Thomas G. Moses visited Wichita, Kansas, multiple times throughout 1923. Often it was a quick stop as he hustled from one project to another, zipping across the country. By summer, he stayed at Wichita’s Acacia Hotel, made sets for the Shrine, closing a contract for $750.00.
Moses was working on scenery for the Midian Shrine Circus. Planning for the 1924 Shrine Circus began by April 1923. The Shrine Circus was under the direction of Henry Wallenstein. Wallenstein was in charge of most Masonic ceremonies and activities in Wichita; his being involved in numerous Masonic orders, as well as being both the Director of the Work and Secretary for the Wichita Scottish Rite. Wallenstein had known and worked with Moses since the 1890s. He was heavily invested in fraternal theatre endeavors throughout the state, and the circus was his new pet project.
The Midian Shrine Circus in 1923
On February 8, 1924, the “Inman Review” reported, “The Midian Shrine Circus to be presented at the Wichita Forum February 18th to 23rd will eclipse any previous show ever produced in the number of real circus acts in the variety and ability of the performers and in the large display booths and other attractions. There will be a very pervading atmosphere of fun and frivolity during the full six days of the Circus” (page 4).
The Midian Shrine Circus was held at the Forum in Wichita, KansasThe Forum in Wichita, Kansas
By Feb 8, 1924, the “Inman Review” reported, “A complete change of program will be offered, all new and different acts out of the big summer white top shows. It is the policy of the Management of the Midian Shrine Circus to spare no expense in offering this amusement event to the public. Ten months have been spent in planning and twenty big acts of professional performers will be on hand to offer you the greatest indoor attraction witnessed in the Southwest. 50c admittance, the same as always, will be charged, and there will be hundreds of free seats” (page 1). The 1924 shows ran from Feb 18-23rd.
The Lindsborg News-Record described some of the acts: ‘Among the twenty real circus acts booked are the now Famous Flying Wards, who are now booked at the New York Hippodrome; the Joe Hodgini Troupe of Equestrians from Sells Floto Circus; Madame Bellini, the biggest individual act in the circus world who brings her beautiful menagerie and high school horses; Sir Vistor’s Dogs and Ponies; the Laemy Sisters; Dainty Ethel Marine in her Spanish Web Act, the Hamilton Sisters; Hassan Bey and his Arab Troupe; twenty other famous clowns, and many others” 1 Feb 1924, page 4).
Of the event, the “Hazelton Herald” announced, “Five thousand members of Midian Temple located in every progressive city of the Southwest are assisting in making the Midian Shrine Circus of 1924 a success. The date is set for the entire week of Feb 18 to 23 and two performances a day will be given at the Forum, Wichita. One hundred and fifty thousand people who have seen the previous Midian Shrine Circuses are anxiously waiting for the doors to open on Feb 18th” (1 Feb 1924, page 1).
In 1921, Thomas G. Moses traveled to San Francisco to paint scenery for the San Francisco Shrine Circus. Sosman & Landis were renting the shop at Edwin H. Flagg’s studio. He wrote, “After four hard weeks of hustling, we got the big show ready. In the meantime, I took a run to Los Angeles for two days, to look after some Masonic work. We got the big Shrine show opened October 17th and it was certainly a big hit. Thousands could not get near the building…I think I have laid the foundation for a good job, but you can never tell.”
At this time, Moses was reunited in work with his former business partner, William F. Hamilton. The two had partnered in 1900 to establish Moses & Hamilton. Located in New York, their firm was quite successful in painting a variety of projects, including Broadway shows and many attractions for Fredrick Thompson at Coney Island. Moses & Hamilton closed its doors in 1904 when Moses returned to Chicago, becoming vice-president of Sosman & Landis.
Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s. Like many scenic artists, he worked all over the country on a variety of projects. He spent most of his early years on the east coast before moving to San Francisco. Hamilton saw the potential for an ever-increasing number of opportunities along the coast. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920. The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.
By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year.
The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (Sacramento Star, 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”
Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15). The article continued, “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4).
The Municipal Auditorium once hosted the Oakland Shrine Circus
Moses continued to visit with Hamilton whenever he was working near San Francisco. In 1925 he wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.”
I am sure that throughout the 1920s, Hamilton placed pressure on his old friend to move west, urging him to leave Sosman & Landis for better opportunities. Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.” His hesitation would turn into regret as the years passed. If Moses were to jump ship; upend his life in Chicago and move west, it had to happen in 1921. Unfortunately for Moses, he stayed on the sinking ship until the bitter end.
In 1921 Thomas G. Moses traveled from Chicago to San Francisco for a large project. He wrote, “After four hard weeks of hustling, we got the big show ready… the big Shrine show opened October 17th and it was certainly a big hit. Thousands could not get near the building.”
Interior for Shrine Circus with scenery painted by Thomas G. Moses of Sosman & Landis studio. Image from the “San Francisco Chronicle,” 18 Oct 1921 page 13.
Moses was referring to the San Francisco Shrine Circus and Arabian Fete that ran from October 17 to October 25, 1921. The program was changed nightly and included exhibitions by wire and trapeze artists, contortionists, juggler, acrobats, Japanese jugglers, hoop roller, Spanish dancers, lion tamers, and Hawaiian singers and dancers (“San Francisco Chronicle,” 2 Oct 1921, page 6). Popularity contests were also held, with the crowning of a Queen and selection of the most beautiful baby boy and girl. The “San Francisco Chronicle” announced, “There is entertainment to suit all tastes. The first night’s vaudeville show was one of the many thrills not the least of which was the tight rope performer’s offering on a rope stretched over the heads of the persons on the floor from balcony to balcony” (San Francisco Chronicle, 18 Oct 1921 page 13).
The prelude to the Shrine circus included a large parade, winding from Islam Temple on Geary Street to the Auditorium, by way of Geary, Kearny and March Street. One of the parade floats was a “Sphinx” mounted on a truck that announced the dates of the circus, October 17 to 25. Fed fezzes, red coats, and white pantaloons were work by members of the Islam band and patrol, leading the way for the officers of Islam Temple. The parade also featured “1000 visiting Shriners, the Athens Temple divan with its band and two patrols from Oakland. The “San Francisco Chronicle” also described, “The “caged novices,” six men in grotesque costumes with their shrill shouts and weird antics followed” Charlie Chaplin, a group of circus performers and a menagerie exhibit of mountain cats and lions brought up the rear of the procession” (18 Oct 1921, page 13).
An article headline in the “San Francisco Examiner” announced, “20,000 Attend Shrine Circus in Auditorium,” reporting, “The Shrine Circus opened at the Exposition Auditorium here last night with an attendance of more than 20,000 persons. The circus, which is for the 1922 session fund will continue through next Tuesday. The decorative scheme of the interior of the auditorium represents an Arabian village” (Oct. 18, 1921, page 14).
The “San Francisco Chronicle” described the interior on opening night: “The Auditorium has been transformed into an Arabian village, populated and conducted by hustling Shriners and their friends. The decorations are gorgeous. Balloons of many colors are strung around the balcony. The many booths housing the concessions, where one pays good money gladly for the cause, have facings of Arabian architecture. In the main floor is a kiosk for musicians. Atop it is a glowing ball of facets which reflect a variety of brilliant colors when played upon by spotlights” (18 Oct 1921 page 13).
The “San Francisco Examiner,” described: “Color, color everywhere and so many San Franciscans inside and outside the Civic Auditorium that you couldn’t get within a hundred feet of the building. That was the situation at 9 o’clock last night when the big street parade of the Shrine Circus reached the Auditorium. They say the Shriners sold 100,000 tickets for the big show – apparently the arm of ticket buyers all turned out for the big night. Inside – if you were lucky enough to get inside – was a glittering midway which circled the building. At one end, on the stage, the circus took place. The Shriners in their colorful costumes of red and green and blue and gold and every other hue in and out of the rainbow, paraded around the midway. Then the show started, Mexican acrobats, tumblers, high wire artists and clowns in rapid succession…More than $20,000 was spent in transforming the Civic Auditorium into an Oriental City. Islam Temple of the Mystic Shrine had done its work well.” The purpose of the Shrine Circus was to raise $250,000 for the entertainment of the Imperial Council of the Shrine which met in San Francisco the following June” (Oct. 18, 1921, page 3).
