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Tales from a Scenic Artist and Scholar. Part 609 – The Wonderland Disaster Investigation in Detroit, 1898, fifth and final section

Part 609: The Wonderland Disaster Investigation in Detroit, 1898, fifth and final section

The Temple Theater in Detroit is pictured on the left.

While researching the Temple Theatre in Detroit, I encountered an interesting article about an 1898 theater roof collapse. It was published in the “Detroit Free Press” (2 Dec. 1898, page 2). Here is the fifth and final section of the article.

Col. Wood’s Book.

When Col. Wood took the stand in the afternoon he produced the book that contained the record of all the trusses he had built in fireproof theaters. The book had the description and amount of the materials used in all theaters H said that he did not figure the carrying capacity of the Detroit Opera House truss, but had it done by Chief Engineer Fowler, of the Youngstown Bridge Co. The Witness then illustrated how the load to be carried by one of the opera house trusses which had a span of 96 feet 8 inches thick was figured. For the weight of the concrete for the roof, which was two inches thick, the concrete when dry was figured at 15 pounds to the square foot, top dressing and slate 13 pounds, snow 25 pounds and the corrugated iron trough 2 1/4 pounds, making for the roof a total of 55 ¼ pounds to the square foot, actual weight.

For safety this weight was figured at 60.4 pounds to the square foot, making a total of 90.493 pounds. To this was added the weight of the roof beams and girders, bringing the total weight to be carried by the truss up to 96,973 pounds, or 48 tons. The truss itself weighed 8 ½ tons and would carry 61 tons as a safe load, according to the figures of the engineer who determined it. The carrying area of the truss is 1,496.23 square feet. This showed that the truss of the opera house is many tons within the factor of safety.

Mr. Frazer, for the sake of comparison then had Col. Wood figure the load carried on the Wonderland truss, which weighed only three and a half tons. Using the same basis of computation, the concrete roof of the Wonderland building, which was four inches thick, was figured at thirty pounds to the square foot, the composition and gravel at 4 ¼ pounds and snow at twenty-five pounds, although only ten pounds was actually allowed by the architects. This made the load fifty-nine and a quarter pounds per square foot, which figured up a total of about forty tons.

The prosecutor then called attention to the fact that the Detroit Opera House the eight and a half ton truss carry forty-eight tons, while in the Wonderland building a truss weighing but three and a half tons carry forty tons.

In explaining the differences in the construction of the structural steel work in the two buildings, Col. Wood said that in the Detroit Opera House the roof beams were six inches wide and weighed twelve and a half pounds. They run longitudinally, four feet apart, with a 15-foot span. In the Wonderland building he said that the girders ran longitudinally, while the beam ran transversely. The latter, he said, were 9-inch “I” beams, spaced twelve feet apart. Asked which was the better, he said in the Detroit Opera House the beams tended more to hold the truss in place and in addition, it had a diagonal braces. Being only four feet apart, each one had a carrying area of sixty feet.

The attention of Col. Wood was called to the fact that Arthur Scott had testified that the 22 feet 2-inch “I” beam running from the front of the Wonderland building to the truss, was partly held by a brace six feet from the truss, and he was asked his opinion of such construction. He said that if he were to indicate the construction, he would have a beam running to the truss heavy enough to carry the intended load.

More Technical Talk

Prosecuting Attorney Frazer brought out the fact that in the Detroit Opera House there were three trusses between the proscenium wall and the dividing wall, a distance of 66 feet and 3 inches, while in Wonderland there were but two trusses in the distance of 63 feet 8 inches. Col. Wood said that the conditions were not the same, the opera house being wider; and therefore, it was necessary to use three trusses, putting them close together, so as to avoid using heavier ones.

Going back to the construction of the “I” beam, and the fact that it was rested partly on a brace, the witness said that different architects had different views of construction. He believed tha the brace helped to carry the load, but did not think that it carried half the distance between itself and the wall for the same load. Col. Wood favored a strong beam, resting on the truss, to using any braces.

In this connection, Col. Wood stated that John Scott had told hi that his brother, Arthur Scott, was an engineer.

When asked his opinion of the roof, Col. Wood said that he had only made an examination since the collapse and that he depended on the judgment of men he knew were authorities regarding roofs. They had told him that the girders and beams were too light.

“Those familiar with cinder-concrete construction,” he said, “know that there is s spring to the beams. When the cinder-concrete is knitting, it must be allowed to remain quiet. If it is pounded, you are simply mashing it up. The beams should be stiff enough so as to not disturb the concrete.

Concerning the rook, he said that he was not competent to say what it should carry, though he could with some difficulty figure out such a problem. He stated that he submitted a quarter-inch drawing of the Wonderland truss to an engineer company and was told that if it had been properly detailed, constructed and erected it would undoubtedly carry the load intended for it. Col. Wood said that he had been unable to furnish the company with any particulars regarding the plates, or distance between the beams. In answer to Mr. Frazer, he said that the company found that the sizes of steel indicted by him could be combined to hold the necessary load.

“Do you know what made this fall down?”

“No; we all have our opinion.”

“What’s yours?”

Why the Roof Fell.

“Well, my opinion is that there was a general weakness in the whole roof and a general lack of attention to details in the construction, not alone in the roof. I do not want to reflect on the steel construction, as I do not know that the engineering company fulfilled its contract, according to the designs submitted to them. The 5-inch roof beams were overloaded.”

Here Mr. Frazer broke in wit another question, and Col. Wood did not get through expressing his opinion.

He was not of the opinion that under the conditions that prevailed at Wonderland the 5-inch beams would have sagged. Witness stated that the DeMan system was not used on the Detroit Opera House, but that the estate did the work, letting it out to Vinton & Co. for 5 percent of the cost. Col. Wood said that cinder and cement had been shown to make fireproof concrete as the cinders were the residue of coal after everything else had burned, and the cement in the process of manufacture had to be subjected to a greater heat than a fire could cause. He was asked why the workmen of the Wonderland building simply had to light a fire on top of the concrete and then shovel it off, and he replied:

“They may only be shoveling what they had disturbed before.”

It was his opinion that the concrete ought to settle hard in two weeks so that the false work could be removed.

Attorney Boynton’s Question.

