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Tales from a Scenic Artist and Scholar. Part 1064: “Polly and Her Pals,” 1920

Sosman & Landis provided scenery for the show “Polly and Her Pals” in 1920. On Nov. 22, 1920, the “The Item” reported:

“Polly and Her Pals.

“Musical comedy has improved wonderfully in the past few years, but ‘Polly and Her Pals,’ the George M. Gatts production is the biggest step forward from an artistic musical standpoint, that musical comedy has seen in many months. The book was written by John P. Mulgrew, the author of many celebrated Broadway successes. The scenery is the work of Sosman & Landis, Gowns by Madames Hickson and Orange. It was staged by Virgil Bennett. Musical comedy depends on first a good book and then a good score, and in Hampton Durand, George M. Gatts secured a composer internationally famous. In ‘Polly and Her Pals’ will be found lilting airs from the pen of Mr. Harry Hume, and include ‘Underneath a Southern Moon,’ ‘In that Quaint Old Town of Algiers,’ ‘Little Miss Chatterbox,’ ‘A Wonder What Father saw at the Seashore,’ ‘Different Eyes,’ ‘That Typical Topical Tune,’ ‘The Polar Bear Shiver,’ ‘An Old Fashioned Bride,’ and ‘What a Wonderful Girl You Are.’” (Sumter, South Carolina, 22 Nov. 1920, page 6).

Like Gatts’ “Katzenjammer Kids” production, “Polly and Her Pals” was based on an American comic strip by cartoonish Cliff Sterett. Debuting as “Positive Polly” on Dec. 4, 1912, the comic strip’s title was changed to “Polly and Her Pals” by Jan. 17, 1913. “Polly and Her Pals” was the first single feature with the same characters to run six days a week and as a Sunday page (Hamilton Evening Journal, 21 Nov. 1925, page 24). The cartoon told the adventures of Polly, Delicia, Aunt Maggie, Ashur, Ma, Pa, the valet Neewah and the family Puss. Raleigh’s “News and Observer” reported, “The plot of Polly and Her Pals is the same that has been featured in the conventional musical comedy since the invention of that form of entertainment. The first act drags, as the first act of most such comedies do, but toward the finish a lot of pep is injected into the proceedings that leaves one with the impression that ‘Polly and Her Pals’ isn’t halfway bad. While it can’t be said that Polly and Her Pals ranks with the best attractions of musical comedy of the season, there is no doubt about the fact that the motto of the cast is ‘We strive to please,’ and that is at least something in favor of the production” (9 Nov. 1920, page 7).

Jean Irwin played the title role of Polly, with Clyde T. Kerr as the love interest, Francis Lieb, the ambassador from Hitchy Koo. Johnny Philliber and Clara Coleman played Pa and Ma Perkins.

“Polly and Her Pals” featured scenery by Sosman & Landis Scene Painting Studios. From the “Courier News,” 29 Dec 1920, page 13.

From the “Harrisburg Telegraph,” 16 Sept 1920, page 16.

From the “Courier News,” 31 Dec 1920, page 14.

From the “News and Observer,” 9 Nov 1920, page 7.

From the “Orlando Sentinel,” 1 Dec 1920, page 12.

“Polly and Her Pals” comic strip in the “Courier-Journal,” Louisville, Kentucky, 20 Sept., page 11.

“Polly and Her Pals” comic strip in the “Dayton News,” 20 April 1920, page 15.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1045 – Katzenjammer Kids, 1920

In 1920, Thomas G. Moses wrote, “The first of February we closed with Gatts for a $2,000.00 Katzenjammer Kids production.”

From the “Ridgewood Herald News,” Aug 13, 1920, page 6.

Katzenjammer Kids scenery by Thomas G. Moses. From “The Courier,” 22 Aug, 1920 , page 6.

Moses had worked with Gatts on a few Katzenjammer Kids productions prior to 1920. In 1917, Moses wrote, “Closed a contract for two scenes with Gatts and Company, $825.00 for ‘Katzenjammer Kids.’ We hustled it out.” Later in 1917, Moses added, “Another order for Gatts and Company.”

This was actually Gazzolo, Gatts, and Clifford Inc., a production company that formed in the fall of 1916, filing corporation papers in Chicago, Illinois. The company copyrighted the Katzenjammer Kids by 1917 when the Katzenjammer show went on the road. By 1920 the Katzenjammer Kids, Hans and Fritz, were played by Henry and Pau Washer and noted as “miniature men of considerable ability” (Greenville News, 7 March 1920, page 6). Mrs. Ludwina Katzenjammer played the mother of “mama’s angel children” and William J. Hoyt portrayed the Captain. The scenery and costumeds were also highlighted in newspaper reviews.

