In 1917, Thomas G. Moses
recorded that Sosman & Landis delivered “a number of new drops for the
Palace, Milwaukee.” Sosman & Landis had previously delivered scenery to
Palace Theatres in Fort Wayne, Indiana, and Detroit, Michigan. As with other
chains, such as Fox theaters, there were multiple Palace Theatres all over the
country.
Photograph of the Palace Theatre in Milwaukee posted to www.cinematreasures.org
The entry in Moses’ memoirs for
this Milwaukee project was early in 1917.
The theater was located on 535
W. Wisconsin Avenue in Milwaukee. On February 19, 1917, the “Post-Crescent”
reported, “Cigarette Fire. Stub starts blaze that partly destroys the Palace
Theatre at Milwaukee today.” The International New Service announced, “Fire
said to have originated from a cigarette stub left in the audience caused
$10,000 damage to the new Palace theatre here early this morning. The house ran
popular vaudeville and will be closed for several days pending renovation”
(page 1).
The Palace Theatre of Milwaukee, Wisconsin.
It remains unclear whether any of
the stage or scenery were damaged during the fire.
The venue was designed by local architects Charles Kirchoff
and Thomas Rose. The pair later designed the Palace Theatre in New York (1918),
as well as many other venues that included the American Theatre, Colonial
Theatre, Garden theatre, Majestic Theatre, New Star theatre, Rialto Theatre,
and Riverside Theatre. The only A detailed description of interior is posted at
http://cinematreasures.org/theaters/4067,
noting three eras for the venue.
Horace Tabor’s second opera house built in 1881, two years after the one in Leadville, Colorado.Horace Tabor’s second opera house built in 1881, two years after the one in Leadville, Colorado.
For additional installments, go to www.drypigment.net
One cannot explore the history of Leadville’s Tabor Opera
House without taking into consideration Horace Tabor’s second theater, the
Tabor Grand Opera House in Denver. It provides additional context for Tabor’s
first theatre.
Leadville’s Tabor Opera House opened in November of 1879. By
March 1880, Tabor announced that he had purchased land in Denver at Sixteenth
and Curtis Street with plans for another opera house. As with many theater owners
and architects of the time, they visited other opera houses for inspiration. Known
as the Tabor Grand Opera House, to differentiate from the Tabor Opera House in
Leadville, the building was designed by Edbrooke and F. P. Burnham of Chicago,
with a seating capacity of 1,500. Construction for his second opera house
construction began by the summer. Estimates for the new opera house were
projected at 750,000 to 850,000, today’s equivalent of over $18,000,000. The
theater opened on August 1, 1881, with Emma Abbott and her Grand English Opera
Company. Abbott was paid a staggering $20,000, plus railway fares, for a
two-week engagement (Topeka Daily Capital, 3 Aug 1881, page 7).
Interior of the Tabor Grand Opera House with stock scenery by Henry E. Burcky.
Of the new theater, the “Times-Picayune” reported, “The
stage is constructed and fitted up on a scale that would cause envy in many
Eastern theatres. The decorations in the body of the theatre itself are of the
most beautiful description, and one can see at a glance that expense was not
considered in the least” (New Orleans, 6 Dec. 1881, page 9).
I first learned delved into the history Tabor Grand Opera House after
reading an article by Thomas G. Moses (1856-1934) for the Palette & Chisel
Club newsletter. In the 1920s, he wrote
a series called “Tom’s Travels.” In 1884, Moses was on a sketching trip with
three other scenic artists, traveling from Chicago to Breckenridge, Colorado.
Their sketching trip was to gather source material for future stage settings
and hone their artistic skills. None of
the young scenic artists had ever seen mountains before this trip.
Moses
mentioned their stopping by the Tabor Theatre in Denver, Colorado, (Tabor Grand
Opera) to see the drop curtain produced by his friend and fellow scenic artist,
Robert Hopkins. Of his trip to Denver, Moses wrote: “We all fell in love
with the city. It is beautifully
situated, rather hilly but well laid out; fine buildings, very ornate homes,
built by men who had more money than taste.
We all attended the theatre, the famous Tabor Grand, and we found it all
we had expected it would be, nicely decorated and fine woodwork. The Drop Curtain was very good: an old ruin
with some poetical feeling that pleased everyone. It was painted by an old friend of mine, Mr.
Robert Hopkins, of Detroit, Michigan.
This is a favorite subject of his, he having done a similar one in
Detroit” (The palette & Chisel, Vol. 1, No. 3, March 1928).
Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.Painted detail. Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.A photograph documenting the removal of the drop curtain by Robert Hopkins at the Tabor Grand Opera House shows a detail of the scene’s bottom. Image from the Denver Public Library online database.
While looking for additional information about the Tabor
Grand Opera, I discovered a photograph of Hawkins’ drop curtain; it is part of
the Denver Public Library’s online collection. Now what is interesting to
consider about the Tabor Grand Opera is that Hawkins painted the drop curtain,
while Henry E. Burcky is credited with painting stock scenery collection.
At this time, it was not unusual for the drop curtain and
stock scenery to be separate contracts. In many instances, the front curtain
was considered a project in itself, taking much longer than most other scenery
delivered to a theater. Many nineteenth century articles solely focused on those
artists who specialized in drop curtains. In 1894, the “Philadelphia Inquirer”
included the illustrated article – “Well-Known Drop Curtains in Philadelphia
Theatre” (16 Dec, 1894, page 45). The
article reported, “The drop curtain is the most expensive piece of furniture in
any playhouse. Managers are more solicitous about the care of a handsome
curtain that almost any other appointment in their theatres. They are usually
painted by artists of wide fame in a particular branch of art which they
represent, whose charges for the work range from $1,000 to $3,000.” That amount
is today’s equivalent of $29,000 to $89,000 for the front curtain. This also
puts the $1,000 Royal Gorge backdrop purchased for the 1879 Tabor Opera House
in perspective.
