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Tales from a Scenic Artist and Scholar. Part 987 – The Military Entertainment Council, Liberty Tents, Liberty Auditoriums and Liberty Theaters, 1918

In 1918, Thomas G. Moses wrote, “Received a nice order from Harrison Company, operating the Redpath Lyceum Bureau for their chatauqua work.” The previous year. Sosman & Landis also delivered scenery for the Redpath Chautauqua Circuit.

In 1918, “Trench and Camp” reported:

“Mr. Marc Klaw was given the task of organizing four companies to play light comedies and four companies of vaudeville stars. ‘Turn to the Right,’ ‘Cheating Cheaters, ‘Here Comes the Bridge,’ ‘Inside the Line’ and other popular plays will be presented in turn at the various cantonments. The professional vaudeville companies will also make the rounds and the theatres will be offered to the men for the production of amateur dramatics or special moving pictures. There will be a small charge of from 15 to 25 cents made for professional entertainments. I addition to these theatres, and at both the National Army and National Guard camps, the Redpath Lyceum furnished entertainment. The general direction of all paid entertainments at the camps is in the hands of Mr. Harry P. Harrison, the president and general manager of the Redpath Lyceum Bureau” (22 Jan. 1918, page 7).

Written by Raymond B. Fosdick, Chairman of the Commission on Training Camp, the article explained, “Just after the war was declared last April, the President and Secretary of War, having these facts keenly in mind, asked me to assume the chairmanship of the newly appointed Commission on Training Camp Activities. The main job of this Commission is to apply the normal things of life to the hundreds of thousands of men in training camps. Besides the chairman, the members of the Commission are Lee F. Hanmer, of the Russell Sage Foundation; Thomas J. Howells, of Pittsburgh; Marc Klaw, the well-known theatrical producer; Joseph Lee, president of the Playground and Recreation Association of America; Malcolm L. McBridge, the former Yale Football star; Dr. John R. Mott, well known as General Secretary of the War Work Council of the Y.M.C.A; Charles P. Neill, of Washington; Col. Palmer E. Pierce, U.S.A., and Dr. Joseph E. Raycroft, director of physical education of Princeton University. It was our task, in the first place, to see that the inside of sixty odd army-training camps furnished real amusement and recreation and social life. In second place, we were to see to it that the towns and cities near by the camps were organized to provide recreation and social life to the soldiers who would flock there when on leave. In short, the Government took the attitude and is holding to it all along: ‘Over a million men are training hard to fight for the Government; the Government will give them, while they train, every possible opportunity for education, amusement and social life.’”

On March 8, 1918, the “Green Bay Press-Gazette” announced, “The work of entertaining the soldiers has been consolidated under the ‘Military Entertainment Council,’ of which James Couzens, of Detroit, is chairman; with Harry P. Harrison of Chicago, as chairman of the executive committee. Under the Council, the Chautauqua tents and Marc Klaw theaters all operate together, giving nightly entertainments. They will hereafter be known as ‘Liberty Tents,’ ‘Liberty auditoriums’ and ‘Liberty theaters’”(Green Bay, Wisconsin, page 13).

From the “Atlanta Constitution,” 11 Jan 1918 page 6.

The attached newspaper clipping shows Camp Gordon’s Liberty Theater. Pictured upper left is Raymond B. Foswick (chairman of the war commission on training camp activities, in charge of all the theaters and director on the ‘off time’ of every sailor and soldier). Pictured upper right are Sam Harris and George Cohan, partners in song-writing, who are working to making the programs of the army circuit a success). In the lower left is E. F. Albee, manager of B. F. Keith’s circuit, who is sending a number of his best acts to the cantonment circuit). In the lower center is Marc Klaw of Klaw and Erlanger bookers, who is arranging the productions for the Liberty theaters, and who is now engaged in training a number of comedy casts). Pictured lower right is Harry P. Harrison, president of the Redpath Chautauqua, who is also giving his time attention and performers to the entertainment of the national army men.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 972 – Collecting Payment from H. Robert Law, 1918

Sosman & Landis were still waiting for the final payments related to government cantonment theater work in January 1918. In 1917, Thomas G. Moses wrote, “We closed a contract with H. