light and color ideas that has yet been discovered for theatrical use” (The Dayton Herald, 28 Nov. 1900, page 7).

The sale of this invention occurred the same year that Moses partnered with Thomas G. Moses to establish a scenic studio. From 1900 to 1904, the two ran a very successful studio in New York, creating stage shows and amusement park attractions. The partnership ended when Joseph S. Sosman and David H. Hunt lured Moses back to Sosman & Landis’ Chicago studio. When Moses returned to Sosman & Landis, he was promised complete control over design, construction, and delivery of all projects, plus a share in the company. Moses recorded that Hamilton was devastated with the closing of their business, writing, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it, as he saw his meal ticket slipping away.” In addition to numerous theatre installations, Moses & Hamilton had created several outdoor attractions to Coney Island, including “Trip to the Moon,” “20,000 Leagues Under the Sea,” “Fire and Flames,” “The War of Worlds,” and many others. They also designed and ran the own Coney Island attraction, “The Devil, the Man and the Maid.” As with “The Dance of the Elements,” this successful design was purchased by another manager to run.

Hamilton continued in the amusement park business after Moses headed back to Chicago. In 1904, “The Courier” reported, “W. F. Hamilton, the well-known scenic artist has secured a large tract of land in Winthrop, Mass., facing on the water, where another Luna Park will be created on a more extensive and elaborate scale. A syndicate of capitalists is going to assist Mr. Hamilton in promoting the affair, and by next May, Boston will have a summer place of amusement larger and finer than anything on exhibition at Coney Island. Architects are now busy completing the plans, and the work is expected to begin within a week. The eccentric character Verno, says we are to have Luna Park, a ‘Pike’ or something of the kind on Island Park next summer. The only evidence of it is the stone ‘pier’” (Harrisburg, PA, 13 Nov. 1904, page 9).

Two years later Hamilton was establishing another amusement park in Pittsburgh. In 1906, the “Pittsburgh Press” reported, “W. F. Hamilton of New York, who has built a number of such great playgrounds, and who is a scenic artist of national reputation, has charge of the latest Pittsburgh Park project” (18 Feb, 1906, page 22). The new pleasure land being laid out on Jacob Weinman’s property was called “Dream City (4 Feb 1906, page 2). “Dream City” was to be a “veritable fairyland of color light and architecture.” Weinman, of Pilkinsburg, was the president of the Dreamland Amusement Co. of Pittsburgh and W. F. Hamilton, the manager. Articles noted that Hamilton had “a force of men busily preparing the foundation and sewering the tract of twenty acres for the new amusement park that spring.” The article continued that Hamilton promised he would give the people of Greater Pittsburgh “an amusement park not excelled in completeness and quality of attractions this side of the Metropolis.” Besides the standard amusement park attractions at Dream City, a picnic ground was planned, with rustic bridges, pavilions, and benches, to “bring delight to the seeker after pleasure and nature alike.”

When Hamilton took the position of manager of Pittsburgh’s Dream City, the newspaper commented, “In W. F. Hamilton, the projectors of the new park have a man who is note excelled in his line of any amusement park promoter in the country. He is not only a practical contractor but he is a finished scenic artist and constructor, and in addition has some expert knowledge of the laying out of landscape gardens. He was associated with Thompson & Dundy in the first production of their spectacle and show, ‘A Trip to the Moon” as designer and constructor.

After spending approximately three decades in the East, however, Hamilton moved to San Francisco. He followed the work, as many other theatre professionals. In California, all of Hamilton’s creativity was focused on a new type of production – the Shrine Circus.

To be continued…

Tales from a Scenic Artist and Scholar. Part 601 – “Custer’s Last Rally” at Ravinia Park

Part 601: “Custer’s Last Rally” at Ravinia Park

In 1908, Thomas G. Moses wrote, “I closed a contract for ‘Custer’s Last Rally’ at Ravinia Park for $3,150.00. It was a big show.”

Ravinia Park opened in 1904 on land purchased by A.C. Frost. It was intended to be a year round amusement park, complete with a pavilion, theater, spectator stadium, casino, skating rink, slide and a small hotel.