So consider the 1879 backdrop at the Tabor Opera House in
Leadville, and the 1881 drop curtain painted by Robert Hopkins for the Tabor
Grand Opera; these were incredibly expensive items for each theater, likely the
most expensive appointment in the theater. We known that Tabor did not spare
any expense and the painted scenes beyond the curtain line would have been no
exception. Painted scenes on the stage
transported audience members to other worlds, with the painted front curtain
(drop curtain) being the portal. In most cases, the front curtain established set
the tone of the painted décor of the space, being the most unifying aspects of
all other painted elements. Restoring any theater is incomplete without this
original element, and I sometime wonder if todays’ architects are unaware of
this aspect.
Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.
In 1914, Thomas G. Moses wrote, “Went to Fort Wayne to Fort
Wayne to see Frank Stouder on the scenery for the new Palace Theatre.” Frank E.
Stouder is an interesting character in his own right; having over two decades
of theatre management experience by the time he met Moses that year. In 1914,
Stouder was planning the Palace Theatre, by listed as the manager for the
Masonic Temple and Temple Theater (Fort Wayne News, 6 April 1914, page 1).
There was a Masonic Temple and Temple Theatre in Fort Wayne, built in 1881.The Scottish Rite Theatre was located just down the street from the Palace Theatre in Fort Wayne. I was built in 1909.The 1909 Scottish Rite Theatre in Fort Wayne, Indiana.
The Temple Theatre was at the corner of Clinton and Wayne
streets, having been built in 1881. Stouder first became in involved with the
Masonic Temple and Theatre as their acting manger in 1886 (Fort Wayne Daily
Gazette, 28 April 1886, page 5). By 1889, he was also listed as the venue’s
treasurer (Fort Wayne Sentinel, 30 May 1889, page 4). Stouder managed the venue
for over a decade, booking successful acts to perform in Fort Wayne.
Stouder was also a well known performer and baritone,
singing in many musical concerts at the Temple Theatre and throughout Fort
Wayne. When booking acts in 1902, newspapers reported, “Stouder found time to
devote attention to his vocal music in New York and took a lesson every day of
Signor Carbone, a baritone of the Metropolitan Opera Co.” (The Fort Wayne Journal-Gazette, 11 July
1902, page 1). Stouder was a member of multiple social clubs and participated
in a variety of public performances where he was praised for his musical
contributions. His success as a manager, however, drove his career, and by
1906, he also managed a summer venue – the Robinson Park Theatre (Daily
News-Democrat, Huntington, Indiana, 22 March 1906, page 1).
It is not surprising that Stouder was the instigator for the
Palace Theatre. Partnering with Byron H. Barnett, they both become the owners
and managers of the venue, with each being known for their theatrical
experience. The Palace Theatre was built to feature B. F. Keith attractions, as
they toured the country. It was a sizable venue with a seating capacity of
2,000, (1,700 on the main floor and balcony and 300 in loges and boxes).
Ground for the Palace Theatre was broken on May 26, 1914,
with an anticipated Thanksgiving Day opening. Changes and unanticipated delays
pushed the opening a little later, but the wait was worth it. Newspapers
promised the Palace Theatre would be “not only the finest theatre in Indiana,
but the finest in the middle west and one that could not be destroyed by fire,
even if a torch were applied and no effort made to stop the progress on a blaze
that might ensue” (Fort Wayne Sentinel, 31 Oct. 1914, page 9). Supposedly,
there was no wood in the building, except the casings around the doors and the
wood stage floor, even the staircases were made out of metal.
An article of the Palace Theatre, advertised as a “Fire-proof building.” From the “Fort Wayne Sentinel,” 31 Oct 1914, page 9.Detail of the Palace Theatre under construction from the “Fort Wayne Sentinel,” 31 Oct 1914, page 9.
C. W. and George Rapp, two Chicago architects who
specialized in theatre buildings at the time, designed the theatre. There was
an emphasis on fire safety, and newspapers reported that the structure was
“absolutely fireproof,” being built of reinforced steel roof trusses weighing
eight tons each. There were thirty inches of exit space for each 100 people,
ensuring the evacuation of the auditorium in two minutes. The article
continued, “The stage roof is supported on I-beams and is of the same material
as the auditorium covering. One-third of the entire area of the stage roof is
left in the form of ventilators. Why? Suppose for instance that a careless
performer in direct violation of the laws of the state and the rules of the house
should throw a lighted match, cigar stub or cigarette into some combustible
material and set fire to the stage floor, the properties and the scenery. This
ventilation in the roof would cause the flames and smoke to shoot upward and
none of it would reach the auditorium. The management will have installed an
asbestos curtain of the very latest and best material and in the twinkling of
an eye.”
But wait, there’s
more beside the asbestos curtain!
There was also a “Run Down Water Curtain.” The “Fort Wayne
Sentinel” described, “Without moving more than a couple feet [the stage
manager] will be able to ring down a water curtain. What is a water curtain?
Why it is nothing more than a succession of tiny water streams of water flowing
from a big pipe above the opening. When the valve is opened the water starts
flowing and renders it impossible for the flames to break though.” (31 Oct
1914, page 9).
Finally, newspapers described the new scenery by Sosman
& Landis scenery. The “Fort Wayne Sentinel” noted, “Even the scenery is to
be fireproof. This does not mean that it will not burn, but it does mean that
it will not blaze. Why? Because when the canvas on which it is painted is first
put on the stretchers it is given a thin coating of fluid that is warranted not
to blaze and this means exceedingly slow combustion and little danger. This
fire-proofing is required in the specifications. No oils are used in the
painting as all scenery is done with watercolors and this removes another
element of danger.”
There were two Cox families working in theater during the
late-nineteenth and early-twentieth centuries. Each included scenic artists,
carpenters, and architects.
