Film Production – Page 2

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…

Tales from a Scenic Artist and Scholar. Part 844 – McVicker’s Vaudeville Theatre, 1913

In 1913, Thomas G. Moses wrote, “Started a lot of work for McVicker’s Theatre – that was in June. I did all the exterior drops.”

The venue had changed hands again, and Moses created a set of scenery for the new lessees of the new “McVicker’s Vaudeville Theatre.” The well-known Chicago establishment had just become a combination house. McVicker’s Theater, located on West Madison Street, near State, was once considered the oldest playhouse in Chicago.

From the “Chicago Tribune,” 27 Aug 1913, page 8.

On May 10, 1913, “The Lancaster Intelligencer” reported,

“OLD THEATRE IN FILM RANKS

Chicago’s Fire-Baptized McVickers Sold for $500,000.

McVicker’s Theatre, Chicago’s historic playhouse, which has passed through five fires, including the great fire of 1871, and which has been rebuilt or remodeled after each fire, passed from the ‘legitimate’ on Thursday when it was sold to a moving picture firm for $500,000.”

The Jones, Linick & Schaefer circuit began leasing McVicker’s Theatre in 1913, presenting “popularly priced” vaudeville acts along with motion pictures. The ticket prices were 10,15 and 25 cents, an affordable option when compared with legitimate theater and you could stay as long as you wanted from 1p.m. to 11p.m. (Post-Crescent, Appleton, Wisconsin, 9 May 1913, page 7).

From the “Inter Ocean,” 14 Sept 1913, page 32.

The firm’s partners were Aaron J. Jones, Adolph Linick and Peter J. Schaefer, They first established their firm in 1899, leasing Keebler & Co., a store on Clark Street just south of Madison Street, and establishing a penny arcade. As their operation grew, Jones, Linick & Schaefer became primarily interested in entertainment, running amusement parks and theaters. They eventually managed the Orpheum Theatre on State Street, opposite of the Palmer House (Chicago Tribune, 5 Jan. 1913). By 1913, the firm operated eight Chicago theaters.

On April 29, 1913, the “Chicago Tribune” announced, “All arrangements for the acquisition [of McVicker’s and the Colonial] have been made…The Jones, Linick & Schaefer people will open a vaudeville booking agency of their own on Thursday in offices in the Orpheum Theatre building in State street, in preparation for the increased business. They have been booking from the Western Vaudeville Managers’ association” (page 3).

From the “Chicago Tribune,” 1 Aug 1913, page 12.

On May 22, 1913, the “Washington Herald” reported, “Jones, Linick & Schaefer, Chicago’s new theatrical triumvirate, who practically dominate the popular vaudeville and moving picture field in the Windy City, have just signed a contract with the Kinemacolor Company of America to install the original nature-colored features of the vaudeville bills at the Colonial and McVicker’s Theatres, their latest acquisitions…Both are located in the heart of “The Loop,” and their cosmopolitan patronage demands the best and latest novelties. Kinemacolor scored such popular success at the Willard, Wilson, and other theaters of their circuit that Jones, Linick & Schaefer decided to make it a permanent feature of their vaudeville bills. In this they were following the example of F. F. Proctor, William Fix, Oswald Stoll, and other leading showmen of America and England” (page 11).

“Moving Picture World” published an article about Jones, Linick & Schaefer, commenting that moving pictures were replacing all other vaudeville at the Willard Theatre by 1914. The article, “Picture Programs Supplant Vaudeville in the Willard” noted, “Vaudeville has been withdrawn from another of the Jones, Linick & Schaefer houses – the Willard, at Fifty-first street and Calumet avenue. The Willard was closed Sunday night, Jan. 18 to make the necessary changes for straight picture programs. A $10,000 organ will be installed. It will be reopened Monday, Jan. 26. ‘There is no significance in this change, ‘said Mr. Linick. ‘Our patrons in that neighborhood prefer moving pictures to vaudeville, and we’re trying to give then what they want. The price will be ten cents, as against the ten-twenty-thirty we charged for vaudeville. Our downtown houses, the Orpheum, La Salle, Colonial and McVickers will go along just as they have been” (Sat. January 14, 1914, page 551).

Moses would also deliver scenery to the Colonial Theatre, also managed by Jones, Linick and Schaefer. In 1913, Moses wrote, “ “A good, big contract for the Colonial, city– a very complete set.” The addition of “city” means that it was a complete city setting for the theater, a perfect setting for many vaudeville acts.