From the “News and Observer,” March 30, 1920, page 17.

The Katzenjammer Kids was a comic strip concerning two mischievous little German fellows, Hans and Fritz, first appearing in 1897. This comic strip was first turned into a stage play in 1903. In 1917, the Katzenjammer Kids was advertised as a “cartoon musical comedy” produced by Gazzolo, Gatts and Clifford. Hans, Fritz, Ma Katzenjammer, Der Professor, Der Captain and the other characters were featured in the production. Donald M. Bestor composed the music and Virgil M. Bennee choreographed the musical numbers. The play was staged in three acts, the first showing a hotel, the second a dock scene and the third the Hawaiian Islands. Of the 1917 production, “The Indianapolis Star” reported, “Particular care has been taken with the staging and costuming of the Katzenjammer Kids. The fashion plate chorus is gowned in various fetching evening gowns, all of which match harmoniously with the beautiful stage pictures and novel electrical effects” (15 March 1917, page 3).

From the “Evening News,” 26 Aug 1920, page 10.

Only the name was changed during the war years, when all things German were suspect. By 1920, the “Albany Democrat” commented, “How soon we forget. Already the name Katzenjammer Kids appears again. On account of prejudice, during the war, it was changed to the Shenanigan Kids” (6 Aug. 1920, page 4). On March 31, 1920, “The News and Observer” reported, “Hans and Fritz of cartoon fame and with whom every man, woman and child are acquainted either as ‘The Katzenjammer Kids,’ ‘The Katzies” or ‘The Shenanigan Kids,’ will present the latest edition of ‘The Katzenjammer Kids’ at the Academy of Music this afternoon matinee and tonight. The offering is a delightful musical comedy with book and lyrics by John P, Mulgrew, and music by Donald H. Hester. Tunes of mellow deliciousness abound in this appealing comedy, and will rock with laughter at the mirth-provoking doings of ‘Hans and Fritz,’ the Captain and Mrs. Katzenjammer. Clean, healthful comedy, free from salacious and indecent, is a feature of the performance. A 99-year guarantee is handed out with every ticket that the performance will turn a sober, staid citizen into a twin cousin of St. Vitus or a Charley Chaplain” (Raleigh, North Carolina, page 7).

On August 30, 1920, the “Albany Democrat” reported, “The Katzenjammer Kids is a rapid-fire comedy of mirth and laughter. The beauty of feminine members of the company is enhanced by costumes and the latest designs. Twenty-three musical numbers are rendered during the action of the comedy High-class specialties and original novelties are agreeable features of the performance. It is the most enjoyable cartoon musical comedy of the season, and if you have a laugh left in your system, go and see ‘Hans and Fritz’ and their friends and be sure to take the kiddies for they know how to laugh” (page 4). By Nov. 15, 1920, “The Pantagraph,” announced, “Katzenjammer Kids is the most massively and magnificently mounted and costumed cartoon play ever produced. One of its features is the big fashion parade. The beauties of the chorus in the ensemble number are gowned in the latest feminine fashions that are up to the minutes, which will surely prove an interesting feature for the ladies” (Bloomington, Illinois, page 5). In Lancaster, Pennsylvania, the “News-Journal,” noted, “The beautiful scenic pictures” of the Katzenjammer show (9 Dec. 1920, page 2).

From the “Fort Worth Star Telegram,” 12 Sept 1920 page 58.

To be continued…

Tales from a Scenic Artist and Scholar. Part 958 – J. C. Brazee and “The Honey Bees,” 1917

In 1917, Thomas G. Moses wrote, “Another ‘Katz’ show, $1,050.00, and one vaudeville act from Brazee $300.00, and from Banda Rosa for $445.00, a big act.” There were hundreds of projects that filtered thru the Sosman & Landis shops during 1917. We may have entered a war, but the theatrical business was still booming, having yet to feel the full effects. The three projects mentioned by Moses all hit the shops simultaneously that spring. Each project brought in a little more income to keep the stockholders happy.

I am going to start with Moses’ mention of a vaudeville act setting for J. C. Brazee.

In 1917, Sosman & Landis provided the scenery for Brazee’s production of “The Honey Bees.” The “Spokesman-Review” reported, “Brazee is a great believer not only on adequate but artistic scenery. His big set for ‘Honey Bees,’ for instance, is an interior of the ‘Honey Bee’ seminary with a flower garden in the rear. It is the work of Sosman & Landis, scenic artists of Chicago, and was painted for the act” (Spokane, Washington, 11 Nov. 1917, page 45). “The Victoria Daily Times” commented, “The most elaborate set is an interior view of the ‘Honey Bee Seminary’ with a flower garden in the rear, a scenic masterpiece of Sosman & Landis, of Chicago, which is winning high praise in every city visited” (4 Dec. 1917, page 8).