The Cox scenic art family in New Orleans included Frank, Eugene and Clark. Thomas G. Moses knew and worked with theatrical architect Tignal Franklin “Frank” Cox (1854–1940) during the 1890s. The three Cox brothers operated a scenic and fresco business known as Cox Bros. in New Orleans. It was also referred to as “Frank Cox’s Studio at New Orleans,” with Frank being the eldest and most experienced, leading the firm. Thomas G. Moses and Frank were close friends and colleagues. Frank Cox’s studio had quite a large staff by 1891 and was located in the Grand Opera House. Frank withdrew from the partnership in 1896, but the partnership continued to operate under the same name of Cox Bros., despite Frank’s public declamation that the firm was dissolved. Eugene and Clark published a rebuttal, wanting to make it “thoroughly understood” that they would continue to operate the scenic and fresco business under the name Cox Bros.
Frank CoxEugene CoxClark Cox
The Estherville Cox family is quite confusing all on their
own. Four sons were born to Spencer and Julia in Estherville, three of whom were
scenic artists, James S, Jesse M. and Chancy L. However, it was James who first
entered the theatrical profession, going from scenic artist and manager to
theatre architect and theatrical publisher. Their mother was a seamstress and
their father was a carpenter. It was James, however, who was the enterprising
instigator and founder of the Cox Scenic Company that became the Jesse Cox
Scenic Co. after James’ passing in 1915.
James Spencer Cox was born in Feb. 19, 1873, in Brookville,
Illinois. In 1880, the US Census listed
James living with his parents, Spencer and Julia, as well as his 2-year-old
brother Justus. Justus would later become the famed Jesse Cox.
James’ artistic ambitions appeared flourished during 1892. He
was teaching while working as a scenic artists and decorative painter. The
“Estherville Daily News” reported, “James Cox is organizing a class of oil
painters, and would be pleased to hear from all those wishing to take lesson.
See specimen of work at Klopp’s drug store” (14 Jan. 1892, page 13). That same year, the “Estherville
Daily News” noted, “James Cox is painting some good looking scenery for the
opera house” (21 April 1892, page 5). At the time, James was painting scenery
for Stivers’ Opera House in Estherville. Cox would later design Lough’s Opera
House in Estherville. By 1896, Julius Cahn’s Official Theatrical Guide listed
James S. Cox as the manager and the recommended printer for necessary billposters.
Cox managed the venue until 1899, when F. H. Rhodes took over as manager. Lough’s
stage had a proscenium opening that measured 28 feet wide by 18 feet high. The
depth of the stage was 28 feet from footlights to back wall. The stage to the
rigging loft was 19 feet and the grooves could be taken up flush with the
gallery.
Finally, James received the job of frescoing some of the
rooms of Hotel Orleans at Spirit Lake the same year he worked as a scenic
artist (Estherville Daily News, 16 June 1892, page 13). He was also playing
gigs as a musician at this time with the Emmetsburg band; one was for the Palo
Alto county fair (Estherville Daily News, 24 Sept. 1891, page 5).
His professional career also followed in his father’s
footsteps, working as a contractor and builder and then architect and superintendent.
He designed many buildings in Estherville, including the Lough Opera House
(Estherville Daily News 13 Sep. 1894 page 5). It was in the Lough Opera House that his
younger brother Jesse first performed as an actor.
From the “Estherville Daily News,” 27 Sept 1899, page 10
The two brothers partnered on various business ventures in
the 1890s. In a way, older brother James paved the wave for younger brother
Jesse’s theatrical endeavors. In the mid-1890s, Jesse primarily worked as an
actor or musician, but by the end of the decade he began focusing on scenic
art. As James was working as a scenic artist in 1892, it was possible that
Jesse learned much of his craft under his brother’s tutelage. 1896 Jesse was
performing with the Trousdale Specialty Co. in Estherville (Estherville Daily
News, 3 Sept. 1896, page 5). Cox was associated with this same troupe four
decades later. As late as 1933, he was credited with still providing new
scenery and settings for every play (Sioux City Journal, 22 Jan. 1933, page
11).
By 1895, James married Ada Grace Cavin (b. 1874). By 1910,
James listed his occupation as an architect and Ada listed her occupation as a
news reporter, likely a correspondent for the Opera House Reporter.
In 1897, the “Estherville Daily News” reported “James and
Jesse Cox, who have been absent for some time with the Vitascope company,
returned home Tuesday evening” (4 March 1897, page 21). Following the premiere
of the Vitascope company in April 1896, Raff & Gammon’s Vitascope Co. began
marketing the new product. In a sense, they worked as sales agents for the
Edison Manufacturing Co. The Vitascope Co. did not last for long, its demise
credited to several factors. For more information about this aspect, see “An
Illustrated History of the Early Cinema;” here is the link: http://cinemathequefroncaise.com/Chapter2-1/CHAPTER_02_SOURCE_01.html
By 1898, James started a new business venture with his
brother Jesse – the Opera House Reporter. By 1904 it was published by the James
S. Cox & Co. of Estherville. Interestingly, there is a photograph of their
newspaper shop included in the publication “Esther’s Town” by Deemer Lee. Keep
in mind that all during the Vitascope adventure and the establishment of the
Opera House Reporter, Jesse was still performing in vaudeville. Between 1898
and 1899, Jesse was part of Noble’s Theatre Co. (Estherville Daily News, 6 July
1899, page 21). The “Des Moines Register” reported, “Estherville, Iowa, has a
theatrical journal called “The Opera House Reporter.” It is published by James
S. Cox & Co., and has been in existence for several years. Its object is to
provide a medium for the theatrical managers in the smaller towns in the
northwest to air their views and vent their feelings, and judging from reports
sent in, it fills an urgent need. Managers in small towns have particular cause
for grievance over indiscriminate cancellation of contracts by traveling
companies. This and other evils are treated with great candor, as the following
communications to the “Opera House Reporter” will show”(6 Jan. 1904, page 5). A series of acts were described in great detail.