When questioned by Attorney Boynton regarding his business career, Col. Wood said that before becoming an architect he had been a decorator and before that a builder. He told an interesting story of his first business venture in Chicago, in order to pay this theological college debts, and said that after his first year the money came so fast at that time he continued as a decorator. His first theater, he said, was built at Cedar Rapids, Ia., and the first fire-proof theater he built in Memphis, Tenn. He showed the jury the plans of the truss used in that construction of that theater and said that it was the typed used in the Detroit Opera House, he having never used any other. He did not know the name of the truss, but said that it was a truss suspended from the top cord. Asked why he had always used it, he said that it was the first one given him by the engineer in whose hands he placed the matter, and as the truss had always proved satisfactory he had continued to use it. Before using that truss, he had always used the old Howe truss in the non-fire-proof theaters. Col. Wood showed the plans of some ten trusses he had built upon, on e now in the process of construction at Kansas City and the plan of another he recently drew for a theater he is to build in Denver.

Regarding the first interview in John Scot & Co.’s office, Col. Wood said that Mr. Wiggins left after a short time. There was no one else there and witness continued to talk with John Scott. He told the latter that all the plans should be drawn in one office, to which Mr. Scott was agreeable.

“I think,” said Col. Wood, “that I began some preliminary sketches the next day. Mr. Scott told me that his brother was an engineer., had had a good deal of experience and handled the steel work in their building. I did not tell him that I was engaged to do the steel work. No reference was made to my connection with the Detroit opera house.”

Adjournment was taken, with Col. Wood still on the stand.”

The end of the article.

Tales from a Scenic Artist and Scholar. Part 608 – The Wonderland Disaster Investigation in Detroit, 1898, fourth section

Part 608: The Wonderland Disaster Investigation in Detroit, 1898, fourth section

While researching the Temple Theatre in Detroit, I encountered an interesting article about the theater roof collapse. It was published in the “Detroit Free Press” on Dec. 2, 1898. This fourth section of the article focuses on the testimony of theater architect Col. J. M. Wood.

Col. J. M. Wood, theatre architect, from the “Indianapolis Star,” 16 April 1907, page 4

Wood was born in New York City during 1841. Early in his career, he moved to Chicago and started working as an architect. He completed many designs for theaters, opera houses and concert halls throughout the United States. By 1905, the “Indianapolis News” reported that Col. J. M. Wood, had built ninety-eight theaters, some of them the finest in the country” (24 Oct., 1905, page 2).

Back to the 1898 “Detroit Free Press” article:

Col Wood Takes The Stand.

Col. J. M. Wood followed Mr. Scott. He stated that he was 59 years of age, resided in Chicago, had been an architect since 1879, having been a builder and contractor previous to that time. He disclaimed being an engineer and said that his specialty was theaters and hotels, and had such buildings as come in connection with theaters. He had built over 80 theaters, and Mr. Frazer asked him if any of them had ever tumbled down, which he answered with a very polite “no.” Asked to enumerate some of the theaters he had built in different parts of the country, he mentioned Lafayette Square theater, Washington; Lyceum, Memphis’ Lake theater, Racine; California hotel and Theater, San Francisco, and others at Los Angeles, Denver, Cedar Rapids, Minneapolis, etc. Col. Wood was then asked to give the spans of some of the trusses in these theaters. He said that in all the theaters he had built he had buttresses in the walls two feet thick. He gave the span of the trusses in the Lyceum, at Memphis, which he said was the first fireproof building he had erected since he began the construction of that form of building, five years ago, as 70 feet. The Lafayette theater in Washington has a width of 67 feet, 6 inches. He stated that the trusses in this theater were of skeleton steel construction, with a clear span and carrys [sic.] a roof garden and restaurant above them. The Detroit Opera House he gave as 96 feet 8 inches between walls, and that the span of the Denver Auditorium, which is now being planned, will be 80 feet. “You use the same type of truss always?”

“Yes, sir; one has just been finished at a theater in Kansas City.”

“How does your truss differ from the Wonderland truss?”

“It is inverted. You would probably call it a suspension truss. It differs in many ways.”

Mr. Frazer made a diagram of the truss on the blackboard. He added that he received his knowledge form the strain sheets of two engineers to whom the truss was submitted.

Always Ask an Engineer.

“Do you always submit your trusses to engineers?”

“Where the truss differs in span from those I already have, I submit a sketch to engineers and ask them to furnish a strain sheet and also to designate the members they believe are necessary to carry the load. For the theater at Memphis I submitted the matter – not even a sketch, mind you – to Youngstown Bridge Co., and their chief engineer, Charles E. Fowler, returned to me the type of truss he believed best suited for the theater, together with the strain sheets and necessary members to carry the load. For the Lafayette theater in Washington, I submitted a sketch giving the type of truss I wanted, together with the columns, and gave the load on the chords, leaving the engineers to work out the strains and the members necessary to carry the load.

Col. Wood then started that he was the architect of the Detroit Opera House. With him were associates Mason & Rice and A. W. Chittenden. Asked why they were called associate architects, Col. Wood said that when the Clark estate decided to rebuild they wished to identify the building with local architects. For that reason sketches were asked from different firms for the front elevation and office portion of the building. They were not required to do anything regarding the theater. Continuing the witness said:

“Mr. Wells, the agent of the estate, clearly defined what he expected of each one. Mason & Rice were to design the front elevation and everything as far as the division wall. He left us to determine how we would divide the compensation. The construction of the theater proper was left in my hands.”

“Col. Wood then narrated how he became connected with the Wonderland work, stating that early in April Mr. Wiggins called on him at the Russell House and referred to building a new theater. Mr. Wiggins told him that he had contracted for the upper floors of the Barbour building for the museum, which made it necessary to employ the same architect.

“He asked me,” said Col. Wood, “to act in conjunction with John Scott & Co., and I said that I would, providing it was perfectly satisfactory to them, and Mr. Wiggins told me that they had already agreed. In talking to John Scott, he said that the Scotts would expect to control the construction of the building and act with me as designer of the theatrical arrangements of the building.

Col. Wood’s Duties.

In detailing conversation which took place at John Scott & Co.’s office, when he was introduced to the firm. Col. Wood said that he remembered distinctly Mr. Wiggins saying that he was determined to know the correct lines of vision and be up-to-date in building his theater. As to his part of the work, Col. Wood said that he was employed to design the interior arrangements, boxes, stage, seating, determine the lines of vision and secure proper acoustic conditions.

“What did you have to do with the truss and roof?”

“Nothing at all, sir.”

“Did you undertake to handle the steel work?”

“The only things I undertook to indicate were the lines in which the steel work must be kept to insure my lines of vision. In the rigging loft it was necessary that I should lay the beams, as they controlled the machinery of the stage.”

