Amusement Park Entertainment – Page 2

Tales from a Scenic Artist and Scholar. Part 588 – “A Day in Japan” for the Pittsburg Exposition

Part 588: “A Day in Japan” for the Pittsburg Exposition

In 1908, Thomas G. Moses wrote, “Built a fine little show for Pittsburg Exposition “A Day in Japan.” I went down and put it on and started it off to good business. It was a little too classy.”

Advertisement for attractions and amusements at the Pittsburgh Exposition in 1908. From the “Pittsburgh Press,” 27 Sept 1908, page 34

A Day in Japan advertised as an amusement at the Pittsburgh Exposition, from the “New Castle Herald,” 8 Sept 1908, page 8

Moses was referring to one of the amusements at the Pittsburgh Sesqui-Centennial Exposition tha ran from July 4, 1908 to November 26, 1908. On June 21, 1908, the Honorable George W. Guthrie, mayor of Pittsburgh had issued the following proclamation that described the 150^th birthday celebration for the city of Pittsburgh:

“To the citizens of Pittsburgh: On November 25, 1758, the British and Colonial troops under the command of General John Forbes, took possession of the smoking ruins of Fort Duquesne, which had been abandoned the day before by the French and Indians. As the sun was setting, the British flag was raised by the brave Pennsylvanian, Colonel John Armstrong, in the presence of Washington, Forbes, Bouquet, Mercer, and other noted American and British soldiers, and the name of the great Pitt, whose genius had conceived the expedition, thus signally crowned with success, was conferred most appropriately upon the site between the Forks of the Ohio, which was long thereafter known as the Gateway of the West. On November 25th of the present year will occur the 150th anniversary of the permanent founding and naming of Pittsburgh, and it is most fitting that the event be celebrated in a manner appropriate to the city’s important history and its great growth and achievements in many lines.”

The planning for the celebration began during the fall of 1906. By spring of 1908, the plan was presented to Mayor Guthrie and the City Councils. After approval, twenty-eight committees, involving almost 600 individuals, made it possible for Pittsburgh’s celebration.

The Daily Republican reported “Among the amusements is the military spectacle of the Spanish-American war, which is a vivid reproduction of the blowing up of the ‘Maine’ and the historic battles; the scenic cyclorama, ‘A Day in Japan’: the Theatorium, and many other entertainments” (Monongahela, Pennsylvania, 6 Oct 1908, page 4). The “Sedalia Democrat” commented, “Among the new attractions in the main building are an electrical scenic cyclorama, ‘A Day in Japan’”, while he “Pittsburgh Press” advertised that it was “an electric novelty” (Sedalia Democrat, 2 Sept 1908, page 7, and Pittsburgh Press, 9 August 1908, page 6).

Postcard depicting exposition buildings in Pittsburg during 1908. Notice roller coaster by the bridge.

There is a lovely article about this project and Moses’ involvement that was posted in the “Pittsburgh Daily Post” on September 2, 1908 (page 8):

“Visitors Taken to Japan.

“A Day in Japan,” one of the most enjoyable entertainments of the Exposition, will transport spectators in an instant to the “Flowery Kingdom,” the realm of the Mikado. The wonders of electric lighting and manipulation are carried to a height rarely attained. A picturesque Japanese mountain village is shown nestling at the base of the historic, snow covered mountain, Fujiyama.

With scarcely conceivable realism, the soft radiance of moonlight, bathes the quiet scene, then the break of day, the white light of noonday, the yellow of late afternoon, the gradual coming of dusk and darkness, and the lighting of lamps within the dwellings, are portrayed with extraordinary faithfulness to detail.

A storm gathers, trees are tossed by the wind, lightning flashes and thunder of the preceding calm, is welcomed with relief.

The entertainment is not a moving picture show, nor an acted play. A model of a village taken from active life has been built on the stage, representing the minutest details of Japanese home life, in a style never before attempted. A pagoda, rising high in the foreground, occupied a skilled artisan many days in making it, so delicate is the workmanship.

No details of instructive value are omitted. The beauty of the production is extraordinary. The scheme of decoration in the Oriental style is carried into every detail. Even the ticket office is a structure quaintly built on lines of Oriental architecture. Its position in the gallery, midway down the main hall, on the Allegheny side, makes the entertainment a prominent feature of the Exposition.

A carefully prepared lecture accompanies the entertainment, as the scene shifts from night to day and back to night again. It has been the aim of the acting manager, Thomas G. Moses, vice-president of Sosman & Landis Company, of Chicago, to afford the maximum of both instructive and entertainment values.”

This was the first mention that I have discovered about Moses being vice-president of the company. He returned to Sosman & Landis in 1904 to manage the main studio, but his becoming vice-president is not mentioned in his memoirs. Perry Landis left the company in 1902 due to poor health. By 1904 Sosman was desperate for help in the studio, as he had assumed all of the sales responisbilities; those duties previously handled by Landis.

By 1915, immediately after Sosman’s death, Moses became the president of the Sosman & Landis. For me, this transition now makes sense in regard to the board of director’s decision to elect Moses president.

To be continued…

Tales from a Scenic Artist and Scholar. Part 570 – Cleopatra at Kansas City’s Electric Park

Part 570: Cleopatra at Kansas City’s Electric Park

In 1907, Thomas G. Moses wrote that he did one project “outside in the Electric Park.” He noted that it was a small Cleopatra production.