Interior of the Opera House Reporter included in “Esther’s Town” by Deemer Lee.
On Jan. 12 1906, “The Gazette” reported, “James S. Cox of
Estherville, manager of the Cox Scenic studio, was here yesterday, putting in
some new scenery at the C. S. P. S. hall. Mr. Cox is one of the largest makers
of scenery in the west, giving employment in his studio at Estherville to nine
scenic painters. There is a bare possibility that Mr. Cox may be induced to
come to Cedar Rapids with his studio” (page 3). On Nov. 3, 1906, “The Courier”
reported, “James S. Cox, representing the Cox Scenic company, of Estherville, is
in the city today figuring on the scenic work for the new opera house. Mr. Cox
says he may conclude to locate in Waterloo. E is well pleased with the city and
believes it will prove a more advantageous business location than his present
place of business. Waterloo is jut now the Mecca of opera house men, promoters,
outfitters and architects, and there is something doing nearly all the time”
(Waterloo, Iowa, page 5). By 1914, the “Iowa State Gazetteer and Business
Directory 1914-1915” listed Jesse Cox as the proprietor of the Jesse Cox Scenic
Company and James S. Cox as architect. Only James was listed in the 1912
directory.
On March 6, 1907, “The Gazette” noted, “James S. Cox of
Estherville, editor of the Opera House Reporter, and proprietor of one of the
largest scenic studios in the state, is here on business today” (Cedar Rapids,
Iowa, 6 March 1907, page 2). James was still running both the Reporter and scenic
studio. In 1910, the paper changed hands. The “Sioux City Journal” published,
“Estherville, Iowa, Jan 10 – Special: The Opera House Reporter, a weekly
theatrical journal, owned and published here by James S. Cox and company has
been sold to Will H. Bruno, an actor, who has taken possession. Mr. Cox began
the publication of the Reporter in Estherville fourteen years ago. Mr. Cox will
remain in Estherville” (11 Jan 1912, page 4). “The Gazette” explained, “Mr. Cox
began the publication of the Reporter in Estherville fourteen years ago next
month, and has built up the paper from a little four page journal to its
present size from twenty to thirty pages, with a circulation all over the
United States and part of Canada. Mr. Cox will remain in Estherville as a
theater architect, and will manage the Cox Scenic company. Mr. Bruno is a man
well known in the theatrical world, having played in some of the largest
companies on the road, and for the last four years has been with the Bruno
attractions. He will move to Estherville and continue the publication of the
journal at that place” (Cedar Rapids, Iowa, 13 Jan 1912, page 8).
James died in Estherville on July 29, 1915, predeceasing his
parents and brothers.
On August 7, 1915, newspapers reported the passing of James
Cox (The Gazette, Cedar Rapids, Iowa, page 6).
Here is the notice:
“ESTHERVILLE ARCHITECT DIES AFTER LONG ILLNESS
Estherville, Iowa, Aug. 7 – After suffering from cancer of
the stomach for over a year during which time he was treated by specialists at
Rochester, Minn., Chicago and New York City, James Cox died at his home here
last Thursday and was buried Sunday. Mr. Cox had been actively engaged in the
building trade since youth and had won recognition as one of the best
architects in the northwest. He had more than twenty public buildings, mostly
schools under construction at different points in the state. For several years
he was also engaged in the publishing business and was the founder of the Opera
House Reporter, one of the leading theatrical magazines in the country, and was
also associated with his brother in the Jesse Cox scenic studio. Practically
all of the best business blocks and residences in Estherville were designed by
Mr. Cox.”
James S. Cox is buried in Estherville’s Oak Hill Cemetery. After
James’ death, Ada remarried Jesse Allen Easter, also of Estherville. She was 42
years old at the time. The couple was married on June 25, 1917, in Sibley,
Iowa.
At the beginning of 1912, Thomas G. Moses wrote, “starting
some new work for the Palace Theatre.” Moses
was referring to the 1500-seat Palace Music Hall, advertised as “Chicago’s New
Vaudeville Theatre” in 1912.
Detail of a Palace Music Hall program currently for sale online.Detail of a Palace Music hall program currently for sale online.
Built at N. Clark Street and W. Randolph, the Palace Music
Hall opened on April 1, 1912. Designed
by Holabird and Roche, the new Palace Music Hall was advertised across the
country. An article in the “Daily
Herald” noted that the Palace Music Hall was the newest theater “situated in
the heart of Chicago’s theatre district and that “leading artists of the world”
would be featured at this “high-class vaudeville” house (August 30, 1912, page
11). The article further reported, “The building department of Chicago has
pronounced the Palace the most perfectly constructed and equipped theatre in
the country.” Hmm. I have noticed that most new theaters during this period were
advertised as the “best” that could be found in country, often including
validation by some organization or well-known personality. Great marketing
technique to get the public in the doors.
The Palace Music Hall, Chicago, Illinois.
Performances at the Palace were given twice daily, once at
3:15 PM and once at 8:15 PM. Individual seat prices were 15 cents, 25 cents, 50
cents and 75 cents. Like many theatres
during this time, however, there was a shift in popular attractions and
entertainment, often promting a change in owners. Abraham Lincoln Erlanger
acquired the lease for Chicago’s Palace Theatre building during January 1926.
He extensively remodeled the theater, renaming it the Erlanger Theatre. The Erlanger
theatre remained open until March 10, 1962. The building was soon demolished,
with the theater’s original location and remainder of the block being razed to build
the Chicago Civic Center, now the Richard J. Daley Center. Neither this venue,
nor the original Palace Theatre, are to be confused with Chicago’s New Palace
Theatre, a venue designed by Rapp & Rapp and located on Randolph and La
Salle Street in Chicago in 1926. The second “Palace Theater” opened Oct. 4,
1926 and is now known as the Cadillac Palace Theatre.
The Palace Music Hall, Chicago, IllinoisWhen the Palace Music Hall became the Erlanger Theatre in Chicago, Illinois.
