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Tales from a Scenic Artist and Scholar. Part 1017 – John H. Kunsky and the Adams Theatre, 1919

In 1919 Thomas G. Moses wrote, “Adams Theatre occupied much of my time during the month of February.” The Adams Theatre opened in March 1919 and was located at 22 West Adams Avenue in Detroit, Michigan.

Picture of the Adams Theatre posted at HistoricDetroit.org: https://historicdetroit.org/galleries/adams-theatre-old-photos/

The president and treasurer of the Adams Theatre Company was John H. Kunsky. By the summer of 1919, Moses wrote, “A number of drops and a large picture set for Kunsky of Detroit was completed in June with success. This is the first work that we have done for him.” If he hadn’t written, “this was the first work we have done for him,” I might have thought it was a second delivery to the Adams Theatre. It is also possible that Moses worked with another Adams Theatre representative on the Adams Theatre project, just not Kunsky. However, it was likely that successful delivery of scenery to the Adams Theatre caused Kunsky to contact him directly for another job. Kunsky also owned the Madison Theatre in Detroit, a venue that opened on March 7, 1917. Moses mention of drops and large picture set delivered were possibly for that theater. The Madison Theatre was a sizable house with a seating capacity of 1800. The top floors of the building housed the Kunsky circuit’s main offices.

Kunsky was a mover and shaker in Detroit by this time. Kunsky was integrally linked to the movie theatre industry in the town, having brought a motion picture machine to Detroit in 1905 and opened the Royal theatre in 1908. The “Detroit Press” cited Kunsky’s history in Detroit in relation the Royal Theatre. The article reported, “John H. Kunsky started in business as Michigan’s first exhibitor in 1905, in the Casino theater, in Monroe avenue, remodeled from a store, and having a seating capacity of 125. Encouraged by the success of this venture, in company with others he gained a lease on the property at Monroe avenue and Farmer street, demolished the building and erected a new structure that was christened the Royal theatre and contained 200 seats. At the time it was said to be the largest and finest motion picture house west of New York, a statement that sounds strange in these days when seating capacity is counted in thousands, and the entire original equipment of the Royale would not inventory enough to give a modern house a fair start in the matter of decorations. Nevertheless, Detroiters marveled at so large a place devoted to a new-fangled idea that. It was predicted, was only a fad, and not a few local wiseacres predicted speedy failure for the enterprise. Mr. Kunsky had the true showman’s idea of giving the public plenty for its money. He promptly installed and “orchestra” consisting of a piano and drums. As an added attraction there was a singer who warbled ballads to the accompaniment of colored lantern slides. Detroiters used to go to the Royale to scoff and remain to marvel, for they not only found lavish appointments, as those things were reckoned then, but pictures that were worth watching. Gradually the business grew, and soon the house was firmly established, with seats at a premium most of the time. The Royal was one of the first, if not the first, picture houses to stage a longtime run. It screened ‘The Passion Play’ at an advanced price, admission being raised from 5 to 10 cents, and for eight weeks, with the aid of a special lecturer, it drew crowds. This helped to make the Royals the talk of the town, and to put the theater on a well-paying basis, even if its clientele came chiefly from the meek and lowly, the upper classes remaining skeptical. After a while it overcame this early prejudice, but it never was particularly conspicuous, because it was shortly followed by other and larger houses. Nevertheless, its career was a steady and profitable one, and from this modest little beginning on Monroe avenue came the Kunsky Theatre Circuit embracing 14 houses, that finds its highest expression in the magnificent new Capitol and the others circling Grand Circus park, to say nothing of the thousands of private houses scattered about the city and throughout the state, many of which drew their inspiration from the tiny place that is so soon to pass from existence.”

In the fall of 1919, Kunsky he announced plans for a new theatre on the northeast corner of Hamilton Boulevard and Highland Avenue. On Nov. 9, 1919, the “Detroit Free Press” announced, “Work is to be started almost at once on the erection of a handsome theatre on the northeast corner of Hamilton boulevard and Highland avenue, for John H. Kunsky. The building is designed by C. Howard Crane, architect, and Elmer Kiehler, associate, who in the last few years have designed more than 2oo theaters in the United States and Canada, their latest work having been Detroit’s new Orchestra hall. The new theater will cost approximately $250,000, will have capacity for 2,800 persons and will be the largest residential theatre in or near Detroit. It is announced that it will also surpass any other local theater in the attractiveness of its appointments. The front of the building, with length of 180 feet, is renaissance. The furnishing and appointments will be most luxurious, in many respects, its aid, surpassing those of Mr. Kunsky’s downtown theaters, the Madison and the Adams” (page 85).