Main Entrance to Electric Park in Kansas City, Missouri

The Electric Park that Moses worked at was the second amusement park constructed by Joseph, Michael, and Ferdinand Jr. Heim, of Heim Brothers Brewery. It opened to the public May 19, 1907, and remained in operation until 1925 when it burned to the ground. The first Electric Park in Kansas City constructed by the Heim Brothers was built next to the Heim Brewery in 1899. At the time, Heim Brothers Brewery was the largest brewery in the world.

Heim Brewery with the first electric park in the distance.

The first Electric Park was open from 1899-1906. When the first park closed, some of the attractions were moved to the second Electric Park. Both parks were known for their illuminated buildings and considered trolley parks.

A scene from the first Electric Park in Kansas City, Missouri. The brewery in pictured in the distant right background.

Known as Kansas City’s Coney Island, the second Electric Park was served by the Troost Avenue, Woodland Avenue, and Rockhill lines of the Metropolitan Street Railway Company. The park featured band concerts, vaudeville theatre, a natatorium (outdoor swimming area), boat tours, soda fountains and ice cream shops. A variety of attractions included, an electric fountain, a ballroom, a German Village, and alligator farm, boat tours, and old mill ride, a scenic railway, a shooting gallery, ice cream shops, an air gun gallery, Chutes, Dips Coaster, Norton Slid, Hale’s Tour of the World, a Temple of Mirth, Flying Lady, Double Whirl, a carousel, pool room, penny parlors, Casino 5 Cent Theatre, fortune telling, palmistry, a covered promenade and horseless buggy garage.

A postcard of Electric Park in Kansas City, Missouri

The same scene at night. A postcard of Electric Park in Kansas City, Missouri

In 1911, one million people visited Electric park, averaging 8000 visitors a day during the season. It was the second Electric Park, however, that would prove inspirational to Walt Disney when he designed Disneyland.

When the park burned to the ground in 1925, a young Walter Cronkite witnessed the event. In his 1996 memoirs, “A Reporter’s Life” he wrote, “Our hill overlooked, a half dozen blocks away, Electric Park…One night after closing it burned in a spectacular fire. The Ferris wheel seemed to turn as the flames climbed up its sides. The grease caught fire on the two parallel tracks of the Greyhound Racer roller coaster, and twin blazes raced up and down with the speed of the cars that once toured the Disorderly conduct tumultuous circuit…”

To be continued…

Tales from a Scenic Artist and Scholar. Part 564 – Thomas G. Moses at the Jamestown Exposition, 1907

Part 564: Thomas G. Moses at the Jamestown Exposition, 1907

Postcard of the Jamestown Exposition, 1907

Map of the Jamestown Exposition grounds, 1907

1907 was a busy year for Thomas G. Moses at Sosman & Landis studio. However, he managed to get away for short trip with his wife Ella. They traveled east to visit the word fair in Norfolk and stayed for a few while so that Moses to do some sketching in West Virginia. Their travels included New York, Trenton, Philadelphia, Washington and Norfolk. They visited the Jamestown Exposition on September 27; it ran from April 26 to November 30 that year.

The Jamestown Exposition commemorated the 300th anniversary of the founding of Jamestown in the Virginia Colony on May 13, 1607. It was held at Sewell’s Point on Hampton Roads in Norfolk, Virginia, and celebrated the first permanent English settlement in America. The 367-acre site featured a port that hosted the rendezvous of more than 50 warships from around the world. Fourteen Nations were represented at the International Military & Naval Celebration. Sixteen warships from President Theodore Roosevelt’s newly modernized fleet were also in the harbor. On June 28, 1917, President Woodrow Wilson bought 474 acres for the base, including 367 acres of the exposition grounds. The site of the Jamestown exposition became part of the Hampton Roads Navy Base after World War I.

Final attendance numbers were recorded as 2,758,692 for total attendance, with 1,401,409 paying for entry. Admission prices were fifty cents for adults and twenty-five cents for children. Newspapers reported that actual attendance numbers did not meet anticipated projections. There were both logistical and financial problems, as with many world fairs in America; the fair did not generate the expected revenue and a government loan was required to finish the preparations. Toward the end, there was a bustle of activity, and as the opening deadline approached construction materials became scarce. This necessitated the erection of a sawmill on site. Unlike previous world fair delays where the opening was pushed back a few days, the arrival of the ships in the harbor meant there was no option for any postponement.

On the fairgrounds there was an amusement area was known as the “Warpath,” with the tag line “Meet us on the warpath!” Attractions included a wild west show, cycloramas of Gettysburg and Manassas, the “Temple of Mirth,” the “Beautiful Orient,” “Streets of Cairo,” Ferrari’s Wild Animal Show, “Destruction of San Francisco,” Baby Incubator, Deep Sea Diving, the “Klondike Gold Mine,” Princess Trixie and Paul Revere’s Ride, the Old Mill, “Fair Japan,” Colonial Virginia, the Ostrich Farm, American Monorail Exhibit, plus an Intra-Mural and Miniature railway concession. In 1975, twenty of the remaining exposition buildings were placed on the National Register of Historic Places as an entire historic district.

Of their visit to the Jamestown Exposition, Moses wrote, “Took the boat from Washington to Norfolk and had a delightful trip immensely, excepting that we found no art gallery in the exposition.” By this time, Moses was a member of both the Salmagundi Club in New York and the Palette & Chisel Club in Chicago, continuing with his fine art work. Previously on the trip, Tom and Ella visited the Carnegie Art Gallery, This was Moses’ first time to the Carnegie Art Gallery and he was delighted with the various artworks.

To be continued…

Tales from a Scenic Artist and Scholar. Part 561 – Sosman & Landis and Jamestown Flood for the White City

Part 561: Sosman & Landis and Jamestown Flood for the White City

I continue with the amusement park attractions described in White City Magazine. One article included information pertaining to the Johnstown Flood attraction with scenic contributions by Sosman & Landis studio.

The Johnstown Flood attraction entrance at White City Amusement Park in Chicago. The scenic spectacle was created by Sosman & Landis

The Johnstown Flood show initially appeared at the Pan-American Exposition in 1901. An article from “Snap Shots on the Midway” for the Buffalo Exposition advertised the Johnstown Flood attraction as “a scenograph, the logical evolution of the cyclorama, the diorama and the scenic theater, accomplishes the illusion, which is set on an ordinary stage and is in reality a performance in pantomime, where all the actors are what would be called in stage parlance, “properties.” It was transported to Luna Park at Coney Island where it was featured from 1902-1905. When White City was planned, key figures visited Coney Island during the planning phase to identify specific attractions that they would replicate for their own amusement park. One was the Jamestown flood, initially designed by Harley Merry. Other amusements parks also featured the Johnstown, such as White City in Louisville, Kentucky and Electric Park in Baltimore.

Johnstown Flood attraction in Baltimore, Maryland

The Johnstown flood attraction at White City in Louisville, Kentucky

Many amusement park attractions were based on staged versions of disasters. On May 31, 1889, a dam near Jamestown, collapsed and flooded the valley with twenty million tons of water. There was virtually no escape as everything was destroyed in the water’s path. Prior to destruction, Jamestown was one of the most prosperous manufacturing towns in Pennsylvania. Including its suburbs, the city had a population of 35,000 persons. Situated at the convergence of the Conemaugh Rover and Stony Creek, the reservoir was approximately fifteen miles northeast from Johnstown. After many days of heavy rain, the dam burst, spilling the entire contents of the reservoir and annihilating the entire town; thousands of lived were lost.

The entrance to Johnstown flood at White City, Chicago. The entrance is arch on the right.

For the White City Amusement Park, Sosman & Moses provided the scenery and effects for the simulated disaster. The White City Magazine included an article on the Johnstown Flood, advertised as “a special feature of the White City, “the most impressive and realistic of all scenic productions and constructed on a gigantic scale. A triumph of scenic art and startling realism.”

Here is the article in its entirety:

“Johnstown Flood. Grandest and Most Spectacular Scenic Production Ever Shown.

The Johnstown Flood, pronounced to be the greatest scenic production ever offered to the public, will be seen at White City.

It was first shown at the Pan-American Exposition at Buffalo, and it proved to the greatest success of many attractions of this great Fair. It is pronounced by experts to be far superior to the Galveston Flood shown at St. Louis.

The Johnstown Flood, which will be located in White City is a new one, with the scenic work by Sosman & Landis, and will be an improvement over the one at Buffalo. The entire city of Johnstown is shown, with the hills and great reservoir in the distance. This is not a painting, but each of the buildings of the city of Johnstown is truthfully reproduced in miniature. The production opens with the peaceful city of Johnstown with its citizens, commerce, and industry. Men and women are seen going about their pursuits, trains pass through the city, and teamsters are seen transferring freight, while pleasures vehicles drive through the streets. Then comes a storm, and the flood.

Small at first is the stream of water which trickles down the mountains in the distance; the alarm is given, and those who are fortunate enough to apprehend their danger are seen rushing for the hilltops. With a rumble that forebodes the death for hundreds of souls, the walls of the great reservoir give way and down into the valley rushes the tremendous volume of water which submerges the city and crushes great buildings like egg shells. Hundreds of persons are caught in the tremendous torrent and within a few minutes the city is devastated.

The production is correct in all details, the buildings being actual reproductions of those which crumbled beneath the great tidal wave.

The scenic effects are excellent and may be said to be a triumph of stage craft.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 560 – Ansel Cook and Venice for the White City

Part 560: Ansel Cook and Venice for the White City

Ansel Cook was once an employee of Sosman & Landis who worked with Thomas G. Moses between 1904 and 1907. Cook managed the 20th street studio, also called the Annex, during Moses absences in 1906 and 1907. Around that same time Cook created scenery for a “special feature” attraction at Chicago’s White City Amusement Park. Cook’s “Venice” was advertised as “a romantic gondola ride through the moonlit water streets of Venice; viewing correct reproductions of her famous buildings and statuary groups.”

Ansel Cook pictured in White City Magazine, 1905

There is a promotional book, White City Magazine, for the amusement park published in 1905. It describes Cook’s project in an article titled, “Scenery for Beautiful Venice.”

“SCENERY FOR BEAUTIFUL VENICE.

AN ENORMOUS QUANTITY OF IMPORTED CANVAS REQUIRED FOR MAKING THE PERSPECTIVE VIEWS

Ansel Cook, one of the most famous scenic artists in the United States and whose work is to be found in every first-class theatre, states that more canvas was required for constructing the perspective views which adorn the interior of Beautiful Venice, than was ever before used for any scenic work under one roof. Almost 10,000 yards of Russia sheeting, about 90,000 square feet, was imported direct from Russia because no dealer in this country could supply this enormous quantity. The canvas was used for the reproducing of scenes in Venice through which appear at a distance from the passenger in the gondola. That part of Venice through which the half mile of canals pass is actually built so that real palaces, groups of statuary, etc., are brought to view at every turn of the winding waterways, but the interior walls are hung with enormous panoramic paintings which carry out the effect for a distance of several miles.