Al Ringling text panel at the Circus Museum in Baraboo, Wisconsin.The Al Ringling Theatre in Baraboo, Wisconsin.
In 1915, Moses wrote, “The new
theatre we did at Baraboo for Al Ringling was a good contract at
$2,600.00. I went up to open and found a
beautiful theatre, very unique in design, fifty years ahead of the town.” Al
Ringling hired the architectural firm of Rapp and Rapp to design a theater
based on the Orpheum Theatre built in Champaign, Illinois in 1914. The “Janesville
Daily Gazette” announced, “Theatrical men, scenic painters, canvas makers and
many prominent citizens from Chicago and other towns, all of whom were bound
for Baraboo to do honor to a man who had the courage to build in that city one
of the finest, if not the finest, playhouse in America, Mr. Al Ringling. (20
Nov. 1915, page 20). There were 844 seats, with seventeen boxes, each
containing six seats. The stage was 33’-6” deep, 60’ wide and 46’ high. The
massive fire curtain of asbestos measured 24’ high by 40’ wide, weighing 750
pounds.
The Al Ringling Theatre in Baraboo, Wisconsin.
The Ringling Theatre opened its
doors in November 17, 1915.
D. W. Watt wrote a lovely
article about the theater’s opening. Published in the “Janesville Daily Gazette”
on Nov. 20, 1915, Watts described meeting with Ringing and attending the event (page
6). It is a long, but touching, article that describes the man and his project
from the perspective of a friend. Here is the article in its entirety:
“Side Lights on the Circus
Business.
On Wednesday of this week, I
took the 11:35 train over the Northern road for Baraboo, Wis., where I had been
invited to be the guest of Mr. and Mrs. Al Ringling at the opening of their
beautiful new theatre. On entering the train at Janesville, I was soon greeted
by many old friends, among them Mr. and Mrs. Chas. Ringling and their son,
Robert, who make their home at Evanston, Illinois; Alf T. Ringling and son,
Richard, of New York City, and many other prominent circus people, who for many
years have been with the Ringling and Barnum shows. Theatrical men, scenic
painters, canvas makers and many prominent citizens from Chicago and other
towns, all of whom were bound for Baraboo to do honor to a man who had the
courage to build in that city one of the finest, if not the finest playhouse in
America, Mr. Al Ringling.
“At Madison, many prominent
people joined the party, among who were the son-in-law and daughter of Mr. and
Mrs. Charles Ringling, and by the time the train reached Baraboo, it was
crowded like an excursion train bound for the big Ringling circus. On our
arrival in Baraboo, Henry Ringling was there with a big touring car to meet his
brother, Charles, and family, and the crowd soon left the depot in differing
directions, everybody in a hurry, and seeming to know just where they wanted to
go.
“Many of the old employees
visited the winter quarters, and others the homes of old friends. As soon as I
had brushed off a little of the dust I was on my way to the home of Mr. and
Mrs. Al Ringling. As it was information that I was looking after, I made up my
mind there was only one place to go, and that was headquarters. In a few
minutes I was at the palatial home, which is only a short distance around the
corner from the theatre.
“The massive home with its many
entrances, it was difficult for me, as they would say in the circus, “to pick
out the main entrance,” but I finally pushed the button and a male servant
appeared at the door, and asked me for my card, but I politely told him that I
only had one deck in my pocket and I did not care to break that, but I was an
old friend of Mr. Ringling and was there to make an informal call.
He ushered me into a large room
which Mr. Ringling has used much of the time through his sickness, as kind of a
business office, and I found him busy dictating telegrams and letters to his
secretary, and I was soon seated in a big easy leather chair, and Al said to
his secretary, “Young man, there will be nothing more doing for a time, for I
have many questions to ask Mr. Watt, and we will make a visit here while you
run up town and attend to some other business.
I so told Mr. Ringling the
business part of my visit was to find out as much of the particulars as
possible about the beautiful new playhouse and how he came to build so fine and
beautiful a theater in a city the size of Baraboo.
The ground on which the theater
is built and which has been owned by Mr. Ringling for some time is eighty-eight
feet frontage on the corner, almost directly opposite the old stone court
house, and 132 feet deep, but after Mr. Ringling had his plans for the building
all completed, and just the size that he wanted it, he found that he was short
four feet of ground in the rear of the building, which he would have to have in
order to get just the size auditorium and stage that he had figured on. This
land fortunately belonged to the city, and he was not long in getting a deed of
the extra four feet. In a few days the work was commenced, which was early in
the spring.
It was about four o’clock in the
afternoon on Wednesday, when everything was completed and up in shape, ready to
be occupied in the evening. The building is as near fireproof as it is possible
to build one, the entire front being two shades of granite and white marble,
and the entire building re-enforced steel and cement. There are two lobbies at
the main entrance of the theatre, a beautiful marble trimmed office being the
first lobby and the second entrance there are six swinging doors and on
entering the second lobby, there is a beautiful fountain, and opposite on the
right was what they called an Italian rest bench. From this you enter the main floor,
which contains 844 seats raised from the stage so that every seat gives a good
view of the stage, as does the front row. There are seventeen boxes, which
contain six seats each.
“Beautiful dark red velvet
carpets cover the cement floors on the inside, as they also do down the main
aisles. The curtains and draperies in the boxes are in keeping with the carpets
and of the same color. The huge marble columns on the inside, with their brass
trimming, presented a most beautiful sight. As the tickets were all sold in
advance, the lights were kept well turned down until the entire audience was
seated, and it was almost time for the curtain to go up when the lighting plant
in the second was turned on, and the cheers that went up from the people at
their first sight of the playhouse was deafening and lasted for some minutes.
“In the private boxes were many
prominent people from different parts of the state, Gov. Phillip and a party of
friends being in one box; Mr. and Mrs. Charles Ringling and family in another,
and Mr. and Mrs. Henry Ringling and friends, and Al Ringling and his wife with
some friends in another. As a large party of the audience came in full dress,
it was certainly a wonderful sight to behold.
The Al Ringling Theatre with front curtain painted by Sosman & Landis.
“After Mr. Ringling had given me
as many particulars as possible about the building, I asked him what I should
say about the cost, or the approximate cost of the entire investment, and he
simply smiled and shook his head and said: ‘Nothing doing. That Dave,’ said he,
‘has never entered into the game. My object from the start to finish was to
give the people as fine a playhouse for the size of it as there was anywhere,
and the architects and finishers and many theatrical men have said that I
accomplished my undertaking. And is so, then I am satisfied, for I have had so
much pleasure in all the years that I have been in business, and although at
times it seemed hard, it was a pleasure for me to make the money, and now is I
have done something with a part of it that will bring pleasure to my friends
and neighbors, I have accomplished something.’
“And if the warm welcome that Al
Ringling and his esteemed wife received in their private box at the close of
the show goes for anything, their friends are legion.
“Mr. and Mrs. Harry North and
friends occupied a box next to Mr. and Mrs. Al Ringling. Mrs. North is the only
sister of the Ringling brothers.
“Sosman & Landis company of
Chicago did the scenic painting in the new theatre; Gustave Brand of New York
and Chicago were the decorators; The Ornamental Plaster & Carving Company
did the plaster work; the Wiley Bros. of Chicago were the general contractors;
Charles Kleckner, of Baraboo, the general painting; the Mandel Bros. of Chicago
furnished the draperies, carets and seat coverings; Victor S. Pearlman Company
installed the lighting fixtures of which there are 2,500.
The stage is 33 ½ x 60 feet wide
and 46 feet high, and the beautiful marquetry awning reaches out to the edge of
the sidewalk, and all is metal and glass and underneath is a mass of electric
lights. A massive fire curtain of asbestos, which is 24 x 40 feet and weights
750 pounds, serves as a protection between the stage and the main floor.