In 1912, Martin Beck
announced his intention to “invade” the east and Chicago with the new Palace
theatres. The Palace Theatre in Chicago and the Palace Theatre in New York were
intended to fight eastern interests. Beck’s Palace theaters were also mentioned
in an interesting 1912 newspaper article published across the country. “Woman
Back of a Theatre Trust” was the title and the article’s headline stated, “Mrs.
Katherine Kohl Carries Out Late Husband’s Ideas for Territory Division. STOPS
VAUDEVILLE WAR” (Rock Island Argus, 30 April 1912, page 9). Here is the article
in its entirety, as I found it quite fascinating:
“Chicago, April 20, 1912.- The efforts of a Chicago woman,
Mrs. Catherine Kohl, has averted a threatened vaudeville war which would have
involved millions of dollars and has brought about a combination of theatrical
interests aggregating $50,000,000.
Her months of endeavor have resulted in a union of men of
the east and west representing practically the same theatre interests but
operating in different territories. By the new arrangement the eastern magnates
will keep in their own territory, the western magnates in theirs and Mrs. Kohl
will be left the mistress of the situation in her Chicago theatres, founded by
her husband and left to her on his death a year ago.
By the deal, completion of which was just announced in New
York, B. F. Keith has purchased interests of Percy G. Williams, controlling
eight theatres in New York, and a working agreement has been entered into by
the different vaudeville powers by which there will be no friction in the future.
A general agreement has been made as to the placing of different vaudeville
acts and the ‘time’ to be allotted performers.
This new assignment of territory and interests stops a new
vaudeville war started some time ago when Martin Beck opened the Palace theatre
in New York and followed it by the Palace theatre in Chicago. These two houses
were to be used in conjunction with others, to fight the eastern interests. By
the new terms of the Chicago theatre, which is now playing vaudeville, will
change its policy. It is said the first sign of the change will be when ‘A
Modern Eve,’ now playing at the Garrick theatre, is transferred to the Palace theater.
Under the new combination thousands of performers are
virtually interested. Mr. Keith with E. F. Albee, A. Paul Keith and John J. Murdock
will control the vaudeville situation far west as Chicago. The situation in
Chicago will be under the control of Mrs. C. E. Kohl, Max Anderson and the
Monroe Amusement company. Meyerfeld and Beck of the Orpheum circuit will
control the remainder of the country for the Orpheum circuit.
Mr. Keith will have control of the situation in the east,
Mrs. Kohl in Chicago, and Martin Beck for the Orpheum circuit west of Chicago.
The new combination was caused by the announced intention of
Beck to invade the east and Chicago, his new Palaces theatres being his first
step in this regard. Theatrical managers saw ahead another theatrical war which
probably would duplicate the efforts of Klaw & Erlanger to break the
vaudeville trust some years ago and the fight of William Morris along the same
lines. But before the war was fairly advanced the alignment of interests was
accomplished.
‘The late Charles E. Kohl planned more than once to bring about
this arrangement which would place the Majestic and other large theatres in
association with the east,’ said Lyman Glover, general manager for the
Kohl-Castle theatres, last night. ‘He wanted to leave the west as an empire for
the Orpheum circuit. His widow has labored effectively in promoting the agreement
now reached. The result will clear up the situation, prevent ruinous
competition, provide better and more uniform vaudeville bills, and simplify the
business in many ways.’
From New York at night a statement was issued by Meyerfield
and Beck.
‘It always has been our fondest desire,’ the statement said,
‘to bind the east and west together in a more substantial way. The consummation
of the deal just put though by Mr. Keith and ourselves is a happy solution of
our difficulties and is most satisfactory to us.
‘The situation, as far as territory is concerned, is no
different than it was before, but by buying interests with Mr. Keith and in
other ways tying our interest more closely together we have accomplished
something for which we have been working for years, and the public and artists
will reap the benefits as well as ourselves.
‘We are all men who have practically brought the high class
vaudeville business to its present high standard, both sides owning controlling
vast interests thoroughly established. And we feel that the fruits of our labor
for 30 years have been consummated by the arrangement we have entered into.’”
Another section of the article “Well-known Drop Curtain in Philadelphia Theatres” discusses the drop curtain painted by Russell Smith for the Park Theatre in 1889. The venue at 701-705 N. Broad Street near Fairmont Avenue opened that year. A description of Smith’s curtain was published in “The Philadelphia Inquirer on Dec. 18, 1894:
“Another beautiful
curtain from the brush of Russell Smith is the handsome “drop” at the Park
Theatre. Painted in 1889. The scene is an ideal one, and represents the Water
Palace of the Princess Agiroum, a remarkable character described by that
celebrated traveler, Marco Polo. The lower border of the curtain is ornamented
with seven medallions, representing personages and scenes taken from the plays
of Shakespeare, while in the lower corners are square panels showing the masks
of comedy and tragedy. The same bright coloring, fleecy clouds, glorious
autumnal tints to foliage and trailing vines, exquisite flowers that seem to exhale
a delicious fragrance all their own; the opalescent waters of the lake
reflecting back the images of the gondolas that float on its placid bosom,
beyond Moorish-looking palaces, back of which rise in majestic grandeur the craggy
peaks of high mountains tinted with the richest of coloring. All of the
decorations and furnishings within this popular playhouse are in keeping with
the artistic taste displayed in the painting of the curtains and it is custom
here, between the acts, for the ladies as well as gentlemen to leave their
seats and wander about the beautiful lobby.”
Illustration of Russell Smith’s drop curtain created for the Park Theatre in 1889.
The
building was designed by John Bailey McElfatrick. The
architectural firm of J. B. McElfatrick & Son was chiefly known for its
theater designs. By 1896, the company advertised that they were responsible for the design and
construction of seventy-one theaters in New York, Washington, D.C.,
Massachusetts, Connecticut, Pennsylvania, New Jersey, Ohio, Georgia, Alabama,
Kentucky, Tennessee, Arkansas, Missouri, Minnesota, Wisconsin, Illinois,
Michigan, Nebraska, Washington and Texas.