The witness also said that he laid out the pitch of the first floor, in order to get the proper line of vision for the seats, so that each one would give an equal view of the stage.

“What estimate did you give him a close approximate estimate of the cost of a building of that size – something that I have done for a great many and never charged anything. I told him $67,000. Mr. Wiggins did not try to scale down the price, but said that he would like the cost to be kept down to $65,000, if it could be done without detriment to the building. Mr. Wiggins put no limit on the cost, as far as I know. On the contrary, he wanted a modern theater, perfect in every particular.”

Col. Wood then stated that the first work on Wonderland he did was to lay out the floor plan.

Didn’t Furnish Truss Drawing.

“Did you furnish John Scott & Co. with drawings of the truss?”

“I never furnished them with anything except a sketch of the balcony and gallery, showing lines within which they had to keep.”

“Who made the drawings of the roof?”

“I do not know who made them. I am inclined to think that Arthur Scott made all the drawings.”

“Did you furnish Arthur Scott with the sizes of steel for the truss or roof beams?”

“I did not.”

“Did you give him the load the truss ought to carry?”

“No, sir.”

When asked to figure what the truss of the Detroit opera house would carry, Col. Wood started to figure, but said that he might forget some of the items and offered to bring a book which contained a record of every truss he had ever built in a fire proof theater, and he added:

“You will find that I have always been away below the factor of safety.” He said that for the Detroit opera house he allowed twenty-five pounds for snow and at Memphis fifteen pounds though the latter place was much further south. The Scotts allowed only ten pounds for Wonderland.

Asked to explain regarding the inspection of steel, he said that some architects allowed the company furnishing it to do the inspecting and furnish strain sheets, while others had the inspecting done by outside parties. The steel in the Detroit opera house was inspected by the Pittsburgh Testing Laboratory, at the mill, in Cleveland, in the shop and during the process of the work on the theater.

“Hear of any inspection of steel in the Wonderland building?”

“No. There was no reason I should, as I had nothing to do with it. Mason & Rice consulted me about the inspection of steel on the Detroit opera house, because it was part of my duty to design and construct the theater and control everything about it.”

“Who controlled the construction of the Wonderland building?”

“John Scott & Co.”

Col. Wood said that he never inspected the roof or steel work, but that once he saw that the had one of the trusses together in the back of the building and heard afterwards that in the raising the truss the gin pole broke.

“You furnished John Scott & Co. with the plans of the Detroit Opera House?”

“Only as a matter of friendship. It was a set of plans given me by Mason & Rice. I did not instruct Arthur Scott to use them, for I had no authority to do so, and they did not ask for them.”

“Did you get any plans from John Scott & Co.’s office?”

“I got a set of plans from there November 12, a week after the accident, and that was the first time I ever had a set of plans out of that office. I receipted for them on that date, November 12.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 607 – The Wonderland Disaster Investigation in Detroit, 1898, third section

Part 607: The Wonderland Disaster Investigation in Detroit, 1898, third section

The Temple Theater, also known as the Wonderland Theater. It was next to the Detroit Opera House

While researching the Temple Theatre in Detroit, I encountered an interesting article about an 1898 theater roof collapse. The testimony in today’s section is from John Scott (1850-1928), a well-known architect in Detroit, Michigan. He practiced there in partnership with his brother Arthur H. Scott from 1889 until after 1914. Born in Ipswich, England, he and his brother were the sons of the Detroit architect William Scott (1821-1889). By 1874 John joined his father in a formal partnership – William Scott & Son, renamed William Scott & Co. by 1875. After the death of their father in 1889, John and Arthur partnered with Louis Kamper, as Scott, Kamper & Scott, Architects. In 1891, the firm was renamed John Scott & Co. in 1891, remaining active until after 1920. John Scott retired in 1926 and passed away in 1928.

Here is the third section of the Wonderland Disaster Investigation published in the “Detroit Free Press” –

The Roof Contract.

Attorney Conely then took up the matter of the roof contract. Mr. Scott said that when the original specifications were being drawn for the roof, he understood that it was to be fireproof. He also understood that the DeMan system had been used to some extent on the Detroit Opera House. Witness then said that when the roof bids were first opened, John Scott and himself were in favor of giving the contract to a Cleveland firm, as Mr. DeMan’s bid was not complete. The later was so told, but wanted the matter reopened so he could fix his bid to meet the requirements. This was done and Col. Wood recommended the adoption of the DeMan bid. Mr. Scott stated that his bid was about $400 lower than the next lowest bid.

Attorney Boynton – “Who sent for Col Wood to consult him about the DeMan roof?”

“I did not, personally. Technically, I do not know who sent for him.”

Mr. Scott was then shown a longitudinal section of the roof beams, in which the brace on which he contended the beam running from the front wall to the truss rested, was missing. He admitted that the size of the roof beams was decided on before the details were worked out. He said that he took them from the opera house plans and standards, as far as possible, and worked the rest out himself.

Prosecuting Attorney Frazer asked the witness who arranged for the inspection of the steel, and the answer was that the inspection was determined on the advice of Col. Wood, which caused the prosecutor to remark that if he was not careful he would get the whole truss over on Col. Wood and break his neck. He then said that he wrote in the clause in the specifications referring to the inspection and said that he got it from the specification of the opera house, which Col. Wood told him to use as far as they applied.

“The clause called for the inspection of the steel at the mill?”

“It was optional.”

“Do you know enough to tell us how you drew them up?”

“I can’t remember the exact wording, but the clause stated that the architects had the right to appoint an inspector at the mill.”

Had No Inspector.

“Did you employ anyone as inspector of the steel put in the Wonderland building?”

The witness first tried to evade a direct answer and then said that no inspector was employed, outside of the one at the mill.

“Who inspected the steel at the mill?”

“The people who made the material had it inspected.”

“You paid the people who made the steel for inspecting it?”

“We did not pay for it.”

“As a protection for the owners of the building you had the steel inspected by the people who made it and did not pay the men they employed? Is not that a fool arrangement?”

Mr. Frazer had first made the question more pointed, but changed the form when Mr. Conely objected. Mr. Scott finally said that in his opinion the steel should be inspected by an inspector not connected with the mill.

“You had the authority to order an inspection of the steel at the mill?”

“Yes.”

“You did not have it inspected in Detroit?”

“Not to my knowledge.”

“There is also an inspection to see that the right sizes of steel are placed in the trusses being built?”

“Yes”

“You did not employ an inspector there?”