The fire curtain by Sosman & Landis.
“An organ, which cost $5,000 was
furnished by a local music house of Baraboo, and is said to be one of the
finest of its kind in the country.
“The dressing rooms, of which there are many, are furnished with the latest of everything; in fact, nothing has been overlooked to make it the most complete theater of its size in all appointments, that there is in the country.
“The ushers were all in uniform and all seemed to work as though they had been at it for years.
“Long before the arrival of Mr. and Mrs. Al Ringling, their box was simply a bower of roses and beautiful flowers of all descriptions, among which was apiece over four feet high given them by the Commercial Club of Baraboo.
“And after the fall of the curtain on the first act, Governor Phillip was called upon for a speech, in which he said in part that he was there with other friends and neighbors to do honor to a man who had honored Baraboo and its people for so many years. He paid the Ringling brothers a glowing tribute for the way in which they had always conducted their business and said without any question, they had done more to build up the models of the circus people than any who had ever been in business. He congratulated the people of Baraboo and the surrounding country on their being so fortunate as to have a man in their community who would build such a beautiful playhouse, where they could go for years to come, and always be proud to point it out to their friends as the theatre beautiful, which will always be known as the Al Ringling Theatre.
“And for myself with the many
old friends surrounding me, I almost fancied that I backed up thirty years of
more and was again in the business, for I thought that I could smell the
sawdust and menagerie, but the dream pipe soon went out, and I had to bid my
old friends adieu and take the train back home. But Wednesday, November 17th
put another bright day in my life, all through the kindness of an old friend
whom I met in the circus business more than thirty years ago – Al Ringling.”
To be continued…
The Al Ringling Theatre at night in Baraboo, Wisconsin.
Al Ringling’s portrait at the Circus World Museum in Baraboo, Wisconsin.
In 1915, Thomas G. Moses wrote, “The new theatre we did at
Baraboo for Al Ringling was a good contract at $2,600.00. I went up to open and found a beautiful
theatre, very unique in design, fifty years ahead of the town. Poor Al Ringling died soon after this.”
Moses designed and supervised
the painting of six grand circus spectacles for Al Ringling. These were events for the big top and
attached to the opening parade of the circus, spectacles solely accompanied by
movement and music. Al Ringling both liked and trusted Moses, so it was Sosman
& Landis who would deliver the scenery to Al’s new theatre in 1915.
Before his theatre opened in
1915, Ringling was involved in a car accident. On October 18, 1915, the
“Muscatine Journal” reported, “Well Known Circus Figure Meets With Mishap.
Lafayette, Ind., Oct. 18 – Al Ringling, one of the owners of Ringling Brothers’
circus, was confined to his bed at a hotel here today, suffering from injuries
resulting from an automobile accident.
“Ringling and a party of friends
were en route to Baraboo, Wis., to attend the Purdue-Wisconsin football game
when the crankshaft of the machine broke a few miles north of this city. The
car plunged into a ditch. Throwing Ringling out of the machine. He was injured
about the head” (page 7).
He never really recovered from
his injuries and also suffered from Bright’s disease. In modern medical terms,
this kidney disease would be described as acute, or chronic nephritis,
characterized by swelling and the presence of albumin in the urine, and often
accompanied by high blood pressure and heart disease. Regardless of his
physical suffering, Ringling continued to direct the completion of his new
theatre during the fall of 1915 until it’s opening. After the opening of his
theatre, Ringling’s health began to fail in earnest. On Jan. 1, 1916, Ringling
passed away. The following day, newspapers announced, “Al Ringling is
Dead.” The “New York Times” reported:
“Famous Show Man, Oldest of
Circus Family, Succumbs at Home. Baraboo, Wis. Jan. 1. – Al Ringling, sixty-six
years old, died here to-day of Bright’s disease. He had been ill about a year.
Mr. Ringling was the oldest of the Ringling brothers, circus owners, who have
their winter head quarters here. Mr. Ringling is survived by his widow.
“It was Al Ringling’s success in
the show business that influenced his four brothers to join hi in the circus
venture. Although he had given up the active management of the shows some time
before he died, his was always the guiding spirit. More than any of his
brothers he was beloved of his associates and friends the world over.
“Mr. Ringling entered the show
business in 1874 with Yankee Robinson, whom he soon afterward left, to start
out on his own hook. By 1884, he was conducting a show wagon around the
country. That was the beginning of the Ringling Brothers’ shows, for the five
brothers were soon aligned. The shows
increased so rapidly that the Ringling brothers gradually absorbed the Jack
Robinson circus, the Forepaugh-Sells show and finally the Barnum & Bailey
outfit in 1907.
“Mr. Ringling did much in his
lifetime for Baraboo, where he lived and which he never forgot. It is estimated
that he made more than a million dollars in the circus business. He is survived
by a widow, his brothers and a sister” (2 Jan. 1916, page 13).
On January 4, 1916, “the Portage
Daily” reported, “Funeral of Famous Showman Tuesday. Services for Al Ringling
Held at Lutheran Church. The Rev. Mueller Officiated. All Baraboo Does Honor to
their Respected Citizen.
“The funeral of Al Ringling was
held at Baraboo Tuesday afternoon. The remains laid in state at the palatial
home of Mr. Ringling, which marks the site of the first residence of his
parents in the early 70s, after his death.
“The funeral services were
conducted by Rev. H. Mueller at St. John’s Evangelical Lutheran Church of which
the Ringling Bros. contributed $5,000 toward the erection of the edifice.
Pastor Mueller was assisted in the service by Rev. H. Gold of Madison.
“Al Ringling was the leading
citizen of Baraboo and its greatest benefactor. He had recently established the
Al Ringling theater, which cost $125,000. Its dedication on Nov. 17 was a
notable event in the history of Baraboo. Mr. Ringling had provided for the
permanence of this theater, contemplating that an opera house so pretentious
might not be self-sustaining in a city of this size.
“Death prevented the fulfillment
of a plan which Mr. Ringling had, to build a fine hotel here.
“The Ringling Circus enterprise
will be continued by the remaining four of the original seven brothers. First
to die was August G. Ringling. He was not connected with the circus. In 1911
Otto, operating boss, called “the king” of the circus, died. Remaining are Chas.
R., Evanston, Ill. Henry, who has residences in Baraboo and Florida; John, who
resides in Ringling, Mont., and Alf who passes his time chiefly in new York and
Chicago. A sister, Mrs. Ida Ringling North, resides in Baraboo.
“Al Ringling some months ago
began the construction of a great mausoleum in the cemetery at Baraboo, which
still is in course of construction. Until this is finished, the body will be
placed in a vault.
Albert Ringling was the son of
Mr. and Mrs. August Ringling, Chicago, of Hugenot ancestry, pious folks that
were opposed to the desire of their boys to go into the circus business, but,
like wise parents, entered no serious objections, the father advising the boys
when they were tired tramping around to come back and sew tugs in his harness
shop. [Thomas G. Moses’ father left a life on the sea to establish a tannery
and harness shop in Sterling, Wisconsin].
“The Ringling family moved to
Baraboo in the early 70’s. In 1882 Ringling Brothers’ Circus made its first
real start when the first performance was held in the jail yard in Baraboo. The
seats fell down and almost broke the show. Previously the brothers, and
especially Albert, were always trying tricks and would amuse the children with
juggling and the like circus spirit seemed insistent in Al, whose passing now
removes the veteran of the sawdust ring, his fame being even greater than that
of Barnum or Forpaugh [sic.]”
On January 23, 1916, the “Sioux
City Journal” reported, “Latest to hear the final summons of the ‘equestrian
director’ – the ‘call boy’ of the circus – was Al. Ringling, oldest brother of
the famous family which put Baraboo, Wisconsin, on the map. His death occurred
the first day of the new year. Otto and Gus Ringling died some time ago. Four
brothers survive and they are the so-called ‘circus kings’ of today – Alfred T.
John, Charlie and Henry, the latter coming into the firm at the death of Otto”
(Page 27).