In painting these panoramic views, Ansel Cook required the services of six associate artists and a small army of assistants. Their work lasted for a period of four months, during which time the entire force was kept busy practically day and night. The utmost care was exercised in order to give a perfect reproduction of Venice architecturally and in the color scheme. During a recent visit to the city of Venice, Mr. Cook carefully studied the details of ornaments, cornices and mouldings used on the buildings which have been reproduced for White City and he has correctly carried out the original designs in his work.

The wonderful perspective view of the Grand Canal, one of the most magnificent paintings ever produced on canvas, is about 30 feet high by almost 200 feet long. The size of this for an individual painting has rarely been exceeded. Particular care was taken to reproduce the animation and spirit of the busy scene presented to the sight-seer along the Grand Canal, with its host of gondolas, fishing boats with their bright colored sails, fruit barges, etc. Visitors to White City who experience the delights of a gondola ride through Beautiful Venice, will marvel at the life-like reproductions of these historic scenes, while those who are familiar with artistic efforts, will not hesitate to make frank acknowledgment of the excellence of the reproduction.”

A illustration in White City Magazine of a scene from Ansel Cook’s “Venice,” a gondola ride at White City in 1905

Ansel placed two ads in the same 1905 issue of the White City Magazine. The advertisement noted that Ansel Cook, “Scenic Artist, Designer, Originator and Constructor.” He was credited with Venice and the scenic railway projects in White City. The ad includes that Cook was, “now engaged in preparing the $60,000 reproduction of the CITY OF VENICE. Also the $50,000 scenery for the SCENIC RAILWAY at WHITE CITY, Chicago.” Other projects included Cooking being credited as “Designer and Constructor of the famous COAL MINE IN MINIATURE for the Fairmount Coal Co. of West Virginia (Highest Award), and the -wonderful exhibit of the Davis Colliery Co. of West Virginia (Gold Medal), at the Louisiana Purchase Exposition; the two principal features and most popular exhibits in the Mines and Metallurgy Building.” The article concludes that Cook was also the “Designer and Constructor of the Mural Decorations for the Dome of the State Capitol Building at Topeka, Kansas.” The White City Magazine advertisement notes, “Estimates Furnished on Entire Productions or Separate Scenes. When writing to advertisers please mention The White City Magazine.”

One of two advertisements for Ansel Cook in White City Magazine during 1905

Tales from a Scenic Artist and Scholar. Part 559 – Thomas G. Moses and Ansel Cook

Part 559: Thomas G. Moses and Ansel Cook

In 1907, Thomas G. Moses wrote, ““We opened our annex studio at 19 W. 20^th Street in July, and Ansel Cook went there as a manager.” Moses commented on Cook as a scenic artist, “He did some very good work but was a long time doing it, which, of course, didn’t pay us.” Moses divided his time between Sosman & Landis’ main and annex studios that year, in addition to being on the road a lot. After one extended absence from the annex studio, he wrote, “Took charge of the 20^th Street Studio on my return weeks. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” This is a pretty interesting observation made by Moses about Cook, as Moses was known for his speed. Anyone that dawdled or didn’t pull his weight was criticized by Moses.

I have found no information about Ansel Cook beyond his scenic art. Moses records that he was primarily a drapery painter who began working at Sosman & Landis studio during 1904. Prior to his time at Sosman & Landis, Cook worked as a scenic artist with stage mechanic Ben W. Craig for the Castle Square Theatre Company. Together they designed and built many shows from 1896 to 1902. Some of their projects included “The Ensign,” “Captain Swift,” “Rosedale,” “The Heart of Maryland,” “The New South,” “The Prisoner of Zenda,” “Caste,” “Men and Women,” “Mignon,” “Tannhäuser,” “The Prodigal Daughter,” “Darkest Russia,” “A Social Highwayman,” Cumberland 61,” “Col George of Mt. Vernon,” “Nell Gwyn,” “Cyrano de Bergerac,” “The Little Minister,” “Jim the Penman,” and “Quo Vadis.”

Castle Square Theatre production of Erminie with scenery by Ansel Cook. From the “Boston Post,” 6 Sept 1896, page 10

By 1905, Cook was working in Chicago, establishing Ansel Cook studios. In addition to painting under his own name, he was also working in the Sosman & Landis studio. This is similar to what Moses did at Sosman & Landis, taking many projects after hours. It also explains his advertisement in White City Magazine where he includes, “All the scenery in beautiful Canals of Venice at White City painted my me.”

Ansel Cook advertisement in White City Magazine, 1905

The Ansel Cook studio was mentioned in “Minneapolis Journal” as producing the accompanying painted backings for the first formal American production of Lorenzo Perosi’s La Risurrezione di Cristo, the Resurrection of Christ, at the Minneapolis Auditorium in 1905 (2 Sept. 1905, page 14). Perosi’s oratorio was part of the Banda Rossa program performed at the Auditorium during State Fair week, and included Gina Ciaparelli (soprano), Bessie Bonsall (contralto), Albert Quesnel (tenor) and Salvatore Nunziato (baritone) for the solo parts.