“I don’t know. I suppose the man on the building inspected it.”

“Who?”

“John Scott.”

“He had no inspector?”

“No.”

Witness added that he believed John Scott knew enough to see that the steel work conformed with the detail drawings. He said that he could not swear that John Scott had inspected it. Mr. Scott admitted that to have the steel inspected as the work progressed was the only safe way to see that the specifications were carried out by the contractors. Witness said that an engineering company could have skimmed the job in many ways, had it set out to do so. Mr. Scott stated that he had received strain sheets for all the steel made at the mill, showing the results of the tests made on the different pieces. He didn’t know whether Col. Wood saw them.

To be continued…

Tales from a Scenic Artist and Scholar. Part 606 – The Wonderland Disaster Investigation in Detroit, 1898, second section

Part 606: The Wonderland Disaster Investigation in Detroit, 1898, second section

While researching the Temple Theatre in Detroit, I encountered an interesting article about an 1898 theater roof collapse. It was published in the “Detroit Free Press.” Here is the second section of the article.

Scott Finishes His Story.

The examination of Arthur Scott was concluded at the morning session. He admitted that he had figured on the strains to the members of the truss, using the Carnegie and Pencoyd tables as far as they applied, and then working out the rest with his own knowledge. On Wednesday, Mr. Scott was asked to figure out the strain on a three-inch channel, used in construction of the truss, but admitted that he could not find any table for it. The prosecution will contend that he could not find the table for the reason that there is none for a three-inch channel, such a size not being recommended for such work, on account of being too small for safety.

Attorney Boyton continued his cross-examination. He showed the witness the different plans of the new Wonderland building, which had been introduced in evidence and asked him to designate the work done by Col. Wood. Mr. Scott admitted that nearly all the drawing had been done by himself, but said that some had been made from rough sketches by Col. Wood. It was shown that the lines drawn by Col. Wood referred mostly to the pitch of the floor lines of vision and seating. The witness was unable to produce any other sketch made by Col. Wood, although he insisted that Col. Wood had made a great many small ones that had been destroyed and it was hard to recall what they were.

“In your direct testimony, you sated that in the balcony and gallery you put in the same weight of material as indicated in the Detroit Opera House plans, so that you practically followed them?”

Detroit Opera House under construction. pictured in the DeMan System of Fireproof Construction book published in 1901.

“Yes; I did not follow them literally. The overhang was smaller than in the other house.”

“How did you compute the strains if the truss?”
“Took them from the analysis of the truss.”

“It is a question of mathematical computation and you did the computing?”

“The truss was already analyzed.”

“Where did you get the type of truss used on the Wonderland building?”

“Took it from Carnegie’s book.”

“Did you take the load for all the members from Carnegie?”

“Not all. Took the channels from Pencoyd, the sizes and weights according to the tables.” Mr. Scott then admitted that he used the Pencoyd tables as far as they applied, and that he then worked out the rent from his own knowledge.

“You did not follow the opera house truss at all?”

“Not in form; only in detail.”

“You followed it because certain details in both trusses happen to conform?”

“Yes.”

“Is there any similarity in assembling the details, it lies in the fact that the Carnegie tables indicated such a similarity?”

“Yes.”

Witness was positive that Col. Wood took the plans of the Wonderland structural steel work out of the office, having seen him do so. Regarding the book in which Col. Wood is alleged to have kept all the weights of the iron and steel work, witness said that Col. Wood has told him that he had worked out the details of weights and would have them whenever it was necessary to make out an estimate to pay for work.

“Did he ever make an estimate to pay for work?”

“He did not. He was not here, I think.”

“Where are the specification that you gave him corrected?”

“The original ones were destroyed, after being corrected. He gave me verbal corrections.”

“It is not a matter of fact that the only suggestion Col. Wood made was regarding the corrugated iron, in connection with the balcony and seating?”

“At that time it was all that he made.”

“Did he ever take the general specifications?”

“Not at that time. He took them the day before they were given out to the contractors.”

Mr. Scott said, in reference to the shop drawings made by the Peninsular Engineering Co., that they had never been formally approved, but that he had examined them as to the measurements sufficiently to satisfy himself that they were made in accordance with his designs.

To be continued…

Many thanks to Richard Archer who discovered a DeMan System of Fireproof Construction book published in 1901. Here is the link: https://books.google.com/books?id=c9o0AQAAMAAJ&pg=RA1-PT44&lpg=RA1-PT44&dq=deMan%20truss&source=bl&ots=Qsznjo39tt&sig=N3SlspWsgAbRm160yzPbhAJ43w4&hl=en&sa=X&ved=2ahUKEwiC64i0tdTfAhWEVN8KHUJwCTUQ6AEwC3oECAEQAQ&fbclid=IwAR2GXwH1WhZNzn6ZMyK-tSG4xGPbBTxS9OTPbh7NIKvEG4ARTZRPM0-ZaAM#v=onepage&q&f=false

Tales from a Scenic Artist and Scholar. Part 605 – The Wonderland Disaster Investigation in Detroit, 1898, first section

Part 605: The Wonderland Disaster Investigation in Detroit, 1898, first section

I have been exploring the Temple Theatre in Detroit and Detroit’s “Wonderland,” an entertainment company that offered everything from live theatre and minstrel shows to moving pictures and vaudeville acts; from aerial acts to talking dogs, everything was part of the vaudeville mainstream. From the time it opened in 1901, the Elks Temple theatre hosted the Wonderland Company, offering four vaudeville shows every day. Ticket prices included admission to the show, as well as a visit to see the oddities in the curiosity museum. In later years, Harry Houdini, W. C. Fields, Buster Keaton. Jack Benny, George Burns, Fred and Adele Astaire, were included among the stars that appeared on the Temple Theatre stage. As Vaudeville fell out of favor, the Temple closed about 1930, other than showing a few fly-by-night films.

Postcard detail depicting the Detroit Opera House and Temple Theater located next door.

The original Wonderland Theatre, known as Detroit’s “palace of amusement,” included both a variety show and oddities museum. Founded by Enoch “Pop” Wiggins, the Wonderland Theatre started on Woodward Avenue in 1886 in Merrill Hall, later known as the Avenue Theatre. Its popularity caused the company to move further up the road to Campus Maritus. Unfortunately, disaster struck on Nov. 5, 1898, when the roof of the theater collapsed during construction, crushing 12 workers to death and injuring nearly 20 others. In the end, fifteen lives were lost. The company temporarily used the Detroit Opera House until the new Temple Theatre was completed.