There are those moments that the
term “passing of an era” is very visible.
The loss of Ringling was such a great one. What would life had been like if he had lived
another ten or twenty years? The same can be said of Joseph S. Sosman and Perry
Landis. Creative men, living before their time, whose vision change and entire
industry.
Of the Al Ringling Theatre, it
also wept for Al’s passing, as the the theatre soon flooded. On Feb. 8, 1916,
the “Wisconsin State Journal” reported, “Some one unfortunately left a window
open in the Al Ringling theater which caused a pipe to freeze and burst thereby
flooding the balcony to some extent. The carpets and mattings were soaked. They
were removed and there was no interference with the pay announced for the
evening” (Madison, page 4).
In 1914, Sosman & Landis
delivered scenery for the Ringling Bros. grand circus spectacle, “King Solomon
and the Queen of Sheba.” By that year dozens of Scottish Rite stages had been
constructed and held massive scenery collections to stage Scottish Rite degree
productions, many that told of events surrounding the reign of King Solomon.
Masonic backdrops depicted the private apartments, throne room, courtyard and
the Temple of King Solomon.
To look at the sixty-one Scottish
Rite scenery collections solely produced by Sosman & Landis (Chicago) and
Toomey & Volland (St. Louis) from 1896-1914 puts the Ringling Bros. “King
Solomon and the Queen of Sheba” spectacle in perspective. These 61 scenery installations include
Scottish Rite Theatres in Little Rock, Arkansas; Tucson, Arizona; San Francisco, Stockton and Los Angeles, California; Atlanta,
Georgia; Chicago, Springfield, E. St. Louis, Quincy and Bloomington, Illinois; Davenport and Dubuque Iowa; Fort Wayne, Indianapolis, and Evansville,
Indiana; Fort Scott, Fort Leavenworth,
Wichita, Kansas City, Lawrence and Salina, Kansas; Louisville and Covington,
Kentucky; Portland, Maine; Bay City, Michigan;
Duluth and Winona, Minnesota; St Louis and Joplin, Missouri; Omaha, Nebraska; Butte and Helena, Montana; Clinton
and Jersey City, New Jersey; Santa Fe, New Mexico;
Rochester and Buffalo, New York; Charlotte
and Asheville, North Carolina; Grand Forks, North Dakota; Toledo, Davenport, Youngstown and Canton, Ohio; McAlester and Guthrie, Oklahoma; Bloomsburg and Pittsburg, Pennsylvania; Yankton, South Dakota; Memphis, Tennessee;
Dallas, El Paso and Austin, Texas; Salt Lake
City, Utah; Danville, Virginia; Milwaukee, Wisconsin; Wheeling, West Virginia; Tacoma,
Washington; and Cheyenne, Wyoming. There
were also those produced by lesser-known studios too. The point is that Masonic
membership was dramatically increasing during the early twentieth century.
King Solomon setting by Sosman & Landis at the Scottish Rite theater in Yankton, South Dakota.King Solomon setting by Sosman & Landis at the Scottish Rite theater in Grand Forks, North Dakota.King Solomon setting by Sosman & Landis at the Scottish Rite theater in Tucson, Arizona.King Solomon setting by Sosman & Landis for the Scottish Rite theater in Winona, Minnesota.
All of the Ringling brothers
were a Scottish Rite Masons and members of the Scottish Rite Consistory in
Milwaukee. By 1913, the Milwaukee Scottish Rite boasted a Sosman & Landis
scenery collection, one specifically supervised by Thomas G. Moses during its
production.
King Solomon setting by Sosman & Landis at the Scottish Rite theater in Milwaukee, Wisconsin.
The Ringling family all began
their Masonic journey in Baraboo Lodge No. 34. There were two other
circus families who also belonged to that lodge, the Moellers and the Gollmars.
The Ringlings, Gollmars, and Moellers were all related through marriages to the
three Juliar sister. Marie “Salome” Juliar
married August Ringling (Rüngeling), father of the Ringling Brothers. Her sister Katherine married Gottleib Gollmar,
father of the Gollmar Brothers. Mary Juliar married Henry Moeller, father of
the Moeller Brothers who became famous as manufacturers of circus wagons and
materials.
Gottlieb G. Gollmar (1823-1914) was the son on of Joachim
Gollmar & Franziska Caroline Wolf, born in Baden-Würtemmberg, Germany,
arriving in the United States at the age of 9 and settling in Valley City, Ohio.
He married Mary Magdeline Juliar in Chicago on 17 Nov 1848 and moved to Baraboo
in 1851. He and was one of the seven charter members for Baraboo Lodge No. 34
and patriarch of the Gollmar Brothers circuses.The Gollmar Bros. Circus was
operated by brothers Walter, Fred, Charles, Ben and Jake Gollmar and lasted
until 1926, finally touring as the Patterson-Gollmar Bros. Circus.
Gollmar Bros. Circus wagon.
Katherine Juliar married Henry Moeller, an immigrant born in
Saxony. He learned the trade of a wagon maker in Milwaukee after arriving in
the United States. Moeller founded a blacksmith shop in June 1856, a business
later operated by his sons Henry and Corwin as the Moeller Bros. Wagon Co.
(Wisconsin State Journal, 265 April 1937, page 12). First cousins to the
Ringlings and Gollmars, their shop was located at Third Avenue in Baraboo where
they built many of the ornate wagons for the Ringling Brothers’ circus,
including the famous Bell Wagon of 1892. For many years, the wagons used by the
Ringling Brothers were made exclusively in the Moeller Bros. shops, costing as
much as $800 each, exclusive of painting.
Moellar Bros. famous bell wagon.
Marie “Salome” Juliar married August Rüngeling, and their
children formed the Ringling Brothers circus. August
and his seven sons all joined the Fraternity between January 1890 and August
1891; each being raised in Baraboo Lodge No. 34. This is not unusual, as
Freemasonry was often a “family affair” for fathers and sons. Here is when each
Ringling brother became a Master Mason: Alf T. (January 22, 1890), John (March
1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9,
1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9,
1891). However, it was their combined roles as
Masonic officers during 1891 that caught my eye. In the minutes of a meeting on April 8, 1891,
Alf T. was listed as Worshipful Master; August “Gus” was listed as Senior
Warden; Al was listed as Junior Warden; Charles was listed as Senior Deacon;
Otto was listed as Junior Deacon; and Henry was listed as Senior Steward.
The Ringling Bros. bell wagon manufactured by the Moeller Bros.Ringlng Bros. circus train in Baraboo, Wisconsin.
In 1900, “The Buffalo
Courier” included the story of the Ringling family in a section called
“Travelers Toward the East” (9 Dec. 1900, page 25). The article reported, “A
Masonic journal says that the Ringling brothers are known all over the country
as the proprietors of the Ringling Circus.
Seven of these brothers are members of Baraboo Lodge No. 34 of Wisconsin
jurisdiction, and after the seven were all members of the lodge the petition of
the father was received. The Ringling
brothers qualified themselves to confer the degrees were assigned to the
several positions in the lodge, received the father into the lodge and
conferred the degrees upon him.”
Five of the Ringling Bros., advertised as Kings of the Circus World.
Baraboo Lodge No. 34 was
almost four decades old by the time the Ringlings became members. Besides
belonging to Baraboo Lodge No. 34, the seven brothers also belonged to Baraboo
Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T.
(Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish
Rite) in Milwaukee. The lodge rooms were above McGann’s Furniture in the
building at the Northwest corner of Oak and Second Avenue, but a new building
was in the making in 1891. The same month
that their father was raised, the “Wisconsin State Journal” reported that the
corner stone for the Baraboo Masonic Temple was “to be laid with great
ceremony” that Thursday (25 August 1891, page 1). A formal procession was
formed and consisted of the Baraboo lodges, Eastern Star Chapter, Royal Arch
Masons, Knights Templar, members of the Grand Lodge, the members of the city
council, and led by the Baraboo military band.