Although he referred to “Custer’s Last Rally,” he likely meant “Custer’s last stand fight spectacle” that was included in the 108Ravinia Park production – “The Battle of Little Big Horn.” Moses’ show was possibly held in the spectator stadium as a large outdoor spectacle.

The “Chicago Tribune” reported, “The ‘Battle on Little Big Horn’ – the Custer’s last stand fight spectacle – is drawing better than ever” (Chicago Tribune, 28 June 1908, page 64). The newspaper also noted that the three-act spectacle had considerably changed and was “a great deal improved.”

Postcard of Ravinia Park entrance, circa 1908. Published by The Rotograph Co. in Germany. Highland Park Historical Society

Ravinia park reopened during June of 1908 after the park shifted management. Early in 1908, an interesting article appeared in the “Chicago Tribune” – “Ravinia Park to Continue as an Amusement Resort. North Shore Pleasure Ground Will Be Operated Under a Lease, with Its Customary Features.”

The article reported, “Speculation as to the effects of the tangle of the affairs of the Chicago and Milwaukee electric road upon the management of Ravinia park was ended yesterday by an announcement that the park will be operated next summer under a lease.

Ravinia Park main entrance with theater in background

President A. C. Frost built the park, as an adjunct to the trolley line, at an expense of $300,000. It never has been a profitable enterprise, for no outlay has been spared in giving the north shore suburbs the highest class entertainment procurable, chief among which have been the concerts of the Thomas and Damrosch orchestras.

It is expected that they extensions of the Northwestern elevated railroad of the Evanston terminal of the Milwaukee electric next summer will increase the number of park patrons to an extent that will make a continuation of this program possible.

Bion J. Arnold’s report of the expense of completing the Frost road into Milwaukee will be submitted today to the receivers. It will verify the estimates of the engineers of the road that about $600,000 is needed for the work” (Chicago Tribune, 18 Feb, 1908, page 7).

The park lease receiver was George M. Seward. Seward announced that the park would reopen June 20, 1908. The park was open by June 5. Admission to the park was set at twenty-five cents, with reserved seats in favorable locations costing an additional fifty cents to a dollar. On May 1, 1908, the “Inter Ocean” announced that park tickets would be available for sale in books of forty for $10.00. The hope was that 2000 books would sell in the first few days, helping the financial situation of the park (Inter Ocean, 1 May 1908, page 9).

Unfortunately, by 1910 the railroad failed and the property went into receivership. It was a group of North Shore residents who believed in the potential of Ravinia Park, purchasing the park and founding the Ravinia Company. The Company was under the leadership of philanthropist Louis Eckstein, who served as impresario for 20 years.

Ad for Ravinia Park from the Chicago Tribune, 21 Aug 1908, pg4

The park reopened in 1911, featuring classical music in the summer. Opera was added in 1912 and Ravinia soon gained the reputation as “America’s summer opera capital.” The park only went silent for five years during the great depression, but reopened by 1936. Today, Ravinia is internationally known for its music festivals. Here is the link to Ravinia Park: https://www.ravinia.org/Page/AboutUs

To be continued…

Tales from a Scenic Artist and Scholar. Part 598: – “Polly of the Circus”

Part 598: “Polly of the Circus”

In 1908, Thomas G. Moses wrote, “I started ‘Polly of the Circus’ for Fred Thompson. When completed I went to Troy, New York, to put it on. Everything was good. “

The “Washington Times” reported, “Frederick Thompson, who has recently branched out as a producer of plays and who is to present for the first time on any stage, ‘Polly of the Circus,’ at the National, December 9, was the manager of the Pan-American Exposition at Buffalo. Mr. Thompson also founded and constructed the famous Luna Park, Coney Island, the most gigantic outdoor amusement place in America. He is thirty-two years of age” (Washington, D.C., 1 Dec. 1907, page 36).

Moses first mentions working for Thompson in 1901. That year, he wrote, “We had the contract for the ‘Trip to the Moon,’ a big amusement park novelty owned by Thompson and Dundy.” In 1902, Moses completed another project for Thompson, creating the attraction “20,000 Leagues Under the Sea” his new amusement Park on Coney Island – Luna Park. Moses and his partner Will F. Hamilton were involved in both painting the scenery and engineering some of the scenic effects for this wildly popular ride.