To be continued…

Tales from a Scenic Artist and Scholar. Part 823 – Kinemacolor Theaters

Yesterday, I mentioned the two reels of famous “Kinemacolor pictures” that were part of the new Empress Theatre’s vaudeville program in 1913. When movies were first introduced, they appeared as an act, one of many on the vaudeville stage. However, a shift occurs in the theatre industry, slowly nudging moving pictures to the forefront of popular entertainment on stage. This had a major affect on the construction of other entertainment venues, subsequently decreasing the demand for painted scenery. In a sense, the appearance of Kinemacolor Theaters albeit short lived signally the beginning to the end for Sosman & Landis and other firms founded on the production of painted illusion. I am going to explore the construction of Kinemacolor theaters today.

Kinemacolor was advertised as “the perfection of animated photography.” It is noted as the most successful of the so called “natural color processes” in early cinema, using an additive process operated with alternating red and green filters that were applied to the shutter in front of the camera and in front of the projector. Popularized by George Albert Smith and Charles Urban. Kinemacolor flourished in theaters during the decade before WWI. The principle of recording color separations with revolving shutter filters was not invented by Urban. German Hermann Isensee is credited as one of the individuals who first experimented with the process during the 1890s. By 1899, Frederick Marshall Lee and Edward Raymond Turner patented an early version of the system.

In short, the three-color records (wheels) used by Lee and Edward proved to be impractical, and yet the earlier two-color system failed to produce the entire color spectrum; blue to violet hues and whites had a yellowing tinge. It was Smith who proposed adding blue-violet filters to the projection light for a more satisfying result. As I was reading about the various filters, it was hard not to think of the red/green/white border lights that were installed in some Scottish Rite theaters during this same time period (see past posts, as I have addressed the lighting approach).

The popularity of the short films resulted in the construction of Kinemacolor theaters. On Oct. 9, 1911, the “Courier-News” reported the Historic Mendelssohn Hall was leased to the Kinemacolor Company of America as a permanent home for the colored motion pictures in New York and renamed the Kinemacolor Theatre (Bridgewater, NJ, page 3). The article noted, “Kinemacolor Theatre will be unique, and to New York what the Scala Theatre, with a similar exhibition, is to London. Abroad Kinemacolor has become the rage of Royalty, and on average of once a fortnight their majesties King George and Queen Mary visit the Scala, and as well have a private exhibition set for the children of the Royal family. For the first time in New York the complete series of Coronation pictures will be present for a limited engagement at the Kinemacolor Theatre, which opens its doors on Saturday evening.”

From “The Observer,”14 March 1915, page 7

From the “Boston Daily Globe,” 23 March 1915, page 45

That same year, a Kinemacolor theater also on the west coast of the United States. Tally’s Broadway was in Los Angeles soon featured the new color films and was briefly renamed the Kinemacolor Theatre.

The Island Amusement Company in 1913 constructed another Kinemacolor Theatre in Victoria, British Columbia, Canada. On February 20, 1912, the “Vancouver Sun” reported “As its name implies the Kinemacolor theatre will feature the famous colored motion pictures prepared under the Kinemacolor system, but it will also present a musical programme including an orchestra of nine pieces under the direction of Mr. Joseph Kos and noted soloists brought here at considerable expense and changed twice weekly. Each day’s performance will be continuous from 12 noon to 11 o’clock at night. There will be seven numbers in the night bill occupying upwards of an hour and a quarter for consecutive presentation. The night charges will be 25 cents to the lower floor and 15 cents to the balcony, while for the benefit of children and their parents the charge of all parts of the house form noon to 6 p.m. will be only 10 cents” (page 7).

From “The Province,” 3 March 1913, page 5

By the summer of 1913, newspaper headlines boasted, “Kinemacolor Breaks Film Speed Record.” The “News-Herald” of Franklin, Pennsylvania, reported “The Kinemacolor broke all records for quick motion picture reporting the day the Impersonator docked by exhibiting the pictures a little over six hours after arrival. It is the first time that natural color photographs have been taken, developed, printed and exhibited with such speed and satisfactory results” (28 June 1913, page 7). Film footage taken at noon was shown in the Kinemacolor exhibition theatre by 6 p.m. that evening. All seemed to be on the upswing, but the demand for new films outpaced those who produced and processed them. At the time, the model was unsustainable to deliver new subjects to the Kinemacolor Theaters. The novelty wore off.