The three Juliar sisters who married Ringling, Gollmar and
Moeller also had a brother, Nicholas Juliar (1841-1920). Nicholas collected his
sisters’ circus memorabilia and his personal effects are now part of the
Memorial Library, Southern Minnesota Historical Center, Minnesota State
University – Mankato. Unlike his famous relations, Juliar was a banker,
auctioneer, and member of the Minnesota House of Representatives for two terms.
To be continued…
In 1914 Sosman & Landis created scenery for the Ringling
Bros. grand circus spectacle “Solomon and the Queen of Sheba.” Over a decade
earlier, the John Robinson circus also included “King Solomon and the Queen of
Sheba” at a circus spectacle. It
provided a rich and popular subject for a variety of nineteenth-century and
twentieth century entertainment venues.
King Solomon and the Queen of Sheba circus spectacle advertised in the “Wichita Beacon,” 18 Aug 1900, page 5.John F. Robinson and his circus spectacle “King Solomon and the Queen of Sheba” from the “Knoxville Sentinel,” Oct 15, 1903.
The King Solomon story was also staged for Ancient and
Accepted Scottish Rite of Freemasonry degree productions at this time. Masonic designs included a variety of settings
from King Solomon’s reign, including the Temple, Sanctum Sanctorum, his private
apartments, audience chambers, and the throne room. The story of the construction of King
Solomon’s Temple was a subject dramatically presented in both Blue Lodge rooms
and on Scottish Rite stages as part of their ceremonials. The construction of the Temple and the
assassination of its chief architect Hiram, are a prominent topic in Masonic
degree work. This story dramatically presented in lodge rooms was theatrically
staged for Scottish Rite degree work. Never exclusive to the Fraternity,
the reign of King Solomon was a popular subject for a variety of visual
spectacles throughout the nineteenth century.
King Solomon degree setting for Scottish Rite degree work by Sosman & Landis Scene Painting Studio, ca. 1904.
In past posts, I
have covered the subject of King Solomon on both public and private stages,
including two 1840s touring show that featured “Chemical Paintings,” also known
as “Magic Pictures.” These were small painted backdrops that transitioned from
day to night as the composition was alternatively lit from both the front and
back (see past installment #320). Newspapers at the time reported, “by modifying the light upon the picture, exhibits two
entirely distinct representations upon the same canvas” (The Times-Picayune, 20
Dec. 1842, page 3). The “Inauguration of
Solomon’s Temple” was one of four scenes that toured with the show.
Here is the 1842 description of “The Inauguration of Solomon’s Temple”
as published in “The Times-Picayune:”
“This painting represents the
magnificent Temple of Solomon, son of David, which he caused to be erected in
Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and
elegance of its exterior architecture. The same Painting soon after passes
through all the modifications of light: then night comes on, (effects obtained
by the decomposition of light, a new process of painting invented by Daguerre,)
the Temple appears illuminated interiorly by degrees, reflecting a bright light
exteriorly, which discovers a great multitude of people flocking to adore the
Ark of the Covenant, which the High Priest has deposited in the Tabernacle”
(New Orleans, December 29, 1842, page 3).
Any Mason who attended
the 1842 exhibit might leave full of ideas that could make the degree work in
my small lodge room better. The scenic effects exhibited at the end of a
darkened room suggested the possibilities for dramatic effects during degree
work. By the 1850s, the first Scottish Rite stages began to appear, with
painted settings and costumed figures under stage lights. Fast-forward a few
decades.
In 1891, a King
Solomon spectacle was a feature for the Piedmont Exposition in Atlanta, with nightly
performances from Tuesday until Saturday (Atlanta Constitution, 19 Oct 1891, page 6). Although
met with some controversy from the conservative Christian faction of the time,
a series of rebuttals supported the productions. It was a popular production.
By 1899, the King Solomon story was picked up by the John Robinson Circus.
Newspapers in 1900 announced “a magnificence of a scenic
spectacle of Solomon and Queen of Sheba” produced by the John Robinson Circus
(Marshall County Independent, Plymouth, Indiana, 25 May 1900, page 8). It was one of ten big shows that toured with
his circus Advertised as the oldest circus on the road in 1824; by 1900 the
third generation of John Robinson descendants advertised it as the Robinson
Show (Fort Scott Weekly, 9 Aug. 1900, page 8). The John Robinson Circus was one
of the oldest running family circuses in the United States. The four
generations that managed the circus were John Robinson I (1807 – 1888), John
F. Robinson II (1843 – 1921), John G. Robinson III (1872 – 1935) and
John G. Robinson IV (1893 – 1954). Here is a link to the circus’ history as it
is quite fascinating: http://www.circusesandsideshows.com/circuses/johnrobinsoncircus.html
Three of the four Robinsons who would run the Robinson Circus.
John Robinson
Circus advertisements promised, “Nothing Old But the Name” and the “Wichita
Daily Eagle” reported, “The most interesting feature in the performance that
the Robinson show has is the spectacular production of King Solomon, which was
especially beautiful under the dazzling lights in the evening. This part of the
show is gorgeously staged and in effect if like the great spectacle production
in America of 1893. Triumphal marches, to the music of trumpets, and an
acceptionally [sic.] good band, fifty or more girls attired in oriental
costume, a hundred on horses representing various clans and allies, correctly
costumes true to history, and later ballet and dancers, the story in pantomime
of the judgment of King Solomon on the parable of the babe claimed by two
women, and closing with the visit of the queen of Sheba, were all produced in
magnificent manner. The regular circus performance which followed contained
some old features always seen, but it also contained many new features and
original idea which makes the show more interesting than the simple old
fashioned circus” (Wichita Beacon, 18
Aug. 1900, page 5).
Advertisement for the John Robinson’s circus “King Solomon and the Queen of Sheba,” form From the “Ottawa Herald,” 5 Aug. 1900, page 5.
In 1900,
Robinsons Circus advertisements noted that the production included 1,000 men
and women, 500 horses, elephants, camels and 100 ballet dancers, transported
across the country in several trains of cars.
Furthermore, $2,000,000 was purportedly invested in the show. There were
“20,000 seats for 20,000 people under an absolutely water-proof canvas,” “40
camels hitched to a $20,000 Golden Chariot,” and “Forty Soul Stirring,
Fearless, Madly Ridden Hippodrome Races, Forty” (Wichita Beacon, 18 Aug. 1900,
page 5).
John Robinson Circus advertisement from the “Kingman Journal,” 10 Aug. 1900, page 6
By 1902, the
“Knoxville Sentinel” advertised the Robinson Circus, reporting, “The Bible
contains within its covers no pages so attractive in interest, so impressive in
description, so reverential and so expressive of divine devotion, so rand in
developments, as those which relate to King Solomon and his reign. It was a felicitous
thought, then of the celebrated artist, John Rettig, that led him to
contemplate the reign of Solomon as the subject for a spectacle, and to select
that period of Solomon’s administration when the king is visited by the Queen
of Sheba, as the theme for his grand and all overshadowing masterpiece of vast
spectacular presentations (15 Oct. 1902, page 2). A year later, the “Courier
Journal” added, “It was a wise thought of the celebrated artist John Rettig,
that led him to take the reign of Solomon as the subject for a spectacle” (23
April 1903, page 4). The Robinson Circus show was designed by Cincinnati scenic
artist John Rettig and directed by Charles Constantine. Rettig (1858-1932) was
a friend of Thomas G. Moses and the two traveled in the same circles.
John Rettig, scenic artist and design for the John Robinson Circus spectacle, “King Solomon and the Queen of Sheba.” From his obituary notice, May 2, 1932, page 2.
“The Oswego
Independent” published, “The ‘Queen of Sheba’ was a sight to behold, Arrayed in
circus tinsel, with cheap finery and frippery, supposed to represent the
original in her journey to view the wonders and glories of King Solomon, she
was a sight never to be forgotten, and was a libel on the original, as word
painted in the scriptures” (Oswego, Kansas, 31 August 1900, page 3). The
“Newton Kansan” added, “The spectacular representation of scenes in connection
with the lives of King Solomon and the Queen of Sheba was a novel feature and
was one of the best things in the show, but would be vastly improved if
shortened as it becomes tiresome” (17 Aug, 1900, page 1). Most reviews,
however, were pleased with the presentation. The “McPherson Weekly Republican,”
commented, “The presentation of King Solomon’s court, the temple and the
amusements of the ancient Hebrew court were a big surprise in excellence and
would have done credit to a large opera house performance” (24 Aug. 1900, page
7).