Advertisement for “The Honey Bees,” with scenery by Sosman & Landis, from “The Calgary Herald,” 20 Oct 1917, page 8.

J. C. Brazee was a producer for the Pantages Circuit. On Oct. 15, 1917, the “Edmonton Journal” reported, “J. C. Brazee, a standby among producers who builds acts for the Pantages circuit, having sent out ‘Broadway Revue’ and ‘At Ocean Beach,’ both which scored big hits, has a new offering entitled ‘The Honey Bees,” which will headline the Pantages bill for this week. Mr. Brazee’s new offering is said to measure up to the high standard he established in the past as far as comedy and musical numbers go and is claimed to surpass anything of that kind yet offered at the Pantages theater in the way of scenery” (Edmonton, Alberta, page 11). This was likely the vaudeville act with scenery produced by Sosman & Landis that year. The article continued, “‘The Honey Bees’” is a novel introduction of bee titles into a program of a girl act in which the scenery is suggestive of the bee industry and a girl’s school is called the ‘Busy Bee Seminary.’ The chief comedian is styles the ‘King Bee’ the matron of the seminary is called the ‘Drone Bee,’ the prima donna is known as the ‘Queen Bee,’ the Soubrette as ‘Honey Bee,’ and the chorus of girls are ‘Busy Bees.’ The act lends itself to this novelty assignment of names inasmuch as the girls are ‘honies’ and theatregoers insist that if all vaudeville attractions were of equally high merit there would never be complaints of being ‘stung.’”

by Sosman & Landis, from “The Edmonton Journal,” 15 Oct 1917, page 11.

“The Daily Colonist” reported, “‘Honey Bees’” carries one lone man, completely surrounded by girls. The fortunate individual is Billy Browning, a comedian strange to Victoria, but well known in the East. All Browning has to do in ‘Honey Bees’ is to impersonate a mail carrier, a Swede Janitor, a stuttering ‘boob’ and a Frenchman — work enough for four men — yet Browning is said to negotiate all the roles without turning a hair” (May 12, 1917).

To be continued…

Tales from a Scenic Artist and Scholar. Part 957 -Gazzolo, Gatts & Clifford Co., 1917

In 1917, Thomas G. Moses wrote, “Another order for Gatts and Company.” Gatts and Company was actually Gazzolo, Gatts & Clifford Co., producers of the well-known musical comedy “Katzenjammer Kids.” Moses recorded that Sosman & Landis produced scenery for the show earlier that year.

Gazzolo, Gatts & Clifford, producers of “Katzenjammer Kids” and “Her Unborn Child,” 1917.

Katzenjammer Kids musical poster from 1917, recently for sale in an online auction.

The production company of Gazzolo, Gatts, and Clifford Inc. formed in the fall of 1916, filing corporation papers on October 6, 1916 in Chicago, Illinois. In addition to the “Katzenjammer Kids” musical, the firm produced an “educational” piece that spring entitled, “Her Unborn Child.” Registered as a four-act drama by Howard McKent Barnes, the play took a negative position on birth control for women.

Sosman & Landis scenery for “Her Unborn Child” from the “Forth Wayne Journal Gazette,” 29 April 1917, page 48.

Keep in mind that this was in the midst of Margaret Sanger’s continued fight for women’s access to information about basic birth control. “The Fresno Morning Republican” reported, “”His play tells the truth about birth control and shows the cause and effect of the world’s most serious crime” (Fresno, California, 14 May 1917, page 6). “The Vancouver Sun” added “It tells the truth about birth control, for it is the theory of the author that be the education of the masses the slaughter of innocent unborn babies will stop” (18 Jun 1917, page 8). Let’s take a moment to contemplate what this man is suggesting; the great crime of women is to not make every egg a viable candidate for fertilization. Women need to make sure that regardless of their living situation or circumstances they can become pregnant at any point in time, hence they are only a vessel and instantaneously transferring all power to men.

Advertisement for “Her Unborn Child” from “The Chat,” (Brooklyn, NY) 14 April 1917, page 18.

Advertisement for “Her Unborn Child” form the Morning Post (Camden, NJ) 7 April 1917, page 5.

There were four touring productions that carried the message across the country, prompting women to reconsider using any form of birth control.