From “The Vancouver Daily World,” 22 March 1913, page 28

On October 21, 1913, the “Victoria Daily Times” reported “Kinemacolor Closed Up. Victoria’s Newest Theatre Proved Unprofitable Venture and Policy Will Be Changed” (21 Oct, 1913, page 17). The article continued, “The colored pictures never proved a great attraction in any part of Canada and the company behind the films has been reported in difficulties in some months past.” By 1915, the venue reopened at the Colonial Theatre.

Widescreenmuseum.com explains one of the flaws to Kinemacolor (http://www.widescreenmuseum.com/oldcolor/kinemaco.htm), “Like all sequential color processes, Kinemacolor suffered from color fringing when objects moved, since the two color records were not recorded at the same time. In projection, a filter wheel, similar to that in the camera, added the red and green tints to the successive frames. Many color processes used this approach and all suffered from fringing on moving objects, dark images, and untold grief if the film was not loaded in the projector in appropriate sync with the color wheel. None of the two-color processes could reproduce blue or pure white, but various tricks were used to fool the eye into thinking it was seeing a neutral white…Kinemacolor was quite successful in Europe and promised to grow and improve. However, two events ultimately killed the company. First, William Friese-Greene sued for patent violation. Friese-Greene claimed to have invented virtually everything relating to motion pictures but he lost his suit through all the lower courts in England. He finally did win when he appealed the lower court decisions to the House of Lords. This didn’t get Friese-Greene anything but it did open up the Kinemacolor technology so that anyone could take advantage of it. The second event was World War I, which nearly destroyed all the European film companies. By the time Europe started to make a comeback Kinemacolor was nearly defunct and Technicolor in Boston, Massachusetts had taken the lead in producing a workable color process.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 822 – Empress Theatre, Fort Wayne, 1912

In 1912, Thomas mentioned three projects at Sosman & Landis, writing, “A nice little order from Charlotte, N. Car., Minnie Palmer, two shows, full stock for the Empress Theatre, Fort Wayne.”

Postcard with bird’s eye view of Fort Wayne, ca. 1912.

The Empress Theatre was located at the intersection of Wayne and Clinton streets in Fort Wayne. In addition to an auditorium and stage, the building included gentlemen smoking rooms, ladies rest rooms, and a nursery. Of the Sosman & Landis installation, local newspapers described fire prevention measures.

Postcard depicting Fort Wayne, Indiana, ca. 1912.

On March 8, 1913, the “Fort Wayne Journal-Gazette” reported, “The stage is fitted with the finest scenery that has ever been brought to Fort Wayne. The curtain arrangement is also something new to Fort Wayne. Two asbestos curtains will be used with a water curtain in the center, which makes the matter of a fire upon the stage the next thing to an impossibility. The curtain will be raised and lowered automatically, sliding through a metal groove which also makes it an impossibility for fire, if there should be one to get through the curtain and out into the auditorium.” (page 7).

Previously, “Fort Wayne Journal-Gazette” reported, “In matter of exits, the Empress will boast pf being one of the safest theaters in the middle west. Constructed almost entirely of concrete and steel, it is practically fireproof and being equipped with sixteen exits, open on all four sides, the place can be emptied in less than three minutes” (February 23, 1913page 15). The industry was still reeling from the Iroquois Theatre fire, with new theaters now citing how quickly an auditorium could be evacuated. Fort Wayne residents had also witnessed the Aveline Hotel Fire of 1908, a devastating tragedy for the town. The Empress Theater’s opening drew many men prominent in vaudeville to be in attendance.

Although Sosman & Landis completed the scenery in 1912, the official opening of the Empress Theatre was on March 9, 1913. With a seating capacity of almost 1300, advertisements promised, “every modern convenience known to theatre building.” The theater’s policy was three performances every day, with five hundred “choice seats” being available for ten cents. Matinees started at 2:30 and were followed by two evening shows at 7:30 and 9:00 P.M. Girls were used as ushers for the evening performances and on Sunday. For matinees, patrons were expected to seat themselves.

The opening billing included Lew Field’s “Fun in a Boarding House” as the headliner. The stage setting for the show included the section of a house, six rooms in all. Fields, of the firm Weber & Fields, was engaged to produce “fun” acts exclusively for the Sullivan & Considine theaters nationwide.