30×40 paintings for the American premiere of Pelosi’s oratorio were created by Ansel Cook. From the “Star Tribune,” 3 Sept 1905, page 31

Cook’s compositions included “Mary at the Tomb, the meeting between the Savior and Mary Magdalene, the meeting of the Saviour and the Disciples on the Road to Emmaus, the Savior in the Multitude and the Ascension Scene” (Minneapolis Journal, 2 Sept. 1905, page 14). The “Minneapolis Journal” article described, “As the music progresses, these views, each 30×40 feet, with the wonderful electric lighting effects, are dissolved one into another. The effect is intensely interesting, and the mind, acted upon alike by the music and the pictures, is almost overwhelmed by the reality, the beauty and the solemnity of the scenes thus depicted by tone and brush.” The “Star Tribune” added, “These are exquisite works of art and when lighted by the different electrical devices used in their presentation are wonderful, beautiful, and fantastic, illuminating the music as it progresses” (Star Tribune, 3 Sept 1905, page 31). In 1905 Cook’s office was in room 60 of the Grand Opera House Building in Chicago. He was listed as a scenic artist, designer, originator and constructor in The White City Magazine. The Banda Rossa had also performed for four weeks at White City Amusement Park where Cook had painted the scenery for the attraction, “Venice.” The water ride included 90,000 square feet of painted panoramas depicting the sites of the city.

Banda Rossa featured as entertainment for four weeks at White City Amusement park, 1905

There is little mention of Cook again until 1908 when he is working in California. The “Los Angeles Times” reported, “Ansel Cook, late scenic artist for Henry Miller, has just been engaged for the same position at the Belasco Theatre here. ‘The Great Divide’ settings were made by Mr. Cook. He was for six years with the Castle Square company of Boston” (27 July 1908, page 7). Also that summer, Cook was mentioned as providing new scenery for the Weyerson & Clifford’s Southern Thorne and Orange Blossoms Company (Billboard, Vol. 20, 8 August 1908, page 25).

By fall 1908, the “Los Angeles Times” announced, “Belasco Theatre has a new scene painter, Ansel Cook. He has the reputation of being one of the country. His “Exterior of the Black Snake Ranch,” in Acts II and III, is a Texas landscape, beautiful in color, and one of the most effective backgrounds ever seen on the Belasco stage” (Los Angeles Times, 30 Sept. 1908, page 17). By winter, Cook was also credited with also decorating the green room of Belasco Theatre in Los Angeles (Los Angeles Herald, 13 Dec. 1908, page 32).

I have been unable to locate any information of Ansel Cook beyond 1908, only brief mention of Mrs. Ansel Cook’s attendance at social gatherings. Interestingly, however, a Vaudeville palace drop sketch by Cook sketch was donated to the Morgan Library & Museum by Mr. and Mrs. Donald M. Oenslager in 1982. As with many designs, notes were scribbled all over the back of this painting the Scollay Square Theatre in Boston in 1900. There is a New York Studios stamp on the back: “THE NEW YORK STUDIOS / 1004 TIMES B’LDG, – NEW YORK.” New York Studios was the eastern affiliate of Sosman & Landis managed by David Hunt. This would have been the initial connection between Cook and Sosman & Landis. Moses was also working in New York from 1900-1904. The design also includes a note in pencil, along top edge: “Palace Drop Ansel Cook, Scollay Squ. Theater. Died aft 1915.”

This notation suggests that Cook passed away by 1915, however, I have been unsuccessful in locating any obituary for him during that year.

To be continued…

Here is the link to the Cook design at the Morgan Library & Museum: https://www.themorgan.org/drawings/item/187745

Tales from a Scenic Artist and Scholar. Part 554 – Black and White Backdrops

Part 554: Black and White Backdrops

In 1906 Thomas G. Moses wrote that he “did some designs for a Park in Pittsburg.” The project was with his old partner Will F. Hamilton. Moses & Hamilton had operated in New York from 1900-1904.

In regard to Moses’ Pittsburg project, he was referring to Luna Park in Pittsburg created by Frederick Ingersoll. Ingersoll of Ingersoll Construction Company constructed Luna Park in Cleveland, Ohio, and then a second park in Pittsburgh, Pennsylvania; no official relation to the famous Luna Park on Coney Island, just the same name. For Pittsburg and Cleveland, Moses created scenery for old mill attractions and scenery for two small stages. The Ingersoll Construction Company got its start by building roller coasters and other amusement park rides. At one time, Ingersoll owned and operated over forty amusement parks in the United States, Berlin and Mexico City.

What is interesting about the Pittsburg Park design, however, is that Moses recorded it being a monochromatic scene. He wrote, “I did them in black and white, rather effective.”

I have encountered only a few mentions of “the black and white art” in the past, stumbling across buts of information while researching scenic artists who worked in early film and photographic backings.

One example was Harley Merry (see past installments #138-142). Merry’s name was actually Ebenezer J. Britton; he used his birth name as an actor. “Harley Merry” was his scenic artist name. Merry was well-known for a variety of skills, including his talent for painting monochromatic backdrops. An article from 1892 noted this skill: “Harley Merry is another master in the same school in perpetuating the English ideas of water-color. Merry is the greatest painter of monochromes and photographic backgrounds in the country” (“Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Dec, 18, 1892, page 41). As an aside, Merry was the first President of the Protective Alliance of Scenic Painters of America, organized in 1895 – he was a major contributor to the industry in New York.