In Pennsylvania, the show was performed at the New Academy in Scranton. The “Times-Tribune” reported, “There are four acts and the action takes place within twenty-four hours. The principal characters are a rich widow, a wealthy reformer, Beth Forrester, the beloved one; Ted Livingstone, young and heir; and the family physician. Sensationalism is avoided in the play and the subject is handled in a most dignified manner. Birth control is the vital theme and apparently the author made a deep study into the subject before giving this play to the stage. The mother love depicted in the story makes a strong appeal to an audience, and one of the biggest moments of the play comes when the crisis in the welfare of her family confronts her and she is called upon to make a decision in haste. (28 May 1917, page 15). Matinees were performed for women only. Of the female matinees, the “Calgary Herald” noted, “Because of the sacredness of motherhood and out of the courtesy of the ladies, all matinee performances of ‘Her Unborn Child’ will be reserved exclusively for ladies. Gentlemen will be admitted to all other performances” (29 Sept, 1917, page 8).

On April 4, 1917, the “Buffalo Evening News” reported, “A big play with a serious appeal is the attraction at the Majestic Theater all week, with daily matinees, which are for women exclusively”(page 15). Prominent doctors endorsed the play across the country. The “Oklahoma News” published letters from local doctors addressed to Gazzolo, Gatts & Clifford as an advertisement (25 Oct. 1917, page 2). J. H. Maxwell, M.D. wrote, “Gentlemen: I appreciate very much your performance of ‘Her Unborn Child.” The moral is splendid and timely. I wish that every Father and Mother could have the opportunity of seeing this play, it is clean cut all the way through.” S. A. Dooper, M. D. wrote, “Gentlemen: After having the opportunity of attending a performance of ‘Her Unborn Child,’ I take pleasure in recommending it to the public. I wish every one in the world old enough to understand English could see the performance.”

On April 29, the “Fort-Wayne Journal-Gazette” reported, “So great has the success of ‘Her Unborn Child’ on tour that has been found necessary to organize five companies in order to appease demand from all parts of the country for this sincere and frank portrayal of a topic that is second only in importance to the present hostilities in the battlefield” (29 April 1917, page 48). Really?!? The only second in importance to WWI was birth control? What about the crimes of rapists, pedophiles, and murderers?

Like me, not everyone thought the show was fantastic. Lancaster’s “The News-Journal” commented, “The piece neither paints a moral nor adorns a tale, being only a dramatized version of one person’s viewpoint of a much discussed subject. Its dramatic construction is crude, the situations forced, and the final curtain falls on actual absurdity” (25 Oct. 1917, page 5). The newspaper noted, “A few years ago the subject of birth control would not have been discussed in the theatre but with the progress of the playhouses as an educational institution as well as a place of amusement and the desire of the public to be enlightened on subjects which a few years ago they were satisfied to let be known to physicians and those claiming higher education, has made plays like ‘Her Unborn Child’ timely.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 944 – Thomas G. Moses and the Katzenjammer Kids, 1917

In 1917, Thomas G. Moses wrote, “Closed a contract for two scenes with Gatts and Company, $825.00 for ‘Katzenjammer Kids.’ We hustled it out. Maier and I went to Michigan to put it on and nearly froze coming back. 14 degrees below zero. As there was no train, we had to ride home in the trolley.”

The Katzenjammer Kids musical advertised in the “Indianapolis Star,” 15 March 1917, page 3.

The Katzenjammer Kids was a comic strip concerning two mischievous little fellows Hans and Fritz. The strip first appeared in 1897 and running until 2006. Rudolph Dirks created the strips, with its debut on Dec. 12 in the “American Humorist.” Harold Knerr later drew the strip, from 1914 until 1949. From 1949-1956 Charles H. “Doc” Winner was the cartoonist; from 1956 to 1976 it was Joe Musial; from 1981-1986 it was Angelo DeCesare; and from 1986-2006 it was Hy Eisman.

The Katzenjammer Kids comic strip for Dec. 12, 1897.

The Katzenjammer Kids comic strip in the :San Francisco Examiner,” 10 July 1898, page 11.

This comic strip was first turned into a stage play in 1903. In 1917, the Katzenjammer Kids was advertised as a “cartoon musical comedy” produced by Gazzolo, Gatts and Clifford. Hans, Fritz, Ma Katzenjammer, Der Professor, Der Captain and the other characters were featured in the production. Donald M. Bestor composed the music and Virgil M. Bennee choreographed the musical numbers. The play was staged in three acts, the first showing a hotel, the second a dock scenes and the third the Hawaiian Islands.

Of the production, “The Indianapolis Star” reported, “Particular care has been taken with the staging and costuming of the Katzenjammer Kids. The fashion plate chorus is gowned in various fetching evening gowns, all of which match harmoniously with the beautiful stage pictures and novel electrical effects” (15 March 1917, page 3).

To be continued…