To be continued…

Tales from a Scenic Artist and Scholar. Part 998 – The Hamlin Theatre Picture Set, Chicago, 1918

In the life and times of Those G. Moses, it’s September 1918. Moses is now working for New York Studios, having resigned as president of Sosman & Landis on September 1, 1918. On October 10, he will be injured when a boy riding a bicycle accidentally knocks him down in the street.

By mid-September Moses was looking for a studio to paint in He wrote, “We got the 20^th Street Studio for a month to month rental. It is pretty cold there but we can manage to keep going. We made Models and received the picture set order for the Hamlin Theatre. $1,000.00 is not much for the set.”

Chicago’s Hamlin Theatre was constructed in 1914 and located at 3826 West Madison Street, it was a 298-set venue that would close by 1929. According to cinematreasures.org, the space was later converted into an AmVets Hall (http://cinematreasures.org/theaters/45100). I have only identified a few advertisements for the movie house to date. The Hamlin Theater is a hard one to track down because over the years there were a few Hamlin Theaters that operated in Chicago during the late nineteenth and early twentieth century.

In addition to the 1914 Hamlin Theatre, there were two other Hamlin Theatres built in Chicago during 1926; one was on W. Madison and the other on W. Belmont. The one that Moses delivered the picture set to was for the one on W. Madison.

Over the past few years, the most difficult part in tracking down Moses’ theater projects is locating the correct venue. Many theaters across the country used the same name because they were part of a circuit. Think of the names like Orpheum, Lyceum, Fox, Majestic, and so on. There were also some cities that had multiple theaters with the same name; I just don’t understand this at all. In a few cases, two theaters with the same name would open with the same name in the same year. Why anyone ever thought this was a good idea is astounding, as it never ended well as simply confused people.

When Moses received the picture set order for the Hamlin Theatre in 1918, it was primarily a movie house. By 1917, the Hamlin featured the same films as the Kimbark Theatre, Milford Theatre, Oakland Sq. Theatre, Lane Ct. Theatre, Ziegfeld Theatre and Halfield Theatre.

Advertisement in the “Chicago tribune” 23 April 1919, page 20.

The actual project that Moses was referring to included the painted surround for a projection screen. Unlike today’s use of a simply white screen, elaborate compositions filled the area between the projection surface and the proscenium arch. What makes this confusing, however, is the use of the term “picture set.” In 1918, “picture set” was used to identify the painted surround manufactured by scenic studios for movie theaters. It also identified the actual settings used for films, such as the picture set for “Tarzan of the Apes.”

On Oct. 27, 1918, the “Boston Globe” also introduced a new definition for “pictures sets” (page 36). An article reported, “There are four stages used in “Chin Chin Chow” at the Schubert Theatre – the regular stage, and three small miniature stages on rollers, which show what are known as the “picture sets” being like small scenes viewed through a window. This stage device is new and somewhat resembles the closeups of the movies, only on a bigger scale.” This last use of “picture sets” has me a little baffled. For a little context about the production, “Chu Chin Chow” was a massive spectacle set in ancient Bagdad. The show included fourteen scenes with eighteen musical numbers and a company of three hundred.

To be continued…

Tales from a Scenic Artist and Scholar. Part 930 – Picture Sets, 1916

In 1916 Sosman & Landis delivered a picture setting to Indianapolis’ Strand Theatre. The studio took out an advertisement in the “Indianapolis Star” when the theater opened, announcing, “Designed, built and painted the elaborate picture setting for the new Strand Theatre listing their contribution. In 1916, studio president Thomas G. Moses recorded projects for picture sets in Fort Wayne, Indiana, and Pittsburg, Pennsylvania, too. The first picture set mentioned by Moses at all in his diaries was during 1915; a $1500 picture set for Fred Ingersoll in Detroit, Michigan. Here is the link for that post: https://drypigment.net2020/01/17/tales-from-a-scenic-artist-and-scholar-part-904-thomas-g-moses-and-frederick-ingersoll-1915/

The term “picture set,” or “picture setting,” had two meanings at the time. The first identified the painted scenery (leg drops and backdrop) that created a lovely setting with a center projection area. The backdrops in these picture sets were also termed “picture sheets.”