Merry also specialized in spectacles with scenic realism, which made his transition to producing settings for early film a natural shift. He actually partnered with the Edison Manufacturing Company and was involved in creating scenery for many early film productions, including “Parsifal,” a short film was based on the New York Metropolitan’s Opera that ran for approximately one half hour.

An earlier scenic artist known for his black and white art was William Telbin. In 1902, “The Magazine of Art” commented that Telbin was “a master in black and white art.” The article continued, “We desire now to call to attention to a branch of Mr. Telbin’s work which is not generally known to the public, but which, to our mind, is in its way as important and as beautiful as any of his stage productions. With tempera as his medium he has produced a series of black and white drawings which proclaim him a master in black and white art. For brilliancy of execution, for certainty of effect, sparkle of the touch, and beauty of presentation, these drawings are not easily surpassed. Some of them were reproduced in this magazine in two articles on “Scene Painters and their Work,” published in 1889, and others in a paper on “Iceland,” in 1893. Another series of views in the Mediterranean, more of which are to be published later, are admirable representations of the scenes to be witnessed during the season of the “bora” on the Mediterranean shores. They show Mr. Telbin was a careful and accurate student of nature, with an instinctive feeling for the picturesque allied to an inimitable power and facility of presentation and suggestion.” (Magazine of Art, January 1, 1902, page 371-376).

I have only encountered one black and white backdrop; it was at the St. Louis Scottish Rite. A design for the 10^th degree of the Ancient & Accepted Scottish Rite, it was rendered in ivory black and white dry pigment. The backdrop has the same consistent studio labels and marking as the remainder of the collection. At the time of installation, the 1923 scenery has stencils on both stage right and stage left sides of each drop, noting the degree and the line. For example, the Quarry leg drop shows 10 and 59 for 10^th degree on line 59. The backdrop shows 10 and 87 for 10^th degree on line 87. It was not added later, but with the other Toomey & Volland scenery. There was other scenery installed by Volland Studios over the years, in 1945, 1949 and 1954.

Quarry scene produced by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The scene was painted with ivory black and white pigment in 1923.

Painted detail of Quarry scene at the Scottish Rte in St. Louis, Missouri, 1923.

Brocken netting detail from Quarry scene at the Scottish Rite in St.. Louis, Missouri.

The original backdrop design is also monochromatic, and is now part of the Volland Studio collection in the St. Louis Scottish Rite library. The collection was gifted to the St. Louis Scottish Rite Valley by Volland Studio some years back. Although I photographically documented the entire Volland collection during my visit, it will take years to fully process and decipher the information that I gathered there.

Design for quarry scene by Toomey & Volland, 1923.

Charcoal markings on the backside of the Quarry leg drop note that the size is 25 feet high by 51 feet wide. Additional masking likely accompanied the scene technical specifications provided by the Valley comment that the proscenium opening is 98 feet wide. There are 164 lines, placed on 2-inch centers. We cold not lower many of the lines during my visit due to tags with warning for specific lines and jammed cables. Sadly, the current drop inventory that the Masons reference also has missing information for many lines.

Quarry scene by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The charcoal writing notes the project number 4933, the Quarry Leg and size of 25 x 51. 59 is the line number.

Standard Toomey & Volland studio stencil noting degree (10) and line number of 1923 scenery by Toomey & Volland. Leg drop is on line 59 and backdrop is on line 87.

This collection will not last for long and is already a threat to those below. Pipe pockets replaced wooden battens and they are all failing, with many pipes tenuously hanging by shreds of fabric; yes, the stage is rented out for many events. If anyone from the St. Louis area can begin a very detailed documentation of the stage scenery and rigging now is the time. It will take days if not weeks to do. For a stage that boasted to be 4 feet bigger than the Hippodrome stage, this is one that definitely needs to be recorded.

To be continued…

Tales from a Scenic Artist and Scholar. Part 553 – The 1906 Eruption of Mount Vesuvius

Part 553: The 1906 Eruption of Mount Vesuvius

Yesterday’s post was about the White City Amusement Park near Chicago in 1906. Attractions included “The Last Days of Pompeii” and the “Chicago Fire.” It is important to keep in mind that although these two disasters were not recent, two similar ones had just occurred that year. A devastating fire raged throughout San Francisco after an earthquake, and Mount Vesuvius erupted again. They both occurred during April 1906. Disasters fascinated the public and were quickly incorporated into publications and amusements.

Image from “The Chicago Tribune,” 8 Aug 1906, page 3

While researching the San Francisco Fire, I was reminded of a gift I received years ago; it was the 1906 book – “The San Francisco Earthquake and Fire Horror, the complete Story of the Greatest American Disasters, Horrors of the Vesuvius Eruption.” Written by Charles Eugene Banks and Opie Read, there was a poignant passage in the preface: “Strike one section of the world a terrible blow and all other sections have their deepest sympathies immediately centered in that spot. It is this fact that keep’s alive man’s belief in the universal brotherhood of the race.” At few paragraphs later, the authors continue, “Following close upon the eruption of Vesuvius on the other side of world the San Francisco disaster found the country busy raising funds for the homeless Neapolitans. The Golden Gate City was involved in this work when of a sudden it became the subject of the world’s bounty.”

There were many from the entertainment community who dipped into their personal funds or performed at benefit concerts to send funds to those recovering from a disaster. Buffalo Bill donated $5000 to the Neapolitan relief effort. After all, he had performed in front of a smoldering Vesuvius while on his 1889 European Tour. But there were many theatre manufacturers who directly benefited from staging spectacles that depicted these devastating events.