They also designed theaters in Canada. Started by John Bailey
McElfatrick, his two sons soon joined the business. John Morgan McElfatrick
(1853-1891) and William H. McElfatrick (1854-1922) became architects to
establish J. B. McElfatrick & Sons.
John passed away in 1891, but his brother William continued as an
architect throughout the remainder of his life, continuing the family business
after his father passed away.
Postcard of the Park Theatre in Philadelphia
J. B.
McElfatrick (1826-1906) is credited with
designing over one hundred theaters over the course of his career, changing audience
expectations of the physical structures. Born in Harrisburg, Pennsylvania, he studied architecture
and engineering with his own father Edward McElfatrick. By 1851, J. B. soon started his own architecture
business in Harrisburg, and then established his business in to
Philadelphia. From there, he continued to
journey west, opening offices wherever he moved to on his journey – Cincinnati,
Cleveland, Chicago, and St. Louis. He
finally returned to New York where he ran the main firm.
His focus
on theater design began in approximately 1855.
It was a subject that would remain his specialty throughout the duration
of his career. Architectural historians cite his innovations concerning
auditorium seating and the implementation of ground-floor performance venues. In
the 1917 publication, “Modern Theatre Construction,” Edward B.
Kinsila wrote, “The
greatest individual strides in American theatre construction have been effected
through the personal endeavors of a single architect, Mr. J. B. McElfatrick of
New York City, who should be revered as the Father of American theatres.”
Kinsila’s publication describes that in the 1880s American
theaters were designed and constructed in a similar manner to their English
prototypes; specifically, they shared a comparable subdivision of main floor seating. The American use of “parquet” and “parquet
circles” were the equivalent to the English use of “pit” and “stalls.” He notes
that they both shared the “same lyre-shaped balcony, the same stage projection or apron, and
the same extravagant and distracting ornamentation.”
McElfatrick,
is credited with improving the sight lines by arranging continuous
front-to-back seating on the main floor, without, and balconies that were
flatter and deeper.
He also
greatly reduced the “projecting apron,” a common nineteenth-century stage
feature at the forefront of the stage. In terms of another significant
characteristic of McElfatrick’s theater designs is the placement of the theatre
on the first floor of a building. His designs also included multiple exits,
sprinkler systems, and improved dressing rooms.
For more information about McElfatrick, see past installment 333.
The Toomey & Volland studio of St. Louis was also installing scenery and stage machinery in Scottish Rite theaters during 1909. One example was the Scottish Rite in Fort Wayne. Here is the article published in the Kansas City Kansas Republic on Dec. 2, 1909.
Illustration accompanying newspaper article about the opening of the Fort Wayne Scottish Rite, 1909
“Finest Cathedral.
Scottish Rite Temple in Fort Wayne is Dedicated.
Masons of High Degrees at Exercises Attending Opening of $200,000 Temple-Has a Fine Banquet.
Fort Wayne, Ind. –The new Scottish Rite cathedral in Fort Wayne, costing about $200,000, and said to be the finest in America, was dedicated on the evening of November 17 in the order from most of the larger cities of the far east and middle west. The dedication was preceded by a banquet-room. At which 1,000 plated were laid. The banqet-room of the cathedral fills the entire ground floor and is one of the largest and most ornate halls in the west.
Owning to the illness of Sovereign Grand Commander Samuel C. Lawrence, 33, of Boston, the master of ceremonies was Barton Smith of Toledo, 33, puissant lieutenant grand commander, assisted by John Corson Smith, 33, grand minister of the state. William Geake, 33, of this city, commander-in-chief of the Fort Wayne Sovereign Consistory, assisted in the dedication.
The dedication was held at the regular time of the fall meeting of the consistory for the Valley of Fort Wayne, and 300 took the Scottish Rite degrees. Degrees were given from the fourth to the Thirty-second. Heretofore this valley had no jurisdiction beyond the eighteenth degree, and the degrees from the 19 to 32 were conferred here for the first time. As the consistory has already nearly 1,100 members, the Fort Wayne consistory has become one of the largest in the country.
The cathedral, which was designed by Mahurin & Mahurin of Fort Wayne, is a at Clinton and Washington streets, in the residence section, with the handsome First Presbyterian church across the street. It is built of Bedford stone on all sides and is thoroughly fireproof, being finished within with concrete floors, marble stairways and wainscoting, and iron balustrades. Some rooms are finished in Cuban mahogany, but there is very little inflammable material anywhere. The heating is by steam and the lighting by electricity.
The cathedral is three stories high, with a spacious basement. The ground floor will be the banquet and ballrooms, with galleries. The social rooms are on the second floor, which is also provided with quarters for the ladies. There is also a room for the Mystic Shrine. The third floor is occupied by the consistory auditorium, which is arranged on the stadium plan with tiers of opera chairs rising steeply, so that those in the rear seats can all see the work on the large floor below. There are seats for nearly 600 in this auditorium. The organ loft is in the north and at the south end there is a spacious stage provided with scenery, the work of a St. Louis firm.
The proscenium arch is elaborate with the designs and emblems of the several degrees. The decorative design and color scheme were the work of a Chicago firm. The organ was made in Rock Island at a cost of $6,000.”