Picture setting design by the Twin City Scenic Co.

Picture setting design by the Twin City Scenic Co., see model picture below.

Another example of a picture set for a theater.

Of Fort Wayne project, Moses wrote, “Went to Fort Wayne to stage picture set at the Empress Theatre.” The $1300 project was for painted scenes that framed a projection screen placed within a painted composition. The new scenery was needed for the reopening of the venue as the Empress theater reopened as a combination house, featuring vaudeville acts and the latest three-reel films and serials..The Empress Theatre reopened under new management on June 16, 1916. The “Fort Wayne Sentinel” reported, “EIGHT BIG ACTS OF SUPREME VAUDEVILLE…This theatre, now under the management of large Eastern Circuit and will at all times give the public the best obtainable in from eight to ten acts of Vaudeville and High Class Musical Comedy.”

From the “Fort Wayne Sentinel,” June 14, 1916, page 5.

In 1916 “Picture set” also identified a setting for film production. Newspaper articles suggest that his was a relatively new practice in 1916. These new types of “picture sets” received a substantial amount of publicity. They were even referred to as a “new stunt” in filming (“Hobart Republican,” Hobart, Oklahoma, 17 Feb, 1916, page 7). The “Jackson Daily News” reported, “The use of a big theatre as a motion picture set is a new scheme and proved to be a very effective one” (8 Feb 1916, page). Here is the context…the Republic Theatre was used as a film set for a 1916 Florence Reed picture. Of the film, newspapers reported, “As soon as the curtain was rung down at 11 o’clock on ‘Common Clay,’ Producer Fitzmaurice with his star, Florence Reed and many extras, came in and took possession of the theatre. Special lights were installed and some twenty scenes taken in jig time….In order to carry out the realism the floor of the theatre was crowded with extras, and friends of various Pathe officials. Mr. Woods himself was present and gave many valuable hints as to detail. The picture is New York,” an adaptation of the one of Mr. Wild’s theatrical productions” (Jackson Daily News. 8 Feb 1916, page).

In 1916, Moses mentioned another movie picture set, writing, “In March we did a picture set for a suburban town near Pittsburg,” later adding, “We sent two of our picture set models to the Art Institute with the Palette and Chisel Club exhibit, and they received as much attention as some of the pictures.” These were movie set models that were on display for the exhibit instead of models that depicted a central projection screen.

Of the Palette & Chisel Club Exhibit, the “Chicago Tribune” reported, “New Exhibit at Institute. A unique event in the life of the Palette and Chisel Club in Chicago will take place on Tuesday evening, April 25, at the Art Institute. For twenty years the club has been holding its annual exhibitions at its own clubrooms. Tuesday night all precedent and tradition will be violated and its large and interesting collection of the last year’s activities along art lines will be shown at the Art Institute of Chicago. It is to be an extremely comprehensive exhibit, including in its scope not only paintings and sculpture, but the work of some master craftsman as well, men who apply their artistic talents to the usable things of life, incurring thereby the lasting gratitude of the practical masses.”

For the exhibit Gustave Bauman showed his wood block prints and book decorations, while Oswald Cooper, Fred Bersch and B. A. Kleboe exhibited various booklets and interesting examples of fine printing designed by them. John Carlsen showed special wall paper designs and Watkins Williams exhibited some stage designs. Williams was noted as a Sosman & Landis scenic artist. The newspaper article noted Williams as the artist who “designed and painted the scenery for the immortal Sarah Bernhardt on her last American tour.”

Williams worked at Sosman & Landis. Sosman & Landis models for movie sets would have been an asset to this diverse group, especially in light of Watkins.

One final picture set mentioned by Moses in 1916 was for the Studebaker Theatre in Chicago. Of it, he wrote, “Our big picture set at the Studebaker made a big hit, quiet and dignified.” This was likely another film set, as “quiet and dignified” seems an unusual way to describe a picture sheet.

This movie played at the Studebaker, another theater with a picture setting by Sosman 7 Landis. From the “Chicago Tribune,” 21 May 1916. page 29.

To be continued…

Tales from a Scenic Artist and Scholar. Part 908 – The Strand Theatre of Indianapolis, 1915

In 1915, Thomas G. Moses wrote, “We received the Strand of Indianapolis at $2,700.00, and we got a very good set, fine for lighting.” Earlier that year, Moses had worked at the Strand Theatre in Pasadena, writing, “June 1st, Mama and I started for our first California trip that had no business attached to it, but I found a little when I reached Pasadena, a little misfit at Root’s Strand Theatre. Fixed it up and settled in full.”

