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).
Part 458: William F. Hamilton and the Shrine Circus
By 1921, Thomas G. Moses’ former business partner, Will Hamilton, was living in San Francisco, California. Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s and remained their for over two decades. Like many scenic artists, he worked all over the country on a variety of projects. He would later relocate to San Francisco where one of his more interesting projects would involve the Oakland Shrine circus. In the publication “Variety,” there was an article titled, “Hamilton’s Special Events” where he was credited with creating “an abundance for special scenery” for the Shrine (Vol. IXIV, No. 11. Nov. 4, 1921).
Notice the painted scenery for the Midian Shrine Circus in Wichita, Kansas, 1923.
The following year, “The Oakland Tribune” included the article “Hamilton Praised.” It reported that Hamilton was again the director for the Oakland Shrine Circus. He was working on the project with stage managers Captain E. J. Parish and Clarence E. Head; chairman of the entertainment committee Lawrence E. Lund; and Potentate Thomas W. Norris (28 April 1922, page 15). The article reported, “W. F. Hamilton, the director, is given credit for his achievement by members of the Shrine.” In 1923 Hamilton was still the director for the Shrine Circus, and once again in charge of the “special preparations” (Oakland Tribune 13 April 1923, page).
1941 Shrine Circus program
1950 Shrine Circus program
1965 Shrine Circus program
I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine. I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge, he continues his education in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine. The Shrine was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of “learning” in the Scottish Rite and York Rite, immediately jettisoning into the Shrine. I have very mixed feelings about this; understanding the need to retain membership numbers, yet abandoning the “work” aspect before the reward of “play.”
A red Shrine fez
As I was looking at Shrine circus programs, I came across a very concise history of the organization in a 1950 issue. It supplied the usual historical background pertaining to the origin of the Shrine. It explained that the Shrine “has for its allegorical background an order instituted by Kalif Alee, a Mohammedan. The order was to further civilization and law and also to promote religious tolerance among cultured men of all beliefs and nations.” The article further explained that William “Billy” J. Florence, a well-traveled actor, was initiated into an Order on one of his tours and the ceremony prompted him to establish an order in America. He wanted to establish “a place where a select group of men could commune and relax and enjoy good fellowship.” Dr. Walter M. Fleming wrote the ritual in collaboration with Florence for this new Masonic organization. Initially membership was limited to Scottish Rite Masons and Knights Templar, with the first meeting being held on June 16, 1871 in a the Masonic Hall, located on East Twenty-third Street in New York City. They formally organized a “Temple of the Nobles of the Mystic Shrine” which they named their “Mecca Temple, the Mother Temple of the Mystic Shrine.” An Imperial Council was later created in 1876, with Fleming becoming the first Imperial Potentate from 1876 to 1886.
This image is from “The Circus Blog: Generation of Family Circus Traditions” posted by Ivan M. Henry (fifth-generation circus family). Here is the link to his blog: http://www.thecircusblog.com/
This image is from “The Circus Blog: Generation of Family Circus Traditions” posted by Ivan M. Henry (fifth-generation circus family). Here is the link to his blog: http://www.thecircusblog.com/
The 1950 Shrine Circus program also included a section on “The Purpose of the Shrine.” This may help others understand the organization a bit more. Here it is in its entirety:
“The Ancient Arabic Order of the Nobles of the Mystic Shrine has for its mission the union of the York and Scottish Rite of Freemasonry. Here Masons from both Rites meet on a common level or playground; but it is not a playground merely – it teaches by its tenets and obligations some of the highest ideals of life.
It’s teachings carry a dignified mien that lifts the Masons above the sordid transitory things of life. It transports the mental and spiritual Mason away from the turmoil and strife of earthly things and atunes his spiritual being in harmony with the universe and the music of the spheres. It gives him a glimpse of the great white light of life and Masonry here and hereafter. It teaches some the grandest lessons given for the guidance of a man along life’s journey that he who has listening ears and seeing eyes may learn the great truths taught by speculative Masonry. It does not teach, and in fact, it frowns upon any and all things that should not characterize a gentleman, a man or a Mason. No rough or uncouth act has a place on its program, and any overt act not in keeping with the teachings and spirit of Masonry does violence to its obligation and reflects discredit upon the spirit of the Order, but more directly upon the doer thereof.
The Mystic Shrine embraces all creeds that recognize and acknowledge Deity as supreme. It has for its prime mission unfoldment and evolution. It works begin in the human heart and mind in the morning of creation. It gives a new impetus at the altar, giving the individual a higher concept of life and its duties toward self, home, country, and last but not least toward the higher part or principle in the human heart that elevates man above the beast of the field and makes him a little lower than the angels.”
Detail of a caricature depicting Shrine activities. Print was listed in a recent online auction.
It can be a wonderful organization with fun-loving men, but there have always been those few members who took it a step too far; the fun and games turned malicious. In certain areas the initiations, as well as the running of the organization, fell under the shadow of a dark cloud. Once, while restoring a drop in Virginia, a few Masons explained that part of their Shrine initiation involved being chased through the streets of Richmond with cattle prods. In Oklahoma, another Mason showed me an early “Shrine Strength-testing Machine.” The device was used for “playful harm.” Each initiate was told they were going to measure his physical strength. When they squeezed the handles of the machine, it triggered a board to raise up and hit the Mason square between his legs. There are many more stories that have been shared with me over the years that I am choosing not to include, as they all cast an unkind light on the organization as a whole.
However, when we ponder why some high school and fraternity hazing ceremonies result in harm, or even death, we just need to look at our own past. A fun initiation can suddenly take a wrong turn, resulting in injury; much depends on the leadership. Sometimes a bully dominates the playground.