Here is a link to the Consecration and dedication of the Scottish Rite Cathedral, Valley of Fort Wayne, Indiana, Tuesday, Wednesday, Thursday, November 16, 17, 18, 1909, on the Internet Archive:
Consecration and dedication of the Scottish Rite Cathedral, Valley of Fort Wayne, Indiana, 1909
Consecration and dedication of the Scottish Rite Cathedral, Valley of Fort Wayne, Indiana, 1909
This building on the corner of Washington and Berry Streets no longer exists. In 1953, the Fort Wayne Scottish Rite bought the Mizpah Shrine building on the corner of Ewing and West Berry. Constructed in 1925, the Shrine building had a seating capacity of 2,400 that hosted a variety of non-Masonic events and has quite and interesting history. Unfortunately, the Fort Wayne Scottish Rite left this home too when St. Francis University purchased the structure in 2012. Here is an article about the Shrine building, second home to the Fort Wayne Scottish Rite: http://historycenterfw.blogspot.com/2012/01/scottish-rite-history-in-fort-wayne.html
Part 723: Kansas City Scottish Rite, 1904, 1906 and 1909
In 1909, Sosman & Landis provided a second set of scenery for the Scottish Rite in Kansas City, Kansas. The history of the Kansas City Scottish Rite is a little confusing. There were two Kansas City Scottish Rites, one in Kansas and one in Missouri. This makes it difficult when tracking down information about either one, as the same newspapers often published information without specifying the state.
In 1904, Sosman & Landis delivered a first set of scenery to the Kansa City, Kansas, Scottish Rite (see past post 692). This was the same year that the company also produced Scottish Rite scenery for Fort Scott, Kansas. The first Kansas City, Kansas, Scottish Rite was designed by architect W. W. Rose, and located at the corner of 7th and Ann Street. On April 1, 1904, The Lincoln Journal included an article on the new building, however a description of the stage area and scenery was absent. It was intentionally concealed from the public for the event, closed off with a curtain. The article only noted that the stage was “thirty-two feet deep and thirty seven feet to the gridiron and has a full equipment of scenery and appointments including a switchboard, which controls every light in the room from the stage.” Unfortunately, the stage, auditorium and building all went up in flames only two years later.
During October 1906, the three-story building caught fire during a street fair. The Iola Daily Record reported that the Masonic Temple, its entire contents, two residences adjoining the block, and half of the booths at the street fair were destroyed by fire (October 20, 1906, page 1). The cause of the fire was the explosion of a gasoline stove in the booth occupied by the ladies of the Central Christian Church. The flames spread rapidly throughout the booths, and the Masonic Temple was the first building to suffer damage on the corner of Seventh Street and Ann Avenue. All efforts to save the structure proved futile. Among the losses were Scottish Rite paraphernalia and stage settings, valued at $50,000; their insurance only covered $16,000 of the loss (Kansas City Gazette. 27 Oct. 1906, page 1). Other newspapers reported the loss paraphernalia, furniture, fixtures and stage scenery, was valued $20,000 and only insured for $6,500 (Kansas City Gazette. 27 Oct 1909, page 1). Many other Masonic bodies in the building also lost uniforms, regalia, ritual and records, including Wyandotte Lodge No. 3, the oldest Masonic lodge in Kansas.
On October 27, 1906, the Kansas City Gazette reported “The Masons Will Rebuild.” The article quoted R. J. McFarland, general secretary of the Scottish Rite, who said, “We have definitely decided on a magnificent building to be erected on our property at Seventh and Ann at a cost of $10,000. As we depend entirely on our members it must be through them that we raise the amount necessary. We will hold a meeting Wednesday evening of all Scottish Rite bodies to discuss various plans regarding funding.” Grand Commander James D. Richardson and grand secretary Frederick W. Webber, or Washington, D.C. were in attendance at the meeting.
The Scottish Rite bodies approved plans for the new Masonic Temple on June 5, 1907. Again W. W. Rose designed the new four-story structure that included a sixty-foot frontage on Seventh street and a depth of 136 feet on Ann Avenue. The exterior of the building was noted as a mixture of “Hebrew and Arabic,” with the roof being supported by “Moorish pillars” (The Weekly News, 7 June 1907, page 1). The auditorium and stage were located on the second, third and fourth floors, with the fly loft rising to the roof. The large space included a forty-foot stage and balcony with a seating capacity of 800.
Description of the new Scottish Rite Building i Kansas City, Kansas, 1909.
The Kansas City, Kansas, Scottish Rite building, 1909.
Aerial view of the Kansas City, Kansas, Scottish Rite building.
Detail of fly loft in an aerial view of the Kansas City, Kansas, Scottish Rite building.
In 1909, the new Scottish Rite building was dedicated in Kansas City, Kansas. The Kansas City Times reported, “The Scottish Rite Temple in Kansas City, Kas., which cost $100,000, will be dedicated at 8 o’clock tonight. The ceremony will be performed by James D. Richardson, sovereign grand commander of the Scottish Rite Masonic bodies in the United States. This ceremony will close the twenty-third semi-annual reunion of the Rite in Kansas City, Kas. A class of 150 persons have taken degrees from the fourth to the thirty-second at this reunion” (19 Nov 1909, page 12). The Fall Reunion was the twenty-third for the Valley of Kansas, Orient of Kansas. On the first day of the reunion, Thomas Wentworth Harrison of Topeka, SGIG in Kansas was in attendance (Kansas City Times 18 Nov. 1909, page 1). On the second day of the reunion, the degrees of Victory Chapter Rose Croix were conferred on a class of seventy-five candidates. In the third day, the degrees from nineteen to thirty inclusive in John H. Brown Council Knight Kadosh were conferred to the candidates.
Part 692: The Kansas City, Kansas, Scottish Rite, 1904
In 1904, Kansas Scottish Rite Masons constructed two new homes in Fort Scott and Kansas City. The Kansas City, Kansas, Scottish Rite was designed by architect W. W. Rose at the corner of 7th and Ann.
Postcard depicting the 1904 Kansas City, Kansas, Scottish Rite.
The 1904 Scottish Rite building in Kansas City, Kansas.
Postcard of the 1904 Scottish Rite building in Kansas City, Kansas.
The 1904 Kansas City, Kansas, building. Notice the fly tower at the rear of the building.