There were many Strand Theaters in 1916, all across the country: Appleton, Wisconsin; Altoona, New Castle and Harrisburg, Pennsylvania; Pasadena, San Diego, Long Beach, and Stockton, California; Seattle, Washington; Portland, Oregon; Sioux City, South Dakota; Des Moines, Cedar Rapids, Davenport and Iowa City, Iowa; Chicago, Dixon, Decatur, De Kalb and Rock Island, Illinois; Arkansas City and Salina Kansas; Laredo, Texas; Tampa and Miami, Florida; Montgomery and Dothan, Alabama; Durham, North Carolina; Orangeburg, South Carolina; New York City, and many, many more.

Of the Indianapolis Strand, Sosman & Moses placed an opening night advertisement on Jan. 15, 1916, in the “Indianapolis Star.” Their advertisement announced, “Sosman & Landis designed, built and painted the elaborate picture setting for the new STRAND THEATRE” (Indianapolis Star, Jan 15, 1916, page 9).

An advertisement published along with the Indianapolis Strand Theatre opening announcement, from the “Indianapolis Star,” Jan 15, 1916, page 9.

From the “Indianapolis Star”, Jan 15, 1916, page 9.

On December 9, 1915, the “Indianapolis Star” listed the company under its “Incorporations” section – Strand Theater Company, Indianapolis. Capital, $25,000. To conduct theaters and motion picture shows. Directors, R. D. McCord, G. G. Russell, E.E. Brinkmeyer” (page 16). By Jan. 17, 1916, the “Indianapolis Star” listed the theater again in the “Articles of Incorporation” section – “The Strand Theatre Company, Indianapolis, has increased its capital stock by an issue of $50,000 preferred stock and an increase of $125,000 common stock, making the total capital $300,000.

Strand Theatre Co. advertisements promised the following:

“Endorsed by Discriminating Audiences. The theater is judged by the CLASS of patrons it ATTRACTS and HOLDS. Drop in at the Strand ANY time. Note the KIND of people who attend. Intelligent men of affairs – refined, appreciative women. Their verdict COUNTS. They know that the Strand way means high-grade, exclusive photo-plays- artistic presentation – unvarying delightful programs, including stellar vocal and instrumental artists and the Strands famous 20-Orchestra-20. Continued Success of Advance Exclusive Presentation in Indianapolis.”

In January 1916, Moses wrote, “On the 8^th, went to Indianapolis to light the Strand picture set.” That was a week before opening. When the theatre opened on January 15 at 8:15 PM, and “Indianapolis Star” announcement promised:

“The most luxurious, the most beautiful and the most comfortable theater of all. These are roomy seats for 1,800 people – all with unobstructed view of the stage. The same high-class films – the same big musical program – the same all-star vocal soloists – the same beautiful surroundings, stage setting and lighting effects – the same twenty-piece Symphony Orchestra that draws immense crowds to the New York and Chicago Strand Theaters – are offered to Indianapolis playgoers and music lovers” (Indianapolis Star, Jan. 15, 1916, page 9).

The opening night program included: Overture by The Strand Symphony Orchestra of twenty pieces; Travelogue – “Seeing Panama;” Solo by the Golden Voiced Soprano Viva Ethelia;

Strand Topics of the Day – World-Wide Events; Instrumental Solo by Albert E. Short; and a “Paramount” Feature Photoplay starring Marguerite Clark in “Mice and Men.” The feature was five reels in length.

Interestingly, there was more than one Strand Theatre in Indianapolis during 1916. The one that Sosman & Landis delivered a picture setting to was located at Washington Street and Capitol Avenue. This was the new Strand Theatre Co. Early in 1916 Strand Theatre Co. ads note, “We are not interested or connected with any other Strand Theatre in Indianapolis” (Indianapolis Star, 21 Feb 1916, page 10).

Note the section that states they are not connected to other Strand Theaters in Indianapolis. From the “Indianapolis Star,” 5 Feb 1916, page 16.

From the “Indianapolis Star,” 5 March 1916, page 6.

From the “Indianapolis Star,” 10 Feb 1916, page 6.