Of the
production, an advertisement in the “Wichita Daily Beacon” stated, “King Solomon
and Queen of Sheba. Dwarfing and overshadowing to comparative insignificance
interior and out door spectacular events of the era. Replete in sacred
realisms, historical accuracies, Biblical events, colossal processions, and
introducing all the ceremonies with the original pomp and splendor of the Court
of Solomon.” In 1929, the John Robinson Circus was still featuring “King
Solomon and the Queen of Sheba.”
1929 photograph of the John Robinson Circus for sale online. Note the costumes for the King Solomon circus spectacle.1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/Detail of 1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/
By 1914, spectacles
depicting King Solomon’s life were still a popular to many, including the thousands
of men who continued to tell the story in Masonic ceremonials. The Ringling
Brothers’ spectacle of “King Solomon,” however, was produced on a much grander
scale than any other circuses or fraternity. The Masonic settings at Scottish
Rite theaters paled in comparison with the grand spectacle at the circus, yet
the same scenic artists were painting the sets for each venue.
Thomas G. Moses designed the scenery for the Ringling Brothers grand circus spectacle, “King Solomon and the Queen of Sheba.” Sosman & Landis delivered the scenery for the production in 1914.
In 1914, Thomas G. Moses wrote,
“Jan. 6th, went to Baraboo, Wisconsin, to see the Ringling’s for the
new spectacle, ‘King Solomon.’ Another big show. Made a model for one scene and
got $2,900.00.” Moses was referring to the 1914 Ringling production “Solomon
and the Queen of Sheba” that toured throughout the United States. Later in
1914, Moses wrote, “Ringlings’ work came out very good. Everyone was pleased and that is saying a
good deal.”
I have mentioned this grand
circus spectacle, or spec, in the past, but it is worth repeating. It provides
an additional layer of context for the painted tradition preserved in Scottish
Rite theaters.
“King Solomon and the Queen of
Sheba” was presented in a series of dramatic pantomimic pictures staged with
“all the lavish splendor and opulence that marked the period when the wise
Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in
Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba” (Star
Gazette, Elmira, NY, 21 May 1914, page 3).
The Star Gazette reported, “The spectacle is presented on an enormous,
specially constructed stage, which occupies nearly one entire side of the main
tent. The tent measures 560 by 320 feet
and seats 14,000 people at a performance” (21 May 1914, page 3). Remember that
two shows were given daily; one at 2pm and one at 8PM, and the doors opened an
hour before show time, allowing spectators to visit the 108 cages in the
Ringling zoo and purchase candy and souvenirs!
In 1914, the “Indianapolis Star”
reported, “Nero has watched his Rome burn to a cinder beneath a circus tent.
Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatra
has taken her last look at Egypt before the clown’s entry. And now the wise King Solomon and the Queen
of Sheba have been made the hero and heroine of the circus spectacle,
surrounded with all the gorgeous pageantry and lavish costumes a showman can
devise” (4 May 1914, page 3).
Thomas G. Moses designed the scenery for the Ringling Brothers grand spectacle, Solomon and the Queen of Sheba” in 1914.
On May 21, 1914, the “Star
Gazette” reported:
“Nearly half of the entire train
section is used to transport the scenery and costumes used in the massive
spectacle, ‘Solomon and the Queen of Sheba.’ The spectacle includes a cast of
more than 1,250 characters and a ballet of 300 dancing girls under the personal
direction of Ottokar Bartik, ballet master of the Metropolitan Opera House, New
York, and late of La Scala, Milan. The
music for this spectacle has been written by Faltis Effendi, formerly
bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90
musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a
cathedral pipe organ, costing $100,000.
The Ringling Brothers’ have expended $1,000,000 in the production of
this mammoth spectacle which faithfully and accurately portrays the pomp and
ceremony, life and wisdom of a period a thousand years before Christ, and
introduces Solomon in all his glory and Balkis, Queen of Sheba, the most
interesting woman of her day” (Star Gazette, Elmira, NY, 21 May 1914, page 3).
From the “Reading Times,” 16 May 1914, page 9.From the “Pittsburg Press”, 5 May 1914, page 16.
The US Inflation Calculator
measures the buying power of $1,000,000 in 1914 to be the equivalent of
$25,200,600.00 in 2018. Fifty men were needed to handle scenery and special
effects (Dayton Daily News, 26 April 1914, page 31).
When the circus arrived in
Elmira, New York during 1914, the “Star Gazette” included a large article about
the early morning arrival and events, advertising:
“The big circus is almost
here. Tomorrow morning in the small
hours just before dawn, four long red and yellow trains, made up of 86 cars
will roll quietly into Elmira coming from Binghamton, over Lackawanna
railroad. They will be unloaded
immediately and within a few hours the big aggregations of world wonders which
comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered
under twenty acres of white canvas on the show grounds.”
From the “Sheboygen Press,” 7 July 1914, page 1.From the “Sheboygen Press,” 7 July 1914, page 1.
The circus included an elaborate
parade that traversed the principal streets of each town on the morning of
their arrival. The “Star Gazette”
announced, “The cavalcade which, it is promised, will be the longest and most
gorgeous display ever seen in the streets of this city, will start from the
show grounds promptly at 10 o’clock. It
will be more than three miles in length and will include all the performers and
animals, in addition to the long procession of handsome tableau wagons and
allegorical cars, filled with pretty dancing girls in gay costumes. Six bands and two calliopes will furnish the
music for the cavalcade and the fifty famous Ringling clowns will be on hand to
keep the sidewalk spectators in good humor.
A striking feature of the procession will be the long line of elephants,
forty in all, and a team of sixteen camels, broken to bit and harness driven the
same as horses. These beasts draw a huge parade wagon and this is the first
instance on record where the ‘ship of the desert’ has ever been successfully
broken to harness and bit.”
The “twenty-four hour man”
arrived a day ahead of the circus to set up the infrastructure needed to feed
an enormous amount of people and animals. Other circus staff that arrived a day
early included “a number of stage and electrical experts who precede the show
to make arrangements for the staging and lighting of the big spectacle “Solomon
and the Queen of Sheba.” It is important to remember that the King Solomon
spectacle was just one of the principal features for the Ringling Brothers’
program that season; it was not the whole show.
This makes theatrical touring shows, such as “Ben-Hur,” seem like
child’s play when compared with the logistics of a touring circus with
thousands of moving parts.
The first train to arrive was
the commissary department and the first tent to be pitched on the show grounds
was the “cook house.” The second and
third trains pulled the heavy red wagons, loaded with canvases, properties, the
elephants, the 730 horses and the other animals. On the last train, composed entirely of
sleeping cars, arrived all of the performers and ancillary staff members for
the show.
The Queen of Sheba was played by
Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French
teacher of pantomimic art.
From the “Indianapolis Star,” 4 May 1914 page 3.
One of the things that I keep thinking about is the
logistics of organizing and managing a touring circus a century ago, especially
the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The
Pittsburgh Press published an article that provides insight into the 1914
circus (11 May 1914, page 14):
“The big enterprise bearing the name of the five brother
showmen arrived in Pittsburgh in the small hours of Sunday morning and with
very little noise and no confusion an enormous tented city was quickly
established on the show grounds in East Liberty. The show came from Wheeling, W. Va., where it
exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad
by a vast horde of excited youngsters who had braved both the displeasure of
parents and Sunday school teachers in order to be on hand to help unload the
elephants and lead the spotted ponies to water.
All day yesterday they loitered around the East Liberty grounds watching
the erecting of the tents and other unusual sights.