The Volcano setting at the Scottish Rite in Salina, Kansas

The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.

Stage machinery for the effect. The Volcano setting at the Scottish Rite in Salina, Kansas. This section was painted partially translucent to simulate lava spilling down the mountain side.

The theme of erupting volcanoes became a popular staged spectacle at Scottish Rite theaters after 1906. Instead of Mt. Vesuvius erupting, however, it was a volcano on the isle of Patmos. Patmos (Greek: Πάτμος) is an island in the Aegean Sea, the most well-known of the smaller Dodecanese islands. Patmos was known as the location where a vision was given to the disciple John in the Book of Revelation and where the book was written. The degree production relates to the breaking of the seven seals. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition.

Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas. The stage right temple collapses and is transparent to reveal a “vision” from the Book of Revelation.

The revelation of a “vision” stage right. Scottish Rite Vision scene for the 17th degree for Fort Scott, Kansas.

This scene had the potential to be one of the most exciting degree productions on a Masonic stage. Lighting flashed, thunder rumbled, the ground trembled, and a volcano exploded. Classical buildings that were painted on a cut drop toppled as a red plume of lava spewed high in the sky. Then red rivulets streamed down the mountainside, soon spilling into a lake and turning it blood red. This scenic illusion was a new popular design option for the seventeenth degree on many Southern Jurisdiction Scottish Rite stages after 1906.

Backside of painted volcano for scenic illusion. The Scottish Rite in Omaha, Nebraska

The first time I staged the action for this setting was in Winona, Minnesota. During the evaluation, volunteers assisted in successfully presenting the collapse of two-dimenional buildings for photographic documentation. The Winona scenery was produced in 1909 by Sosman & Landis. As these drops were sold at auction, it is unlikely that Humpty Dumpty will ever be put back together again. What was really interesting about the Winona Volcano scene was the hardware. Much was formed from cut metal canisters and adapted for a specific task. Very little was pre-manufactured other than the batten holders that secured the bottom of a drop to the stage floor so it would not shift.

Batten hardware to anchor bottom of cut drop to stage floor. This prevented the scene from moving when ropes were lowered painted facades on drop to simulate collapsing classical temples.

Batten hardware to anchor bottom of cut drop to stage floor.

Previously, this seventeenth degree composition depicted ancient ruins were a series of visions were revealed to the audience. This remained the case with Northern Masonic Jurisdiction Scottish Rite scenery. It was only degree work in the Southern Jurisdiction that adopted volcanic explosion on Patmos. Sosman & Landis labeled their design either“17^th degree Vision” or simply, “Volcano.”

Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota.

Design from the Twin City Scenic Co., in the Performing Arts Archives at the University of Minnesota. Notice the translucent section for the revelation of “vision” scenes placed behind the drop.

To be continued…

Tales from a Scenic Artist and Scholar. Part 552 – Thomas G. Moses and Chicago’s White City, 1906

Part 552: Thomas G. Moses and Chicago’s White City, 1906

Postcard picturing White City Amusement Park

In 1906, Thomas G. Moses recorded that he worked on some scenic shows for “White City.” White City was also known as “White City Amusement Park.” Inspired in part by the World’s Columbian Exposition of 1893, It was named after the white lights that lined many of its buildings. The amusement park’s “Electric Tower” was a steel structure outlined in electric lights that could be seen fifteen miles away.

Postcard showing electric tower at White City Amusement Park

The park opened on May 26, 1905 and lasted until 1933. The amusement park was on a fourteen-acre former cornfield, located at 63rd Street and South Parkway (Dr. Martin Luther King Jr. Drive), in the Greater Grand Crossing and Woodlawn community areas. Admission was ten cents, and the park was open rain or shine.

List of attractions at White City Amusement Park. From “The Chicago Tribune,” 4 Aug 1906, page 5

Advertisements in Chicago newspapers listed a variety of popular attractions at the park. Even the Goodyear Blimp was first assembled at the park. Moses wrote that he worked on a variety of attractions that included “One big show. A Trip to Mars.” Other park attractions included “Fire and Flames (the Chicago Fire),” “The Johnstown Flood,” “the Canals of Venice [water ride],” “Temple of Palmistry,” “Catacombs,” “The Third Degree,”[?] “Famous Cow and Lunch,”[??] “Infant Incubators,” “Midget City,” “Jewell’s Manikins,” Big Otto’s trained wild animal show, a Gypsy camp, “Hale’s Tours of the World,” “Automatic Vaudeville,” a vaudeville theatre, a roller coaster, small Ferris wheel, flying airships, Lindy Loop, Seaplane, Jim Key, a Japanese Booth, a Japanese ball game, a roller rink, penny arcade, a scenic railway, an electric theater, a model laundry, a the “Fun Factory,” electric cooking exhibit, photograph gallery, the House of a Thousand and One Troubles (fun house), “Figure 8,” “Shoot the Chutes,” “The Kilties” (a Canadian band that played Scottish music), a miniature railway, and “Kellar’s Blue Room.” After the park opened, one ride malfunctioned; a visitor was killed and two others injured. Then the park’s roller coaster encountered problems, injuring another twelve patrons.

Postcard depicting fire and flames attraction at White City Amusement Park

Postcard depicting Infant Incubators building at White City Amusement Park

Postcard depicting scenic railway attraction at White City Amusement Park

Postcard depicting Midget City attraction at White City Amusement Park

During the park’s second summer of operation, the White City Construction Company also secured a plot of land measuring 665×500 feet that adjoined the south end of the amusement park. In this area, an open air amphitheater was erected with a seating capacity of 12,000 (Inter Ocean, 15 June 1906, page 6).