From the “Indianapolis Star,” 21 Feb 1916, page 10.

Previously known as the Park Theatre, the Strand Theatre Company took over ownership of the venue in 1915, contracting with Sosman & Landis to deliver their picture setting for films. The Park Theatre was previously known for vaudeville shows and included a dime museum. Under the supervision of the E. C. Deveine, the theatre was remodeled and the stage outfitted with new equipment, reopening as the Strand Theatre Company. The Strand Theatre advertised continuous shows daily, with matinee prices costing ten, fifteen and twenty-five cents. Evening shows were ten, fifteen, twenty-five and thirty-five cents (Indianapolis Star, 6 Feb 1916, page 13). Unfortunately the Strand Theatre Co. name change only lasted ten months, when it was reverted again to the Park Theatre. Two theaters with the same name must have been a mess. Think of someone saying, “We’ll meet you after dinner at the Strand Theatre!” and showing up at the wrong one. The Park Theatre name was again changed to the Capitol Theatre in 1923. The Capitol theatre only lasted a little over a decade and closed in 1935.

The Park Theatre building in Indianapolis, pictured in 1902. In 1916, it opened as the Strand Theatre Co.

The Capitol Theatre building was previously known as the Park Strand Theatre and the Strand Theatre Co.

To be continued…

Tales from a Scenic Artist and Scholar. Part 904 – Thomas G. Moses and Frederick Ingersoll, 1915

In 1915, Thomas G. Moses wrote, “Some of our early work for the season was a black and white window decoration, rather effective. A small church job for Sterling, my hometown. Another job for Youngtown, Ohio, followed by one for Akron, Ohio. A short trip to Detroit to see Fred Ingersoll. Closed a picture set for $1,500.00. He had a fine theatre.” In Detroit, Ingersoll managed the Knickerbocker Theatre.

Advertisement for Detroit’s Knickerbocker Theatre. From the “Detroit Free Press,” 5 Sept 1915, page 49.

A picture setting incorporated elaborate painted settings for a projection screen, complete with a painted surround, tormentors, wings and borders.

An example of a picture setting, such as the one mentioned by Thomas G. Moses in 1915. That year Sosman & Landis delivered a picture set to Fred Ingersoll.

Frederick Ingersoll (1876 – 1927) is the focus of today’s post. Ingersoll is remembered as an American inventor, designer, builder and entrepreneur. He created the world’s first chain of amusement parks. These are the same Luna Parks that featured many painted attractions by Sosman & Landis artists. The chain of Luna parks is not to be confused with Frederick C. Thompson’s Luna Park on Coney Island. Moses mentioned Fred Ingersoll, of Ingersoll Construction Company, as the studio delivered painted scenery for attractions at the Luna Parks in Pittsburgh (see past post #554) and Cleveland (see past post #493); these were the first two parks in his chain. During Ingersoll’s lifetime, he owned and operated 44 amusement parks.

One of five brothers, Ingersoll was born in New Jersey. Starting out as a designer, Ingersoll Construction Company initially focused on the “figure eight” coaster, scenic railways and Shoot-the-Chutes.

On October 24, 1927, the “Des Moines Register” credited Frederick Ingersoll as “the father of the American roller coaster, responsible for more ups and downs in American merrymaking than any other man” (page 1). The exciting journey of Ingersoll’s exciting life came to a tragic end in 1927. Newspapers across the country reported that Ingersoll was found dead in a concession stand at Krug Park, Omaha. Articles reported that the doors and windows were tightly closed and an open gas jet filled the room with its fumes. The county coroner convinced that death was self inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill health.

In Des Moines, an article announcing his passing noted, “Ingersoll is well remembered here as the amusement park magnate who installed the roller coaster and other amusement devices at Ingersoll park, the vanished center of gayety once operated at Forty-eighth street and Ingersoll avenue. At that time he was regarded as the foremost amusement park magnate in the country, with important financial interests in parks in Pittsburgh, Cleveland and Philadelphia, as well as Des Moines. At one time he operated five Luna parks in five eastern cities. Besides his interest in the Omaha amusement park, Ingersoll was associated with similar enterprises in Lincoln, Neb. and Detroit. At the time of his death, he has lived for the last eight years in Omaha. Among amusement men, Omer Kenyon of the Garrick Theater said last night; Ingersoll was regarded as the foremost amusement park promoter in the country. To Ingersoll is given credit for the discovery, long before the airplane became a more practical imitation of a bird’s flight, that American’s like the thrill of bird-like soars and dips and glidings. His inspiration led to the rapid blossoming of gaunt white roller coaster structures on the outskirts of most American cities of any size. Later he extended his idea to other thrillers, such as whirling chairs, crack-the-whip rides, and swift revolving swings, on which zestful men and women spent three or four exhilarated minutes for 10 to 15 cents.”