Twenty-four tents are required this season. The main canvas – the big top is the largest
the Ringlings have ever used – is especially constructed, not only to
accommodate the circus with its three rings, stages and hippodrome track, but
also arranged for the massive spectacle ‘Solomon and the Queen of Sheba,’ which
is presented on a stage five the size of that found in the largest theater. The
Ringling circus is a perfect city in itself traveling every night, making a new
city every day and morning with more system, rapidity and less fuss and noise
than any branch of the army. To prepare
for its coming exactly 106 representatives, each with a various mission to
perform, have visited this city.
All of the cooking for this enormous enterprise is done
by steam and in ranges built in a wagon weighing six tons and drawn by eight
horses. As a mere detail of the
marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs,
800 pounds of bread, 150 pounds of sugar and other items equally as large. The first order to the cooks in the morning
is for 5,200 griddle cakes and yet, as large a number as this may seem, it is
only four a piece. For the stock and animal department there are used daily: 10
tons of hay, five tons of straw, 300 bushels of oats, while no well behaved
elephant would think of starting his day’s labor without his morning cereal – a
bale of hay. Most of all, these
purchases are made from local merchants.
The circus travels on its own trains and only requires
engines and crews from the railroads.
The show also carries its own blacksmiths, horseshoers, wagon and
harness makers, tent makers, rope splicers and a corps of decorators are kept
on hand continually touching up the gilded and brilliantly painted tableau
wagons and cages. Two men are employed
eight hours a day doing nothing but greasing axles. In the wardrobe department presided over by
Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000
costumes have to be handled daily and kept in repair. Five dressmakers and six
tailors, besides armorers, are in this department. The circus has its own physician who carries
with him a complete surgical and medical outfit. There is also a barber shop
and, incidentally, no driver or man appearing before the public is allowed to
leave the show grounds until he is shaved. This also suggests another rule
strictly enforced by the Ringling Brothers’ which absolutely forbids the use of
whips by any of their drivers.
It costs $8,000 a day to run the circus and it represents
and investment of nearly $4,000,000. The
show maintains winter quarters and shops at Baraboo, Wisconsin, and
Stoke-on-Trent, England. The firm is now planning an expedition of its own to
trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on
the alert to secure novelties.
Starting as mere boys with a borrowed tent in which they
were given a few juvenile attempts at entertainment, these five brothers have
seen their dreams realized and have become master showmen of the world.
The afternoon performance began at 2 o’clock and the big
tent was crowded. Opening the bill came
the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or
so effectively presented has ever been given here before. The opening pageant, the ballet of dancing
girls and the dramatic action were veritable surprises. The spectacle was followed by surprises. The spectacle was followed by the circus
performance in which 400 men and women appeared. More novelties that ever before are
presented, the Ringlings having brought from Europe the majority of their
people.
The final performance will take place Tuesday night at 8
o’clock. The doors open an hour earlier,
allowing time to visit the extensive menagerie and also enjoy the operatic
concert rendered by the military band of 80 pieces.”
To be continued…
Poster for Ringling Bros. grand circus spectacle, Joan of Arc.
In 1913, Thomas G. Moses wrote,
“Had to go back to Baraboo to get a new contract for more work. Total $13,695.00.” Today’s equivalent of
$13,695.00 in 1913 is $355,183.28.
Later that year, Moses wrote,
“When we were setting the Ringling scenery at the Coliseum, the big elephant
stampeded and there was some excitement for awhile, but the trainer went after
them and brought them back and made them go through all the tricks again.”
From 1905 until Al Ringling’s
passing in in 1916, Thomas G. Moses completed several designs for the Ringling
Bros. grand circus spectacles. Al
Ringling worked with Moses to design scenery for their grand circus spectacles.
The work that Moses mentioned in 1913 was for their Joan of Arc spectacle.
Poster for Ringling Bros. grand circus spectacle Joan of Arc, 1913.
In 1913, newspaper
advertisements across the country announced the Ringlings’ “newly added
$500,000 spectacle of ‘Joan of Arc” (The
Placer Herald, Rocklin, CA, 23 August 1913, page 3). The attraction was
described in hundreds of articles, such as the “Pawnee Rock Herald” (Pawnee,
Kansas, 17 July 1913, page 3). The “Pawnee Rock Herald” reported, “Ringling
Bros. circus is attracting unusual interest this season because of its many new
features and the new aspect given the show by the addition of the great
spectacle ‘Joan of Arc”…There will be a new parade in the forenoon three miles
in length. The menagerie is practically twice as big as it was last year and
contains many specimens of strange animals. Audiences will be entertained by
375 of the greatest of Europe’s circus artists…The great feature of the show of
course is the newly added spectacle ‘Joan of Arc,’ with a trainload of special
scenery, costumes and stage properties and a cast of 1,200 characters. There is
a ballet of 300 dancing girls, a chorus of 400 voices and an orchestra of 100
soloists.”
Of the spectacle, the article
continued, “This is the greatest dramatic and spectacular production ever
presented in America, enacted on a specially built stage bigger than a hundred
ordinary theatres. It is made portable so that it can be erected in the main
tent each morning. This great entertainment is given as an introductory to the
regular circus performance and entails no extra charge of admission. John of
Arc tells a masterful story from French history in a thrilling and dramatic way
and with the wonderful illusion of tone of special scenery and stage devices.
In the great battle scene the audience is held spellbound by the realism of the
scene while the enactment of the coronation of Charles VII is beyond question
the most sumptuous and inspiring stage picture ever seen.”
Scene from Ringling Bros. Joan of Arc with scenery by Sosman & Landis. Image from the “Santa Ana Register,” 4 Sept 1913, page 8.
An article in the “Great Bend
Tribune” announced the arrival of the advance men (Great Bend, Kansas, 5 July
1913, page 1): “Thursday night a huge eighty-foot car pulled into the Santa Fe
station with a coat of bright red paint, it announced in blazing letters of
gold, ‘Ringling Bros.’ World’s Greatest Shows Advertising Car No. 1’…Ringling
Bros. have three advance cars, following one another a week apart. The no. 1
car goes to each town three weeks before the circus is due to appear. It
carries twenty-seven men, consisting of twenty billposters and six
lithographers, in charge of the veteran car manager, George Goodhart. A steam
machine for making paste is carried on the car and every night the porter makes
twelve barrels for use the following day. The head lithographer sees the dates
are pasted on the lithos and the car manager lays out the work for each man to
do. At 5:30 a.m. the men are called, breakfast is served at 6 o’clock, and at
6:30 the local livery teams are at the car ready to take the billposters to the
outlying towns and through the city itself to plaster the billboards. The
lithographers start with their bundles of lithos (in circus parlance called
‘hods’) to decorate the store windows, and by the time the supper hour arrives
everybody knows the big circus is coming and enthusiastic and excited
youngsters are busily engaged in planning a touch on ‘daddie’ for the price of
a circus ticket. The men who do the country work also carry the show heralds
for distribution. The next car is the excursion car. The No. 3 car will do the
local work.”
As the Ringing Bros. trains
crossed Kansas, the “Topeka Daily News” announced, “While numerous alarm clocks
were tinkling under pillows of small boys throughout the city this morning,
there arrived in the yards of the Rock Island Railroad four long trains,
composed of 86 cars bearing the Ringling Brother’s circus” (“Topeka Daily News,
“July 24, 1913),
One-half of an entire train was
used for the costumes and scenery of the spectacle of “Joan of Arc.” Of the
show, the article continued, “This spectacle, in a series of brilliant
pantomime pictures, tells the dramatic story of the Maid of Orleans, the simple
peasant girl who led an army to battle and restored Charles VII to the throne
of France. The costumes and scenery are the most gorgeous and costly every used
in a production of this kind, either under canvas or in a theater” (page 7).