On April 1, 1904, The Lincoln Journal included the article “New Temple. Kansas City Scottish Rite Masons Open Splendid Edifice With Big Reception.” Here is the article in its entirety:
“The new and very fine temple of the Scottish Rite Masons of Kansas City was opened for the first time Wednesday night, when the members tendered an elegant reception to their wives and friends. The building has been furnished in every detail and is fully complete, except for some changes in the lighting, and more than 1,500 persons accepted, the invitation sent out for the affair, that they might have a look at what is termed the palace of secret society work in the west. The building spacious as it is, was so crowded at times during the evening that it was badly congested, and lies of members had to be formed to keep the throng all moving one way, especially on the stairs.
The new building is well adapted for social purposes. One on entering steps into a spacious hall and finds the secretary’s office on the right, while on the left is a large parlor. Beyond the secretary’s office is the director’s room and back of all these is the great banquet hall, finished with a polished maple floor for dancing. Still in the rear is a perfectly appointed kitchen so that social functions may be given in the building without the necessity of calling upon a caterer.
On the second floor of the building one first enters a candidates’ room and passes from thence to the great cathedral, their sessions. This is a splendid room, with a beautiful ceiling, lighted in a novel fashion, and a gallery on three sides, including and organ and choir loft. The stage, which was concealed last night, is thirty-two feet deep and thirty seven feet to the gridiron and has a full equipment of scenery and appointments including a switchboard, which controls every light in the room from the stage. To the rear of the cathedral is the blue room, for smaller bodies, all fitted up in blue, in which is hung a fine portrait of the later Albert Pike.
All these apartments were thrown open to guests. The rooms were lavishly decorated with flowers and flags; in the banquet hall Zeiler’s orchestra played and a mandolin orchestra furnished music in the cathedral, while a pianist did the same in the blue room. In these three rooms were also booths from which punch was dispensed.
Every member of the order in Kansas City was a committee of one to show his friends through the new structure, and all callers were taken care of in good fashion. The music, lights and flowers, with women in pretty gowns and men in somber evening attire formed a delightful picture, and it was late when the affair broke up.
The 1904 Scottish Rite building is now the home of the Seventh Street Casino, run by the Wyandotte Nation.
The 1904 Scottish Rite building in Kansas City, Kansas, is now a casino.
In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia.
The Valley of Cleveland consists of a ten-county area in northern Ohio. The four Scottish Rite bodies included the Eliadah Lodge of Perfection, Bahurim Council, Ariel Chapter and Lake Erie Consistory. I have uncovered very little information about the building occupied by the Cleveland Scottish Rite before their move to their new home at 3615 Euclid Avenue. The previous Masonic Temple was built in 1883 and located at Superior Avenue and East 6th St.
Masonic Temple in Cleveland where the Scottish Rite met before the 1921 Masonic Auditorium was constructed.
Of this first home for the Scottish Rite, the “Akron Beacon Journal” noted that eight Akron Masons received the 32nd degree at the Spring Scottish Rite reunion in Cleveland (10 March 1910, page 4). The article reported, “The territory covered at this meeting is of northeastern Ohio. Several hundred are expected from the cities. Between 50 and 100 from Akron intend to go. There will be a class of 95 who will take their degrees up through the 32nd degree.” The first Masonic Temple was obviously a sizable space.
Masonic Auditorium in Cleveland, Ohio. Occupied by the Scottish Rite form 1921-2017.
Construction for the 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. After 1915, it was not uncommon for Toomey & Volland to underbid Sosman & Landis on Masonic projects, especially in the Northern Masonic Jurisdiction. The Masonic connection provided by Joseph S. Sosman, of Sosman & Landis, disappeared when he passed away in 1915. Thomas G. Moses had taken over the company but was not yet a Mason.
Masonic Auditorium in Cleveland, Ohio, built in 1921
The new Masonic Temple in Cleveland was designed by Hubbell & Benes, the same firm that designed the Cleveland museum of art in 1916. Home to many Masonic Orders, including the Scottish Rite, the massive Masonic structure covered 102,000 square feet of space, with a 2200-seat auditorium. Acclaimed for its acoustics, the Masonic Temple was once home to the Cleveland Orchestra for a decade, before their move in 1931 to Severance Hall.
Masonic Auditorium in Cleveland, Ohio
Masonic Auditorium in Cleveland, Ohio
Masonic Auditorium in Cleveland, Ohio
Masonic Auditorium in Cleveland, Ohio
Smaller theatre in Cleveland Masonic Auditorium building
Smaller theatre in Cleveland Masonic Auditorium building. View from stage
Smaller theatre in Cleveland Masonic Auditorium building
Smaller theatre in Cleveland Masonic Auditorium building
As with many other Masonic buildings of this scope, declining membership after World War II and escalated expenses from deferred maintenance cause the Cleveland Masons to 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.” There is an article from 6, August, 2015 that includes some lovely photographs of the building. Here is the link to many of the attached pictures (https://www.cleveland.com/architecture/index.ssf/2015/08/landmark_masonic_auditorium_-.html).
Nearly one hundred years after construction began on the Masonic Auditorium in Cleveland, it was sold to a private developer. An affiliate of Arkansas-based Beaty Capital Group, Inc. paid only $725,000 for the complex on March 31, 2017. Cleveland’s Masonic building is listed on the National Register of Historic Places, the property is eligible for preservation funding including state and federal tax credits.
This is the same group that purchased the Scottish Rite in Forth Smith, Arkansas.
In Cleveland, Fort Smith and Harrisburg, the Fraternity will never be able to afford the expense of constructing anything comparable. The materials and craftsmanship necessary to build these types of buildings are often no longer available. In Cleveland, the chandeliers are made from pieces of shell and hobnailed doors lead to the auditorium. The ones who lose are future generations of Masons 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 place Freemasonry in the context of today and contemplate how these venues can be saved. The winners in the end are those who are able to purchase these jewels for less than market price and turn a profit.