There are many articles about this early-twentieth-century amusement king. For more information, here are two links that present the life of this interesting Sosman & Landis client:

https://en.wikipedia.org/wiki/Frederick_Ingersoll

‘Round about Pittsburgh: Local Man Revolutionizes Amusement Park Industry

To be continued…

Tales from a Scenic Artist and Scholar. Part 891: The Rex Theatre of Iowa Falls, 1914

The Rex Theater pictured on Washington St. in Iowa Falls, Iowa.

In 1914, Thomas G. Moses wrote, “Several hustle up jobs came our way. Flint, Michigan, Muscatine, Iowa, Geo. Dameral, Kansas City, Mo. And several drops for the Kedzie Avenue Theatre.” The majority of projects that passed through the Sosman & Landis studio each month will never be known. I use Moses’ typed manuscript as a guide, supplementing his entries with newspaper articles.

One project not mentioned by Moses during 1914 was scenery for the Rex Theatre in Iowa Falls, Iowa. The Rex was a theater “devoted to moving pictures.” A small snapshot in time, in 1914 new movie theaters were still purchasing painted settings as a “frame” for the projection screen. This setting established a unique atmosphere that bridged the gap between the old and the new.

Here is the article: published in the “Evening Times-Republican” on 28 July 1914, (Marshalltown, Iowa, page 5):

“NEW THEATRE COMPLETED.

Fine Modern Picture House to Be Opened at Iowa Falls Soon.

Iowa Falls, July 26 – About Aug. 15, one of the finest theaters in Iowa devoted to moving pictures will be opened in this city by Middleton & Gephart. The new house s now in the hands of the finishers and the seating is being put in place this week. This new theater is modern in every detail. Architectural, it is a gem and reflects much credit on the men who are back of the improvement. It will seat 350 people and has a stage equipped with Sosman & Landis scenery and a fine plate glass mirror screen. The interior decorations are in the best of taste and the front of the building makes a fine improvement to the business district. The theater will be known as the Rex and a large electric sign in front of the building heralds its location to the public. The lobby is most attractive and the best of equipment has been installed for the projection of pictures. A fine electric piano has been installed to furnish music for the place. The second floor of the building is being finished off as flat.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 889 – Thomas G. Moses and Shea’s Theatres in Buffalo, New York, 1914

Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.

In 1914, Thomas G. Moses wrote, “Did a drop curtain and two gardens for Shay’s Theatre, Buffalo. “ In 1914, Buffalo was home to Shea’s Theatre and Shea’s Hippodrome. Shea’s Hippodrome on Main Street in Buffalo, a venue that opened in 1914. It is likely that the drop curtain and two garden settings were for Shea’s Hippodrome, as garden scenes were frequently used as a setting to frame a projections screen. Shea’s Hippodrome is not to be confused with the 1926 Shea’s Buffalo Theatre, a 4000-seat venue that is now known as Shea’s Performing Arts Center and features touring Broadway musicals. Shea’s Theatre hosted vaudeville acts and kinetograph pictures. Shea’s hippodrome opened in 1914 and is the focus of today’s post. The namesake for both venues, however, was an interesting man in his own right.

Michael “Mickey” Shea was born on April 17, 1859 to Daniel and Mary (Griffin) Shea. After graduating from public schools, Shea first worked on the docks as a labor. He soon found employment as a structural ironworker at the Union Iron Works before trying his hand at entertainment. It was not until 1884 that Shea started his own business, opening a saloon at 535 Elk Street in Buffalo. By 1892, he opened the Shea’s Music Hall at 11 Clinton Street in the Arcade building. Unfortunately, fire destroyed the complex the following year. This did not deter him from continuing in the entertainment business, and in 1898 he opened Buffalo’s first vaudeville theater, Shea’s Garden Theatre. By 1905, he opened another venue called Shea’s Vaudeville House on Court Street, advertising as “Shea’s – Devoted to the Highest Class of Exclusive Vaudeville Attractions.”