By 1908, Thompson still sought out Moses to manufacture his theatrical vision for “Polly of the Circus.” Moses would have been a natural choice, especially in light of his recent work for Ringling Brothers’ circus spectacles. The scenic requirements for the production ranged from a Midwestern parson’s home to spectacular acts under the big top. On June 26, 1907, the “New York Times” reported, “Mabel Taliaferro, who is to appear next season in the leading role in “Polly of the Circus,” left yesterday for Albany with her husband, Frederick Thompson. The object of her trip is to get the proper ‘atmosphere’ for her part in the circus play. She will be the guest of John Ringling of the Ringling Brothers’ Circus” (page 7).

“Polly of the Circus” was written by Margaret Mayo as a novel. Transformed into a in three act play with two tableaux for the stage, the “Sandusky Star-Journal” reported, “The play is a strange but pleasing conglomeration of humor, pathos and melodrama, and spectacular stage business. It runs strongly to the pathetic, but the vein of humor is prominent enough to overshadow the tearful effects” (Sandusky, Ohio, 28, 1907, page 8).

“Polly of the Circus” tells the story of trapeze artist Polly Fisher who is hurt while performing her act, falling fifty fett. Taken to the house of nearby minister, John Hartley, The doctor advises against moving her, and as she recuperates, Polly and the minister fall in love and secretly marry. However, when their marriage is discovered, John’s congregation rebels at having a circus woman as their minister’s wife, and he is fired. Seeing how miserable her husband is, Polly goes to plead for the bishop’s help, but he remains unmoved. She is willing to give John up, but is told that a divorced minister is equally unacceptable. Polly sees only one way out – as a widower, John could return to the church. She pretends that she has tired of her husband and returns to the circus, planning to have a fatal “accident.” John discovers her plan and arrives at the circus in the nick of time.

The original play opened in New York on 23 December, 1907 at the Liberty Theatre, 234 W. 42nd St. and ran for 160 performances until May, 1908. Mabel Taliaferro played Polly. The rest of the cast included Herbert Ayling, Joseph Brennan, Mattie Ferguson, John Findlay, Guy Nichols, Elsie St. Leon and Malcolm Williams.

Wildly popular, a third “Polly of the Circus” company was organized with Fay Wallace in the title role. The “Evening Star,” reported, “Miss Wallace took Mabel Talliaferro’s part in the piece during the recent illness of the latter” (Evening Star, Washington, D.C., 13 Dec 1908, page 27). It is possible that this was the production that Moses worked on during 1908.

Of located a program from the production when it was performed at the Illinois Theatre in Chicago during September 1908. Mable Taliaferro starred in the leading role of Polly. Fred Thompson was credited with the design of all scenery and effects. The show was built a the Luna Park Studios and Shop.

Here is the synopsis of the scenes:

Act I – Scene 1: The Pastor’s Study. (Night.) Scene 2: Bedroom Above Study. (Next Morning.)

Act II-Rear Garden of Parsonage Eleven Months Later (Afternoon.)

Act II-Scene 1: Behind the Scenes Adjoining the Main Tent. Scene 2: The Circus Scene 3: Circus Lot After the Performance. (Night.)

PLACE-A Small Town in the Middle West

Interestingly, the “New York Times” reported, “The circus performance on the stage was omitted from the production of ‘Polly and the Circus’ at the Liberty Theatre last night. Fred Thompson, under whose management the piece is offered, explained that he omitted the scene purely as an experiment on the advise of friends, but the scene will henceforth be included. ‘I followed the advice of people who said that the scene had been ‘dragged in,’ said Mr. Thompson. ‘However, many people said the same thing of the ship scene in Brewster’s Millions.’ And one experiment has convinced me my original plan was correct” (25 Dec. 1907, page 7).

There were two film versions of “Polly of the Circus.” In 1917, the film starred Mae Marsh and Vernon Steel. The 1932 film starred Marion Daves and Clark Gable. Here is a short clip showing Polly during her recovery at the minister’s house: https://www.youtube.com/watch?time_continue=3&v=et49CmRpycE

To be continued…