The production was further described
in the “Hartford Courant:”
“The play begins when Joan, just
16 years old, comes from her father’s pasture at Domremy at the command of the
Archangel St. Michael to the court of Charles VII, at Chinon. In the light of a
thousand torches she is brought into the presence of the King in the great
palace which throngs with the nobles of France. The reception which the King
gives to the peasant girl is filled with impressiveness and suspense. The
second climax of the great spectacle is reached when Joan, dressed in armor,
crossed the river of Orleans, and rides at the head if the French army into the
gates of the beleaguered city. One of her heralds presents himself at the
English camp. Respect to the messenger is sent to defy Talbot, and to declare
from the girl that is any harm is done him it shall be retaliation on the
English prisoners. Joan in shining armor appears on a tower facing the Tournelles,
bidding the soldiers of Suffolk and Talbot to depart. This they refuse to do.
At the head of the French knights and archers Joan rides between the towers of
the besiegers and followed by the villagers who look on in wonder at the sight
of a mere girl leading the armies of France. The stage version ends with the
introduction of a great ballet of 300 beautiful dancing girls, a grand opera
chorus, 600 horses and an ensemble o 1,200 people. The closing chapter of
Joan’s life is too sad for this drama of gladness, through her capture, her
imprisonment and her execution are told n a series of thrilling tableaus by
means of tons of scenery and a great battery of electric mechanism” (17 May
1913, page 16).
Joan of Arc advertisement placed in the “Hartford Courant,” 17 May 1913, page 16.
In 1912, Thomas G. Moses wrote,
“Sosman left for the south on a vacation.
My work doubles. We are doing a
lot of work for the New York Studios – not much profit in it for us, as Hunt
seems to think we should be satisfied with a small profit. I have made a number of designs for him which
I am pleased to do as long as we get the work.”
David H. Hunt pictured in the “Detroit Free Press,” 21 May 1903, page 12.
Hunt was a long-term employee at
Sosman & Landis, founder of the theatrical management firm Sosman, Landis
& Hunt (est. 1894), and founder of New York Studios (est. 1910). New York
Studios was considered an eastern affiliate of Sosman & Landis. In 1905,
Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the
talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the
contract for $3,500.00.” Moses did not get along well with David H. Hunt of New
Yorks Studios and periodically mentions the discord in his diary.
By 1910, tensions were high between Moses and Hunt,
escalating when Joseph S. Sosman leaves on a 15-week European tour. At the
time, both Moses and Hunt were left in charge of the studio, with shops in both
Chicago and New York. Hunt was the company secretary and treasure, whereas
Moses was responsible for the design, construction and installation of all
projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and
expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and
assessed the studio’s state of affairs, Moses wrote, “I heard some reports as
to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled… I arrived June
25th. Sosman had his doubts as to my
coming back.” It was around this time that Hunt officially established New York
Studios. Smart move, as it was beginning to appear that Chicago was not big
enough for both Moses and Hunt.
The establishment of New York
Studios is the beginning to the eventual demise of Sosman & Landis. Sosman
steps out of the daily running of the company, leaving it to others, while
investing in new business ventures such as New York Studios, managed by friend
and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was
not. Hunt was also working on many other business endeavors that distracted him
from solely focusing on any one company, whether it was Sosman & Landis,
Sosman, Landis & Hunt, or New York Studios projects. Based on Moses’ description of Hunt and
newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid
scheme, hoping for maximum returns with minimal investments; it is all based on
the underlings beneath him doing the work.
Over the years, Hunt had
remained a thorn in Moses’ side for many reasons, including his poor treatment
of good artists; prompting many to leave the studio. The exodus of scenic
artists from Sosman & Landis included Moses’ good friend, John H. Young.
Young went on to dominate the Broadway scene as a well-known designer.
Hunt had started with Sosman
& Landis during the early 1890s, quickly worming his way into both Sosman
& Landis’ confidence. Although I have yet to find an official start date
for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition
projects. By 1894, Hunt convinced Sosman & Landis to establish, the
theatrical management firm of Sosman, Landis & Hunt. This was a secondary
business venture; a company that leased theaters and founded touring companies
in Cincinnati, Indianapolis and Detroit.
The firm kept Hunt busy as the primary manager for the endeavor, yet the
Sosman & Landis studio staff from Chicago completed much of the necessary
work. Moses’ diaries suggest that Hunt did not treat the artistic staff working
for Sosman, Landis & Hunt well; scenic artists were swapped and directed to
various projects like pawns on a chessboard, ready to be sacrificed at any
point. Throughout this period Hunt had remained on the administrative end of
the studio, always finding the public spotlight to share his great wisdom on a
subject.
By 1910, Hunt also talked Sosman into investing in a new
business venture – New York Studios. That year, Moses wrote, “Hunt had started
a New York studio in New York City and he expected us to do a great deal of
work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the
President, Edward A. Morange as the vice president, and David H. Hunt, as the
Treasurer. The company’s starting capital was $40,000, and listed the following
directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices
located at 325 W 29th Street,
New York. Business listings noted that theatrical equipment was the primary product produced by the company.
Now there were two scenic studios to consider, and only one Moses. In the 1919
Adelaide A. Hunt was still listed as president of New York Studios, with Edward
Morange as Vice-President and David H. Hunt as treasurer, still supplying
theatrical goods. Office locations varied from 29th to 39th
to 95th Streets. Many scenic artists worked for New York
Studios including John H. Young, William F. Hamilton, Victor Higgins, William
Smart, Art Rider, and Al Dutheridge to name a few.
1927 New York Studios advertisement in the publication, “Scenic Artist.”
New Yorks Studios was listed as the eastern affiliate of
Sosman & Landis, whereas Sosman & Landis were listed at the western
offices of New York Studios. Studio stamps on the back of some designs at the
University of Minnesota’s Performing Arts scenery collection list the New York
Studios “Home Office” at 328 West 39th St. N.Y. There are other New
York Studio designs that link designs to their
“Chicago Office.” The Chicago Office for New York Studios was located at
1022 Consumers Building, separate from the main offices of Sosman & Landis
on Clinton St.
Sosman & Landis Studio and New York Studios were two
very separate entities. Although they shared work and scenic artists, Moses
hints that New York Studios always got more out of the relationship than Sosman
& Landis, always taking advantage of the situation.
Studio stamp on the back of a design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios stencil on the back of a folding wood wing purchased by Thalian Hall, Wilmington, NC.
Between 1910 and 1912, Hunt and
New York Studios were repeatedly mentioned in several newspaper articles across
the country. One particular article concerned an electrical apparatus that
enabled one man to handle sixty-five drops. Hunt was part of a group
interviewed about the innovation; again his being in the right place at the
right time. Hunt was chumming around with Martin Beck (manager of the Orpheum
Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New
York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social
networking and always falling in with the right crowd.
In regard to Hunt keeping company
with Beck, Carson and Vincent in 1910, I am including a section of the group
interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star”
quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager
of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical
appliance which makes it possible for one man to handle sixty-five drops. It
operates everything from the stage curtain to the back, gives absolute fire
protection and does the work of an average of twenty stagehands. One man can
operate it. It looks good to me, and if further tests prove it as successful as
the indications are here we will install in all the Orpheum Theatres. ‘The
apparatus for handling drops, consisting of ropes and counterweights, has been
the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum
house. ‘Mr. Bailey has perfected, the first invention, bringing the stage
mechanism up to date. It has been a field neglected by inventors.’
By 1911, newspapers reported,
“Theatrical men and others in Denver have organized a $500,000 corporation to
manufacture a mechanical device, which, it claimed, will reduce the number of
stage hands needed in a theatre by three-fourths, at least. The new corporation
is called the Bailey Fly Rail Machine Company. It is incorporated under the
laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the
inventor of the device. He worked on it several years before he announced that
it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W.
Considine and other vaudeville managers, met in Denver and saw a demonstration
of the apparatus. They appeared to be highly pleased with it. The names of A.
C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft
appear at the prime movers in the matter of incorporation. Mr. Bancroft is an
attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,”
18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem
to have vanished into thin air, as did Hunt’s association with the endeavor.
What remains significant in
terms of theatre history is that Hunt was there, part of the vaudeville
managers who gathered to see Bailey’s invention. He was certainly a mover and
shaker. I will continue with David Hunt’s
story tomorrow.