In 1914, Shea opened Shea’s Hippodrome on Main Street near Chippewa in Buffalo, New York. He purchased the property from B. F. Keith, who had abandoned it as a theater site some years before. The “Buffalo Courier” reported, “As soon as Mr. Shea came into possession immediate plans were made for the erection of a theater, although the policy of this house was not decided upon until the present season. (Buffalo Courier, 30 Aug, 1914, page 8). The article continued, “The photo play is attracting world-wide attention at present and Manager Shea, ever abreast of the times, has secured for his Buffalo patrons for Shea’s Hippodrome the exclusive rights to screen the dramas of the famous players.”

This was during a time when Shea expanded from vaudeville into motion pictures. When it opened, Shea’s new venue was considered one of the finest picture houses between New York City and Chicago. Theaters opened after this one by Shea included Shea’s North Park Theatre on Hertel Avenue, the Great Lakes Theatre, the Seneca Theatre, the Century Theatre, the Community Theatre, the Park Theatre, the Bailey Theatre and the Riviera Theatre in Tonawanda.

Shea’s Hippodrome opened its doors on August 31, 1914, and was advertised as “the handsomest and most complete photo-play house in America” (The Buffalo Times, 30 August 1914, page 47). The “Buffalo Times” reported, “Manager Shea has always given his patrons the best and the latest in the field of amusement that money could procure, and he is now placing in this magnificent theater the great photo-plays from the world’s greatest producers. Within the few years that the screen drama has been attracting attention of theater-goers that form of amusement has undergone a great change and that rapidly growing business is now placed on the high plane its merit deserved. Manager Shea has secured for Shea’s Hippodrome patrons the output of the Paramount Picture Corporation, which represents the best element of the various interests involved in photo-play production, Through this corporation the public is promised the best plays and the best stories, interpreted by the best talent; presented in the best theaters for the entertainment of the best people. The famous plays to be seen at Shea’s Hippodrome have been produced by such master artists as David Belasco, Daniel Frohman, Charles Frohman, Henry W. Savage, Jesse L. Lasky and Hobart Bosworth; famous stories from the pens of such popular writers as Jack London, George Barr McCutcheon, Hall Caine, Anthony Hope, Thomas Hardy, Harold McGrath and others of equal note. Those attractions from the Paramount Corporation will only be seen in Buffalo – Shea’s Hippodrome – and after their production here will not be shown at any time in any other house in the city; and for this service and privilege of exclusive use, Manager Shea is paying the sum that has that has made this same service prohibitive in any other theater in the city. The great seating capacity of Shea’s Hippodrome makes the use of this service possible, as patrons will see these great productions for the low price of admission of 10, 15 and 25 cents.”

Shea’s Hippodrome was under the management of A. R. Sherry and George Bouchard. Among the great features was the $25,000 orchestral organ that played at every performance.

To be continued…

Tales from a Scenic Artist and Scholar. Part 885 – The Stanley Theatre, Philadelphia, 1914

The first Stanley Theatre in Philadelphia, Pennsylvania.

In 1914, Thomas G. Moses wrote, “Did a spectacle set for the Stanley, Philadelphia. I went with it, and spent a whole week with it. Got some good lighting effects. Kleigel [sic.] came on from New York to do it.” Although the venue is primarily remembered as a movie house, the first Stanley Theatre in Philadelphia was a combination house. Largely devoted to short-reel pictures, ornate wings and a painted picture sheet created the surround for any projection. There were other lines to accommodate touring acts and spectacles, such as the one mentioned by Moses.

Picture sheet design by the Great Western Stage Equipment Company of Kansas City, Missouri.

Picture sheet design by the Twin City Scenic Co.

Partial picture sheet design by the Twin City Scenic Co.

Twin City Scenic Co. picture sheet design model by Prof. Emeritus C. Lance Brockman.

The Stanley Theatre opened on 19 April 1914. The venue was named after Stanley Mastbaum, a remarkable man in his own right who was directly responsible for the evolution of films in Philadelphia (“Philadelphia Inquirer,” page 35). The story of Stanley V. Mastbaum and his Philadelphia theaters is quite fascinating. The Stanley Theater in Philadelphia was the flagship of Stanley’s theatre chain and managed the venue. Stanley co-founded the Stanley Company with his brother Jules Mastbaum. Stanley Mastbaum also managed the Stanley Booking Corporation, a company that supplied pictures to several hundred theatres across the country. The Mastbaum brothers controlled several of the Philadelphia’s movie houses, later expanding to become one of the largest motion picture chains in the country in a relatively short period of time.