By July 1, 1906, the “Inter Ocean” reported, “The principal new attraction at the park this week will be a big revival of the “Last Days of Pompeii” on a block of ground adjoining the White City. Five hundred gorgeously costumed embryo Roman and Egyptian citizens, gladiators, guards, charioteers, musicians, priests, priestesses, choir boys, Pompeian dignitaries, dancing girls, flower girls, etc. will tonight be put through the paces of a final dress rehearsal for Pain’s big spectacle. The initial performance of a ten week’s engagement will be given in the vast new White City amphitheater tomorrow night, and General Manager H. B. Thearle is positive in his assurances of a smooth and finished opening.

Advertisement for Pain’s Pompeii at White City Amusement Park. From the “Inter Ocean,” 1 July 1906, page 26

The scenic representation of doomed Pompeii represents the fated city that perished in the first century of the Christian era. The scenery used in this production covers and area of five acres of ground, but so deceptive is the perspective that it is said it appears to spread over many times that space.

The scene opens with a fete day in the ancient city, and for upward an hour the audience is entertained with a production of the sports and feats of the hippodrome, chariot races, ballets, aerial and acrobatic performers, pageants, etc. The tragic dramatic episodes of the spectacle are shown in pantomime. The fetes are interrupted by he terrific eruption of Vesuvius and the destruction of the city by the earthquake, bringing into action all the skill and ingenious of Pain’s artists. Following these scenes, there is presented an exhibition of fireworks. For the accommodation of patrons, a downtown ticket office will be opened at Lyon & Healy’s tomorrow morning and maintained throughout the season” (page 26).

The Daily Herald described, “These fascinating and thrilling midsummer night shows of the famous Pain have for 27 years been the one big night attraction at fashionable Manhattan Beach New York, also for the same length of time at Alexandria Palace, London. The production given at White City, surpasses anything ever seen in the open air amusement line in this country. As known to most readers, Pain’s “Last Days of Pompeii” is a thrilling realistic reenactment of the greatest catastrophe in the world’s history; the awful destruction of an ancient city and its people by earthquakes and volcano eruption…So thrillingly realistic is the effect, that the onlooker will find it hard to realize he has been gazing only upon a startling scene of mimic destruction instead of a terrible reality” (Chicago, 29 June 1906, page 1).

The spectacle was advertised as a “most stupendous, thrilling and beautiful open-air spectacle in the world – a $100,000 production.” The theme surrounding the destruction of this ancient city razed by the eruption of Mt. Vesuvius was especially poignant; the great Volcano erupted again during April of 1906. This disaster occurred the same month as the San Francisco earthquake and fire. For many, it may have seemed like the end of the world.

To be continued…

Tales from a Scenic Artist and Scholar. Part 501 – Thomas G. Moses and the Ravinia Park Theatre, 1905

Part 501: Thomas G. Moses and the Ravinia Park Theatre, 1905

In 1905, Thomas G. Moses wrote, “Ravinia Park Theatre was done in February.” He was referring a new amusement park near Chicago, accessed by the Chicago & Milwaukee Electric Railroad. The park included a theater, pavilion, baseball diamond, electric fountain and casino building, complete with dining rooms and a dance floor. During the winter months, the baseball field was flooded and successfully transformed into an ice-skating rink, hosting many hockey games. Advertisements promised that the park was “equipped with every facility for attracting people of taste and fashion.” Other ads described Ravinia Park as “A place of entertainment for people of culture and refinement.”

In 1904, the A.C. Frost Company created Ravinia as a forty-acre amusement park located south of Highland Park. It was Partially created with the intent to lure riders to the fledgling Chicago & Milwaukee Electric Railroad. The park opened during August 1904, but the theater that Moses provided scenery for was not completed until 1905; February 1905, as Moses indicates in his memoirs.

The Ravinia Theatre was built in the prairie-style. It is now the only building on the grounds that dates back to that original park. Later renamed the Martin Theatre, the venue is an 850-seat indoor hall originally planned for vaudeville, opera, and chamber music. 1905 Newspapers advertised that Ravinia Park Theater featured, “refined and high-class vaudeville,” every day except Sunday.

Entrance to Ravinia Park with Ravinia Theater in distance

Advertisement for Ravinia Theater with train times.

Unfortunately in 1907, the park was forced into receivership and changed hands. At the time, a group of Chicago and North Shore residents organized to raise the $15,000 needed to save it, fearing that it would be purchased by a cheap amusement company. However, in 1911, the park once again faced financial difficulty. This time residents were led by Frank R. McMullin of Highland Park, Illinois, to raise $75,000 for the purchase of the park. By June 21, 1911, the Ravinia Company was incorporated, with the park re-opening once again

Historic images of Ravinia Park were recently posted along with an article by Neil Gale, PhD, at the Digital Research Library of Illinois History Journal blog: https://drloihjournal.blogspot.com/2018/08/ravinia-amusement-park-highland-park-illinois-1904-1910.html Gale’s article with images appeared on August 9, 2018.

Today, the Ravinia Park is the home for the Ravinia Music Festival, offering over 100 concerts each summer from jazz to classical to rock to kids concerts. The Ravinia Theater, now Martin Theater, is still in use.

To be continued…