There is an interesting article about the Wonderland building and theatre architect J. M. Wood after the roof collapsed. It puts theatre construction within a historical context. Due to the length of the article, it will be posted over several installments. Published in the “Detroit Free Press,” the article “Positive Denial!” detailed the description of events surrounding the Wonderland Disaster investigation (2 Dec 1898, page 2). Here is the first section of the article:

POSITIVE DENIAL!

—

COL WOOD FLATLY CONTRADICTS SCOTT BROTHERS’ TESTIMONY.

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DID NOT HAVE CHARGE OF STRUCTURAL IRON AND STEEL WORK.

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SIMPLY HAD TO LOOK AFTER THEATRICAL ARRANGEMENTS.

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THINKS THERE WAS A GENERAL WEAKNESS IN THE ROOF.

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ALSO A GENERAL LACK OF ATTENTION TO DETAILS.

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THE FIVE-INCH ROOF BEAMS WERE OVERLOADED.

—

Arthur Scott Concluded His Testimony Yesterday Morning.

—

“Col. J. M. Wood. The theatre architect was the main factor in the investigation yesterday, and he was on the stand nearly the entire day. He entered a positive denial of the statements of John and Arthur Scott that he had charge of the work, designed the truss and was responsible for figuring loads. Col. Wood stated that he had not only not designed the truss, but that he had not paid the least attention to it, being out of the city most of the time when it was being constructed and erected. He also displayed plans of every truss he ever used in fire proof theater buildings, showing that they were of the suspension type and nothing like the one used in the Wonderland building.

At the request of Prosecuting Attorney Frazer, he calculated the load carried by the Detroit Opera House truss, which weighs over eight tons, showing that he had figured many tons within the safety factor. He also showed that be computing the truss of the Wonderland building by the same method as that used for the opera house truss, the former, which weighs over eight tons, showing that he had figured many tons within the safety factor. He also showed that by computing the truss of the Wonderland building by the same method as that used for the opera house truss, the former which weighed three and a half tons, carried forty tons, while the eight and a half ton truss in the opera house carried forty-eight tons for the safety load. He indicated at some length the designing he did for the Wonderland building, stating that he had nothing whatever to do with the steel work, but had to indicate the lines of vision and general lines within which John Scott & Co. would have to keep the steel work.

Col. Wood testified that in the first interview with John Scott, the latter told him that his firm would insist on having control of the construction of the building and would consult with him regarding the arrangements of the theater. The witness had a book showing a record of all material used in all the theaters he had built of the fire-proof type, and he was able, without any hesitation, to answer any question regarding them. His answers were all s direct and positive that there was no chance to quibble with him. He asserted that he was employed to look after the stage, the seating acoustic conditions, line of vision, boxes and other matters pertaining strictly to the Wonderland theater, while with the architectural and steel construction he had nothing to do; and paid no attention to it.

Regarding the fact that he had loaned John Scott & Co., a set of plans of the Detroit opera house, he said that he did it simply as an act of courtesy, to a brother member of the profession, thinking that it might give him some idea of theatrical construction. He denied that he told Arthur Scott to follow those plans, saying that he had no authority to order him and had not been asked to have anything to do with the construction of the building. He also denied that he had given Arthur Scott the load the trusses would have to carry, or that he had anything to do with the designing or construction of the roof. Incidentally, Col. Wood stated that the DeMan system was not used on the Detroit Opera House.

Col. Wood showed his willingness to give his opinion regarding the cause of the accident, but Mr. Frazer spoiled a full answer by breaking in with another question. It was his belief that there was a general weakness of the roof and the construction, and he also thought that the 5-inch roof beams were overloaded. As to the truss, he did not feel competent to give an opinion, but stated that an engineering company had given him an opinion that steel members of the sizes mentioned for the Wonderland truss would probably hold the load intended, if properly detailed and constructed.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 604 – Elk’s Temple Theatre in Detroit, 1908

Part 604: Elk’s Temple Theatre in Detroit, 1908

Yesterday, I explored the creation of a drop curtain by Sosman & Landis for the renovated theatre at the Elk’s Temple during the 1908. Here is another interesting article on the opening after the completion of the renovation during July 1908.

Here is the article published in the “Detroit Free Press” on July 26, 1908 (page 7):

TEMPLE THEATER; INTERIOR BEAUTIFULLY DECORATED, READY TO CHARM AND AMUSE

Richly Trimmed in Ivory and Gold, Soft Blues, Massive Mirrors, Hanging with Massive Cords and Tassels, Cosy Little Playhouse is One of Most Magnificent in the Country.

“Tomorrow afternoon will be thrown open to the public one of the most exquisitely, beautiful interiors ever designed to delight a Detroit audience when the Temple theater after having been closed to its patrons for three weeks will be reopened to the thousands of men, women and children who have come to look upon this pretty little play house as one of their weekly haunts.

But if the Temple has for years been one of the most attractive spots to the pleasure-seeker in quest of a few hours diversion, it has in the last three weeks become much more than that – the ideal of the artists and the skill of the decorator has been combined to produce here as a charming an effect as could well be imagined. In ivory, gold and varying hues of soft old blue, the spirit of the Italian Renaissance has been wrought out with marvelous success. The William Wright Company, responsible for the conception and execution of all this dainty, bright, buoyant one-harmony has achieved no small triumph in what they accomplished in the Temple theater interior. If the contention of those philosophers be true, who say that the moral tone of a community is elevated when it is provided with pure beauty in its public buildings, then this little playhouse since it has been converted into a symphony of blending tones ought to expert a happy influence upon the thousands who frequent it every week.

A symphony of color.

It’s difficult to make a pen picture of the effect that long hours of planning on the part of his decorators have produced. From the very light blue and cloud effects of the dome with its heavy escutcheons in gold to the ivory walls with their gold-capped pilasters, to the deeper Italian blue of the brocatelle hangings with their massive cords and tassels, and from these to the still deeper tones that soothe with they vivify.

The very spirit of the Renaissance, especially as it expressed itself in Italy has been reproduced here. The sense of blithe, gay freedom, the genius of the joy of living, the protest against gloom and somber thought is expressed in form and color. The whole place sings with gladness and care-free serenity. That is what the Renaissance means and no thing more fitting could have been devised for a place where thousands go in quest of laughter and song. This spirit of joy greets one as he enters the vestibule, it grips him as he passes into the foyer and bursts upon him in the stream of soft light and subdued color as he finds himself in the theater proper. The walls of the vestibule have been treated in metallic effects finished in soft green mosaic glaze and same scheme carried out in a higher key in the green and ivory of the ceilings with the heavy gold cornices and the Renaissance torches with their crystal globes.