Stanley V. Mastbaum, from the “Philadelphia Inquirer,” 24 Jun 1918, page 7.

Their reign in the film industry was short-lived, however, as Stanley Mastbaum passed away in 1918 at the age of 37 yrs. old. The cause of his death was listed as blood poisoning, developing from a sever case of tonsillitis. At the time of his passing, his obituary reported, “After seven years’ effort in the motion picture business, Mr. Mastbaum was part owner of seven big ‘movie’ houses in Philadelphia, and a score or more in other cities. His interests were in every branch of the industry from production of movies to the placing of finishing touches on the screen” (The Morning Post, 7 March 1918, page 1). The article continued to state that the Philadelphia theaters run by Stanley Mastbaum included, the Stanley (Sixteenth and Market streets), the Palace (1214 Market street), the Globe (Juniper and Market streets), the Arcade (Chestnut street, below Sixteenth), the Alhambra (Twelfth and Morris), the Rialto (Germantown avenue and Tulpehocken street), and the Broadway (Broad street and Snyder avenue). The Paramount acquiring his company by 1919, and the firm was later acquired by Warner Bros. in 1928.

The first Stanley Theatre of Philadelphia was located at 1616-20 Market Street, east of Seventeenth Street. When the venue opened, the “Philadelphia Inquirer” announced, “The Stanley contains every modern device in perfect theatre construction, and many innovations exclusive in this temple of Thespia. The house will comfortably seat 1700 persons and the decorations are of a quietly attractive quality.” The house count was actually a little lower than that.

The policy of the Stanley was the presentation of the “highest grade photo plays.” Photoplays and comic films constituted the program at the Stanley Theatre with live musical accompaniment. Designed by W. H. Hoffman, the venue was later renamed the Stanton Theatre and later the Milgram by 1968. The building was demolished in 1968. Also, the first Stanley Theatre is not to be confused with the second Stanley Theatre that opened on the southwest corner of 19^th and Market Street in 1921; it was a much larger theater.

From the “Philadelphia Inquirer,” 23 April. 1914, page 16.

From the “Evening Public Ledger,” 14 Dec. 1914, page 9.

Of the programming, the “Philadelphia Inquirer” reported, “The subjects were well chosen and of varied character, so that the serious blended excellently with the lighter vein of motion picture. The list included The Dishonored Model, Martha’s Rebellion, A Soul Astray and Our Mutual Girl. One of the pleasing features was the rendition of selections by the orchestra during the exploiting of films and during intermissions” (12 May 1914, page 7). In June, the “Philadelphia Inquirer” noted, “As a forerunner to a series of feature photo-dramas which will be shown during the remainder of the week, two interesting picture entertained audiences at the Stanley Theatre yesterday. ‘Good for Nothing’ was the title of the headliner, followed by ‘The Gem.” Both subjects were well acted by capable companies. The special attraction for the week is a five-part dramatization of “Home Sweet Home,” to be shown today and tomorrow. Selections on a new organ add to the entertainment” (16 June 1914, page 7).

Musical selections that accompanied the photo plays ranged from a full orchestra to the Doria Opera Trio of the Metropolitan Opera Company. Of the trio, they toured with photodrama productions, performing opera and other vocal selections each day and evening to accompany select films (The Philadelphia Inquirer, 10 July 1914, page 4). The Philadelphia Orchestra also furnished the incidental music for the Stanley, with the “Philadelphia Inquirer” commenting that summer: “The Spitfire,” a nautical comedy drama, was the chief attraction among the Stanley Theatre’s films yesterday. Written by Edward Peple, acted by Daniel Frohman’s Company and starred by Carlyle Blackwell, the intricate plat included a gem robbery, several fights, false correspondence, two rescues, one at sea and the other in the Arabian desert, with a charming love story woven through the whole. The latest and finest developments of moving picture art were exhibited in this an other films, all as remarkable for the clearness of their definition as for the quality of the stories, fantastic and humorous, they presented. “The One Best Bet,” a comic story of the racetrack, and “Tragic Trinkets,” a murder mystery film, in which an alchemist figured, presented scenic features of an unusual character. Members of the Philadelphia Orchestra furnished the incidental music” (7 July 1914, page 6).

To be continued…