Scene from “Fun in a Boarding House,” from the “Fort Wayne Journal Gazette,” 2 March, page 25

In addition to the headliner, there were four other acts and two reels of famous “Kinemacolor pictures” as part of the new vaudeville theater’s program. The Kinemacolor pictures were changed twice weekly – on Sunday when the entire bill was changed – and on Thursday (Fort Wayne Daily News, 10 March 1913, page 8).The May 8, 1913, “Fort Wayne Journal-Gazette” article reported, “Kinemacolor pictures will also be shown, which is something new in the motion picture art in Fort Wayne. The Empress controls the sole right to these pictures in the city, therefore they will be shown at no other place in Fort Wayne. The pictures are educational in a way and also amusing.”

An advertisement in the “Fort-Wayne Journal-Gazette” stated, “The Empress theatre has instituted the new and marvelous Kinemacolor moving picture machine, which reproduces on the screen the same colors and shades that are present when the picture is taken. The colors are true to nature in every respect, and, although the system of mechanism is carried out in a very complicated manner, yet the color scheme is most simple, entirely like the doctored and painted films of the black and white machines. A filter wheel, divided in four parts, two of which are filled with a red filter and the other two parts with green filter, forms the foundation and basis of the new system, The great, yet simple, law of nature , that all colors of the rainbow can be made from three colors – red, yellow, and blue- is taken advantage of, and two colors, yellow and blue are so blended in the filter as to produce the shade of green desired. The film is sensitized so that the darker colors are shows through the green filter and then lighter shades are projected through the red filter, thus making a segregation of colors that are true to nature. The method of producing such a high degree sensitiveness on the film is the same as the other methods of film making ways, only a picture for the Kinemacolor machine must be taken out in pure sunlight, whose rays alone are strong enough to produce the desired sensitiveness on the negative. The red and green filter wheel is placed in front of the negative when the picture is taken and the rays passing through the filter form a color value on the film. Then when the film is put into the machine, a high-powered Arclight throws its strong rays through the filter onto the film and out through the lens, forming a segregation of colors that exactly reproduce the picture. The machine utilizes three times as much candle power as the black and white machines, and, being run by a one-horsepower electric motor shows forty pictures in a second, while the other machines, most of which are run by hand, project and average of sixteen pictures per second. The inventor of the machine is an American, Charles Urban who has resided in England for the past fifteen years. The machine has been in England for the last six years, but only in America for three years. It has been largely accepted by all the large theatres of the east, and its success is due to its value. The machine is merely leased to the companies, and the Empress is the only one in the city at present that will use it “(8 March 1913, page 7).

Tales from a Scenic Artist and Scholar. Part 554 – Black and White Backdrops

Part 554: Black and White Backdrops

In 1906 Thomas G. Moses wrote that he “did some designs for a Park in Pittsburg.” The project was with his old partner Will F. Hamilton. Moses & Hamilton had operated in New York from 1900-1904.

In regard to Moses’ Pittsburg project, he was referring to Luna Park in Pittsburg created by Frederick Ingersoll. Ingersoll of Ingersoll Construction Company constructed Luna Park in Cleveland, Ohio, and then a second park in Pittsburgh, Pennsylvania; no official relation to the famous Luna Park on Coney Island, just the same name. For Pittsburg and Cleveland, Moses created scenery for old mill attractions and scenery for two small stages. The Ingersoll Construction Company got its start by building roller coasters and other amusement park rides. At one time, Ingersoll owned and operated over forty amusement parks in the United States, Berlin and Mexico City.

What is interesting about the Pittsburg Park design, however, is that Moses recorded it being a monochromatic scene. He wrote, “I did them in black and white, rather effective.”

I have encountered only a few mentions of “the black and white art” in the past, stumbling across buts of information while researching scenic artists who worked in early film and photographic backings.

One example was Harley Merry (see past installments #138-142). Merry’s name was actually Ebenezer J. Britton; he used his birth name as an actor. “Harley Merry” was his scenic artist name. Merry was well-known for a variety of skills, including his talent for painting monochromatic backdrops. An article from 1892 noted this skill: “Harley Merry is another master in the same school in perpetuating the English ideas of water-color. Merry is the greatest painter of monochromes and photographic backgrounds in the country” (“Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Dec, 18, 1892, page 41). As an aside, Merry was the first President of the Protective Alliance of Scenic Painters of America, organized in 1895 – he was a major contributor to the industry in New York.

Merry also specialized in spectacles with scenic realism, which made his transition to producing settings for early film a natural shift. He actually partnered with the Edison Manufacturing Company and was involved in creating scenery for many early film productions, including “Parsifal,” a short film was based on the New York Metropolitan’s Opera that ran for approximately one half hour.

An earlier scenic artist known for his black and white art was William Telbin. In 1902, “The Magazine of Art” commented that Telbin was “a master in black and white art.” The article continued, “We desire now to call to attention to a branch of Mr. Telbin’s work which is not generally known to the public, but which, to our mind, is in its way as important and as beautiful as any of his stage productions. With tempera as his medium he has produced a series of black and white drawings which proclaim him a master in black and white art. For brilliancy of execution, for certainty of effect, sparkle of the touch, and beauty of presentation, these drawings are not easily surpassed. Some of them were reproduced in this magazine in two articles on “Scene Painters and their Work,” published in 1889, and others in a paper on “Iceland,” in 1893. Another series of views in the Mediterranean, more of which are to be published later, are admirable representations of the scenes to be witnessed during the season of the “bora” on the Mediterranean shores. They show Mr. Telbin was a careful and accurate student of nature, with an instinctive feeling for the picturesque allied to an inimitable power and facility of presentation and suggestion.” (Magazine of Art, January 1, 1902, page 371-376).

I have only encountered one black and white backdrop; it was at the St. Louis Scottish Rite. A design for the 10^th degree of the Ancient & Accepted Scottish Rite, it was rendered in ivory black and white dry pigment. The backdrop has the same consistent studio labels and marking as the remainder of the collection. At the time of installation, the 1923 scenery has stencils on both stage right and stage left sides of each drop, noting the degree and the line. For example, the Quarry leg drop shows 10 and 59 for 10^th degree on line 59. The backdrop shows 10 and 87 for 10^th degree on line 87. It was not added later, but with the other Toomey & Volland scenery. There was other scenery installed by Volland Studios over the years, in 1945, 1949 and 1954.

Quarry scene produced by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The scene was painted with ivory black and white pigment in 1923.

Painted detail of Quarry scene at the Scottish Rte in St. Louis, Missouri, 1923.

Brocken netting detail from Quarry scene at the Scottish Rite in St.. Louis, Missouri.

The original backdrop design is also monochromatic, and is now part of the Volland Studio collection in the St. Louis Scottish Rite library. The collection was gifted to the St. Louis Scottish Rite Valley by Volland Studio some years back. Although I photographically documented the entire Volland collection during my visit, it will take years to fully process and decipher the information that I gathered there.

Design for quarry scene by Toomey & Volland, 1923.

Charcoal markings on the backside of the Quarry leg drop note that the size is 25 feet high by 51 feet wide. Additional masking likely accompanied the scene technical specifications provided by the Valley comment that the proscenium opening is 98 feet wide. There are 164 lines, placed on 2-inch centers. We cold not lower many of the lines during my visit due to tags with warning for specific lines and jammed cables. Sadly, the current drop inventory that the Masons reference also has missing information for many lines.

Quarry scene by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The charcoal writing notes the project number 4933, the Quarry Leg and size of 25 x 51. 59 is the line number.

Standard Toomey & Volland studio stencil noting degree (10) and line number of 1923 scenery by Toomey & Volland. Leg drop is on line 59 and backdrop is on line 87.

This collection will not last for long and is already a threat to those below. Pipe pockets replaced wooden battens and they are all failing, with many pipes tenuously hanging by shreds of fabric; yes, the stage is rented out for many events. If anyone from the St. Louis area can begin a very detailed documentation of the stage scenery and rigging now is the time. It will take days if not weeks to do. For a stage that boasted to be 4 feet bigger than the Hippodrome stage, this is one that definitely needs to be recorded.

To be continued…

Tales from a Scenic Artist and Scholar. Part 450 – Thomas G. Moses and “Old Sleuth”

Part 450: Thomas G. Moses and “Old Sleuth”

In 1903 Thomas G. Moses wrote, “We started the New Year with more work than last year.” The “we” was Moses and his partner Will Hamilton, having founded the New York studio of Moses & Hamilton. They used the paint frames at both the American Theatre and the 125^th Street Theatre. In addition to the seasonal work at the two theaters, they also accepted a variety of other projects, such as touring shows that traveled across the country.

Moses recorded that they took the show “Old Sleuth” to Elizabeth, N.J. for its final rehearsals. This was common for most of the shows that Moses worked on during this time. The majority of shows both rehearsed and opened in a smaller venues, where they could tweak any scenic or mechanical issues. After these trial runs, the productions went eiter on tour, or headed to Broadway.

The opening of “Old Sleuth” was rehearsed for three days whole days in Elizabeth, New Jersey. Moses wrote, “Everything worked fine – not a hitch.” However, on opening night the panorama in the tunnel scene fouled and stopped. Moses continued, “the driving rod fell off the locomotive and the Falls of Niagara refused to fall. Which caused a big laugh from the audience, and some profanity from the producers. After the show, I wanted to go back to New York, but the producers insisted on my remaining there. I had nothing to do with the actual working of the mechanical effects, but had to see that they were put in good working order, which I did in two days.” What a nightmare for Moses. It also speaks of the complicated aspect of many scenic elements for melodramas.

James “Hal” Reid, the playwright, actor and director.

“Old Sleuth” was a five-act melodrama written by James Halleck Reid. After rehearsing the show in New Jersey, the show opened on October 27, 1902 at the Star Theatre in New York City, and toured across the country. “Old Sleuth” was both the creation and pseudonym of Harlan Page Halsey (1837-1898), a “dime novel detective” that appeared in the 1860s. The use of “Old Sleuth” was the equivalent to the 20^th century use of “Dick Tracy.” During thr late-nineteenth century, it became quite common place to see multiple references in newspaper articles reporting various crimes being solved “Old Sleuth” equivalents.

A collection of “Old Sleuth Weekly,” recently sold at auction.

In 1874, the story “Old Sleuth, the Detective” was adapted for the stage in Manhattan at the Bowery Theatre. The Lebanon Daily News described the great detective play, reporting, “Old Sleuth is a character so well known to all lovers of sensational fiction further comment is unnecessary. The ‘Old Sleuth’ series of sensational detective stories from the pen of Chas. Garvice have been carefully dramatized into five thrilling acts and ten big scenes abundant with startling climaxes and intensely dramatic situations. Mr. Hal Stephens will portray the title roles and introduce his many lighting changes. He will be ably supported by a carefully selected cast of players, together with special mammoth scenery and marvelous mechanic effects” (Lebanon, PA, 1 Oct. 1902, page 2). A vehicle for lighting innovation and scenic effects, the play was packed with action adventure, including the rescue of the heroine from a burning bridge and another rescue in front of a speeding train.

The Philadelphia Inquirer reviewed the play when it was scheduled for the National Theatre, advertising, “A dramatic production which in its actions mirrors the caprice of temperament, sunshine, cloud, showers, raging storm and scented zephyr and has the atmosphere mingled and tangled over and over with thrilling and intensely powerful situations comes to the National this week. The play is labeled ‘Old Sleuth,’ a name familiar to those living in glittering palaces as well as to those that call a little hut in the desert their homestead, and where is one on the long plain that stretches from the Empire State to the Golden Gate, that has not read or heard of the cleverest of all detectives, ‘Old Sleuth?’ But non ever enjoyed the treat of seeing his doings realistically portrayed on the stage until Hal Stephens, surrounded by a cast of unusual excellence, went on a starring tour to move the many admirers of ‘Old Sleuth’ closer to him. The theme is so cleverly worked that sobs are followed by hearty laughs. The acting is startling, the scenery sensational and the mechanical effects of an order that will excite and thrill” (16 Nov. 1902, page 33).

“Moving Picture World” article on “Hal” Reid. Page posted on Pinterest.

Hal Reid credited as “Father of the Sport Shirt.” First page of article posted on Pinterest.

The playwright “Hal” Reid was born in 1863 in Cedarville, Ohio. Interestingly, I found a few newspaper articles that placed his birth in Minneapolis, Minnesota. Although he remained an actor throughout the duration of his career, he is primarily remembered as a writer of melodramas. Reid was responsible for writing at least thirty melodramas between 1895 and 1908 that opened on Broadway. He later went to Hollywood were he worked as a screenwriter, actor and director. Reid was eventually associated with the Reliance Company, directing all of their productions. “Moving Picture World” reported that he was only director at the time to have filmed the President of the United States and royalty of the British reigning family (page 414). His son Wallace was also an actor, but tragically died of a drug overdose in 1923, only three years after the death of his father.

To be continued…