Boxes Elegantly Furnished.

The foyer with its exquisite lights, its heavy rich gold ornamentation, the blue and ivory walls and deeper blue carpets is full of the promise of gaiety that lies behind the gilded arches. As for the massive doors fashioned of bars of thick gold across their heavy plate glass and great laurel wreaths wrought out in burnished gold, they form one of the most striking details that has been added to make up this elegant interior.

These swinging doors lead to the boxes which it is safe to say are unsurpassed for beauty of furnishing anywhere in any playhouse in the country. The daintily designed chairs made on an old, renaissance model are of heavy gilt, the hangings, of thick Italian brocatelle are caught back with cable-like cords of blue silk finished with mammoth tassels.

In the mezzanine boxes, the hangings are a deeper velvet – deeper than the very light tone of the domed ceiling, not so deep as the low keyed blue of the carpet.

New Drop Curtain.

Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense.”

Here are the two pictures that were included with the article:

Photograph of the Temple Theatre interior, published in the “Detroit Free Press”, July 26, 1908, page 7

To be continued…

Tales from a Scenic Artist and Scholar. Part 603 – Elk’s Temple Theatre Drop Curtain, 1908

Part 603: Elk’s Temple Theatre Drop Curtain, 1908

Sosman & Moses provided a drop curtain for the new Temple Theatre in Detroit, Michigan, during 1908. It was part of an extensive renovation that included a new themed décor, inspired by the Italian Renaissance.

The Elks Temple and Temple Theatre opened on Dec. 23, 1901. The entertainment complex originally hosted the Wonderland Theatre Company and curiosity museum of oddities.

The building was designed by architect John Scott, with the 1500-seat theater being designed by Col. J.M. Wood. The building was located immediately next door to the Detroit opera house, on the north side of Monroe Street in the Campus Martius area.

Postcard of Campus Martius area in Detroit. The Temple Theatre is on the far right side, next to the white Detroit Opera House

Postcard of Campus Martius are in Detroit, Michigan, ca. 1909. The Temple Theatre is the red building connected to the white building (Detroit Opera House).

Postcard of Temple Theater next to Detroit Opera House

In 1908, the Temple Theatre closed for three weeks during July to complete the renovation of the theater space. On July 2, 1908, the “Detroit Free Press” described the imminent renovation plans (page 7):

“The Temple theater will close at the end of the week to permit decorators to transform the interior. The work will take three weeks, artists working in two shifts, night and day. When the theater is thrown open to the public, Monday afternoon, July 27, the many patrons will marvel at the transformation. It is said that the decorations, with carpets, tapestries, drop curtain and incidentals will cost in the neighborhood of $20,000.

“The entire decorations will be in the Italian Renaissance period, and William Wright company has guaranteed Manager J. H. Moore the richest vaudeville theater interior in this country. The ceilings and cornice work will be in light Italian blue and ivory, this scheme being carried throughout. The proscenium boxes will be draped with rich brocatelle hangings of light blue, with heavy cords and tassels, and fine old Roman gold chairs will replace the mahogany ones now in use.

Artists and designers have been at work on the preliminary plans for the last three months, and all that is left now is to complete the actual work. The carpets have been made from a special design by the decorators, and Sosman & Landis, the scene painters of Chicago, are in consultation with the William Wright artists carry out in the new drop curtain, to cost $1,000, the color scheme of the auditorium.

“The double baize doors, leading from the foyer to the right proscenium boxes will be replaced with Roman gilt and gold plate glass doors, with gold columns. New and beautiful electrical effects will be seen in the ceiling of the foyer.

“On account of the reopening of the Temple falling the revival of the famous Blue Ribbon meeting in Detroit, the bill of vaudeville for that week will be designated the “Blue Ribbon” bill. It will contain the names of artists, not the least of whom will be Loie Fuller, the celebrated fire dancer.

The Temple theater has not been closed, summer or winter, since it was thrown open to the pubic eight years ago. The many hundreds of patrons who have reserved their seats throughout the seasons will call for them during the week preceding the opening when the regular sale will go into effect.”

Interior of the Temple Theatre in Detroit, ca. 1905

The “Detroit Free Press” described the new drop curtain on July 26, 1908:

“Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense” (page 7).

Temple Theatre in Detroit with stage scenery. ca. 1905.

To be continued…

Tales from a Scenic Artist and Scholar. Part 539 – Origins of the Jolly Corks and Benevolent and Protective Order of Elks, B.P.O.E

Part 539: Origins of the Jolly Corks and Benevolent and Protective Order of Elks, B.P.O.E

The B.P.O.E., the Benevolent and Protective Order of Elks

Yesterday’s post explored the Sosman & Landis scenery and stage machinery at the Elks Opera House in Prescott, Arizona. In 1905, 54 Elks lodges were established and membership increased by 22,888 over the preceding year. I would be remiss to not include the origins of the Benevolent and Protective Order of Elks, especially as it is celebrating its 150^th anniversary this year. Besides, it was an organization founded by theatre people.

Prescott Elks Lodge Room in Prescott, Arizona – www.prescottelks.org

The Elks were just one of many fraternal organizations that emerged during the nineteenth century. Clandestine meetings, secret grips, symbols, emblems and passwords characterized most of these groups. Elevated stages also appeared in many lodge rooms, complete with front curtain, stage machinery and scenery. Like the Scottish Rite Masons, the Elks constructed theaters with specific scenery to stage portions of their ritual work. I was able to identify one of their stage settings in a photograph of the Elks’ opera house in Prescott, Arizona.

Elks Opera House in Prescott, Arizona – www.prescottelks.org

Scenery produced by Sosman & Landis for the Elks Opera House in Prescott, Arizona. Note the four steps on the stage right side that are labeled Charity, Justice, Brotherly Love and Fidelity.

This Elk’s began as a group named the Corks, who were soon called the Jolly Corks.

The cork part involved a game in regard to who was picking up the drinking tab. Here is the story:

On Friday, November 15, 1867, the English comic singer Charles A. Vivian (25 yrs. old), arrived in New York, after traveling from South Hampton.

On the night of his arrival he stopped at the Star Hotel. This was an establishment kept by John Ireland, located on Lispenard Street near Broadway. Richard “Dick” Steirly, was a piano player at the hotel. As Steirly was also from England, Vivian struck up a conversation and volunteered to sing a few songs that evening. His songs included “Jimmy Riddle who Played Upon the Fiddle” and “Who Stole the Donkey?”

Vivian’s baritone voice made such an impression on Ireland, that he sent a waiter to fetch his friend, Robert Butler. Butler was the manager of the American Theater on Broadway. Butler was so impressed that he engaged Vivian for $50 a week to perform at the American Theatre. The next day, Steirly invited Vivian to Mrs. Geisman’s boarding house where he lodged at 188 Elm Street; Vivian soon became a boarder there too. It was there that Vivian first met many of the gentlemen who would form the Jolly Corks.

On November 23, 1867, Steirly went to the American Theater to see Vivian. After the matinee, Vivian took Steirly over to Sandy Spencer’s place at Broadway and Fulton Street where they met Hughley Dougherty, Cool Burgess and Henry Vandemark. It was suggested that the party shake dice for the refreshments. Vivian replied that he never handled the cubes, but would show them a new game – a “cork trick.” It had long been in vogue with Vivian’s English associates at the tavern near the Westminster Bridge in London. Calling for three corks he gave one to Steirly, one to Vandemark and kept the remaining cork for himself. Vivian asked Burgess to be the judge and asked Dougherty to count to three. At the count of three, each dropped his cork on the bar, then picked it up as rapidly as possible. Some accounts suggest that the corks were just seized. The last man to lift his cork would buy the round. The game became very popular with the group and soon a “member” was charged with always carrying a cork in his pocket. Upon meeting another member, and if he was unable to produce a cork, the penalty was to by the challenger a drink.

About this same time, New York City’s Excise Law was being strictly enforced; Sunday was a very dry day. On Sunday, the group gathered at Mrs. Giesman’s to enjoy the stock of beer they purchased and stored the night before. Some accounts say that they also set aside sandwiches and a piano. The men who participated in this event, named themselves the Corks, with Vivian as the Imperial Cork. One member later referred to the group as the “Jolly Corks” after being so delighted with the Sunday game. Unfortunately, their activities began disturbing the other boarders and Mrs. Giesman finally asked the group forego their Sunday gatherings in her house. The Corks found new quarters at 17 Delancy Street, in a room over a saloon kept by Paul Sommers; their meetings continued. The main object of the Corks was convivial in nature, with a membership composed primarily of vaudeville artists -musical entertainers, minstrels, and song and dance men. In March or April of 1868, “Bob” Fraser, the old pantomimist clown and scenic artist designed and painted the original charter for the Grand Lodge of “Jolly Corks” of the United States.”

First charter for the Grand Lodge of Jolly Corks

The group began to rapidly grow and some acknowledged that their profession needed a brotherhood with a greater purpose. Occasionally a member would be missing and others would explain they may be ill, not working or in hard luck. All would vote about sending financial aid to the member, often five or ten dollars. Keep in mind that the Theatrical Mechanics Association was formed in 1866 and TMA members were “initiated into some of the mysteries of stage mechanism.”

It was George F. McDonald who suggested that the Jolly Corks become a protective and benevolent society. During their meeting on February, 2, 1868, a new name and mission were proposed for the group. McDonald offered a motion to organize the Jolly Corks as a benevolent and fraternal order. A committee was appointed to formulate rules and regulations, select a new name and create a suitable ritual. Vivian, then presiding officer appointed McDonald as chairman with William Sheppard, Vivian, Edgar N. Platt and Thomas G. Riggs. Vivian suggested something along the lines of the Royal Antediluvian Order of Buffalos, an English organization. However, the majority wanted a distinctly American title for their new organization. The committee visited the Cooper Institute Library, where the members located a description for an Elk described in a Natural History book. The elk was described as being fleet of foot, timorous of doing wrong, and always ready to defend himself and his herd. This description appealed to the committee as it contained admirable qualities for emulation by members belonging to a benevolent fraternity, causing the title Elk to be incorporated in its report.

The order was officially founded on February 16, 1868, in New York City. It was George W. Thompson who helped develop the ritual with a second degree. Over the years, membership expanded to include many other professions and accepted those without any theatrical connections. There was also a “traveling herd” of Elks that would go out and establish lodges across the country.

The first Corks were Charles Vivian, Richard Steirly, John T. Kent, Frank C. Langhorne, William Lloyd Bowron, John H. Blume, Harry Bosworth, and and J.F. Norris (stage names Hilton or Wilton); many lived at Giesman’s. The fame of the Cork’s Sunday festivities drew others, including Tom Riggs, Matthew Ash, George McDonald, William Sheppard, Edgar Platt, Henry Vandemark, William Carlton, George Guy, Hugh Dougherty, Harry Stanwood and Hugh Egan. Membership in the Corks swelled to over 200 quasi-official members. before the group became the Benevolent and Protective Order of Elks.

The Elks’ current mission stated on their website is “To inculcate the principles of Charity, Justice, Brotherly Love and Fidelity; to recognize a belief in God; to promote the welfare and enhance the happiness of its Members; to quicken the spirit of American patriotism; to cultivate good fellowship; to perpetuate itself as a fraternal organization, and to provide for its government. The Benevolent and Protective Order of Elks of the United States of America will serve the people and communities through benevolent programs, demonstrating that Elks Care and Elks Share.” The Elks’ current purpose is “To promote and practice the four cardinal virtues of Charity, Justice, Brotherly Love and Fidelity; to promote the welfare and enhance the happiness of its members; to quicken the spirit of American Patriotism and cultivate good fellowship.”

We could use a resurgence of the Elks right now.

To be continued…

Tales from a Scenic Artist and Scholar. Part 538 – W. H. Clifton and the Elks Opera House

Part 538: W. H. Clifton and the Elks Opera House

Elks Opera House in Prescott, Arizona. Image located at www.prescottelks.org

1905 there were two articles about the Sosman & Landis stage Carpenter, W. H. Clifton, in the “Weekly Journal-Miner” (Prescott, Arizona, 1 Feb. 1905, page 2). In February 1905, Clifton finished installing “the curtains and scenery” at the Elks Opera House in Prescott, Arizona. The theater was located in the Elks Building at 117 East Gurley Street. Clifton’s next Sosman & Landis installation was scheduled in North Carolina.

The Elks Opera House in Prescott, Arizona with scenery by Sosman & Landis, 1905.

As a Sosman & Landis stage carpenter, Clifton quickly traveled from one location to another, installing the stage machinery and hanging painted scenery for each theater. In 1905, Clifton was on site to superintend the installation and arrangement of the scenery after it was shipped from Chicago to Prescott, Arizona.

Pin rai and paint bridge at the Elks Opera House in Prescott, Arizona. Photo by Brian Piper – www.prescottelks.org

Elks Opera House in Prescott, Arizona – Photo by Brian Piper – www.prescottelks.org

Prior to Clifton’s departure for another theater, he exhibited the scenery for the Prescott clients. Here is the 1905 Weekly Journal-Miner article in its entirety:

“W. H. Clifton, stage carpenter for Sosman & Landis of Chicago gave a private matinee yesterday afternoon for the Elks’ theatre which was attended by about forty or fifty people. The entertainment consisted of an exhibition of all the curtains and scenery of the opera house and was given for the purpose of giving the building committee an opportunity to see what they have purchased and to check it up on the list in order to demonstrate that they have received all that they have paid for. The curtains, scenery and all the stage appointments are certainly up to date and quite handsome. Mr. Clifton is an expert also in the manipulating of them. The Elk’s seem to be well pleased with their purchase. The opera house, when completed, will without doubt be one of the finest in this territory, and a few, if any in the southwest will surpass it. There may be larger buildings of the kind but none more complete in its furnishings and all of its appointments” (Prescott, Arizona, 1 Feb. 1905, page 2).

The Elks Theatre initially hosted minstrel shows, balls, plays and theater performances. Silent films soon dominated the theater by 1915, transitioning to “talkies” by 1929. It remained a movie house until the 1980s. After the theatre changed hands multiple time, it was turned over to Arizona Community Foundation during the early 1980s. The City of Prescott purchased the theater in 2001. The Foundation in partnership with the City of Prescott began the restoration with the lobby, green room, dressing rooms and other parts of the building. Restoration of the Elks theater was completed in 2010. The stage now displays tri-layered vinyl backdrops, based on original black and white photographs. Yes, I re-read the sentence twice too – “tri-layered vinyl backdrops, based on original black and white photographs.”

Postcard depicting the original Elks Opera House in Prescott, Arizona. Image posted at www.prescottelks.org

The newly restored Elks Opera House in Prescott, Arizona.

Image published in the Daily Courier, depicting the new -tri-layered vinyl scenery at the Elks Opera House

As regard to Clifton, it appears that he left Sosman & Landis to take another stage carpenter position in Pennsylvania the after completing the 1905-1906 season. In Julius Cahn’s Official Theatrical Guide for the 1906-1907 and 1907-1908 W. H. Clifton is listed as the stage carpenter for the Lewis Opera House in Canton, Pennsylvania. Although there were many W. H. Clifton’s at the time, I believe that this particular one was born in 1853, passed away in 1926, and married to Eugenia Clifton (1855-1920). This information is not confirmed yet, just pieced together.

To be continued…

Tales from a Scenic Artist and Scholar. Part 535 – W. H. Clifton, Stage Carpenter for Sosman & Landis

Part 535: W. H. Clifton, Stage Carpenter for Sosman & Landis

In 1905 there were two articles about a Sosman & Landis stage carpenter in the “Weekly Journal-Miner” (Prescott, Arizona, 1 Feb. 1905, page 2). In February, W. H. Clifton finished installing the curtains and scenery at the Elks Opera House in Prescott, Arizona. It was a name that I had not encountered before and decided to do a little digging. By 1905, Clifton had worked at Sosman & Landis for fourteen years.

The earliest mention of Clifton working for Sosman & Landis was in 1889. That year the “Sterling Gazette” reported, “Mr. W. H. Clifton of Sosman & Landis, stage furnishers and scenic artists of Chicago, returned to Chicago this morning after completing his work in the Wallace Opera House. He has been engaged for the past two weeks in fitting up an entirely new outfit of scenes and stage appliances, and has done his work well. The Opera House now has, for its size, one of the best furnished stages in the state outside Chicago” (19 April 1889, page 3).

Thomas G. Moses grew up in Sterling, Illinois, before moving to Chicago where he became a scenic artist. In 1878 Moses returned to Sterling to paint scenery for various of venues. His incentive to return home was to marry his childhood sweetheart Ella Robbins. Moses continued to work as a scenic artist in Sterling after his marriage, painting an advertising drop and later some scenery for a “barn storming company.” Soon he was employed to both decorate Sterling’s Academy of Music and paint ten full sets of new scenery for the theater. But there wasn’t enough work in Sterling to keep him there.

Moses returned to Sterling again in 1886 to repaint many of the Academy of Music scenes; this was the same year that his daughter, Lillian Ella Moses, was born. In 1886 Moses wrote that he was in Sterling “to repaint the work I did eight years ago. It didn’t look good and I soon made an improvement over the old stuff.” The Academy of Music was a 900-seat theater illuminated with gas and electricity. The proscenium measured 35 feet high by 30 feet wide. The depth of the stage was 40 feet from the footlights to the back wall. The height of the grooves was 16 feet. A decade later in 1896, Charles J. Kennedy was listed as the scenic artist for this venue in Julius Cahn’s Official Theatrical Guide.

Harry Miner’s American Dramatic Directory for the season of 1884-1885 listed the Wallace Opera House as being a 1000-seat theater with a 21×23 stage, and “fair stock scenery.”

“The Sterling Gazette reported that same year, “The opening of the Wallace Opera House, tomorrow, promises to be one of the great theatrical events in the history of Sterling. The house has been thoroughly renovated and equipped with new and costly scenery, painted by Sosman & Landis, of Chicago, which is being put into place today, under the personal supervision of this celebrated firm of scenic artists. The attraction selected for the opening could not be better. The Gorman’s Spectacular Minstrels, is one of the leading recognized legitimate attractions on the road and that the opening will be a proud success there can be no doubt, as manager Lawrie has pledged the hearty support of our leading citizens. He has also received word from Prophetstown, Prairieville and Milledgeville that goodly crowds will come from those places. The Gorman’s have made it a feature to cater to the better classes, and this fact being so well known the wealth and culture of Sterling will be fully represented. The sale of seats has been very brisk and lovers of refined merriment of the very high order of excellence should procure seats as early as possible and avoid the rush which is sure to be at the door at night. This house will be opened to stay and the management and its support promise to furnish theatre-goers with nothing but the very best attractions” (The Sterling Daily Gazette, 3 April 1889, page 2).

Wallace Opera House advertisement from the “Sterling Daily Gazette,” 3 April 1889, page 2

To be continued…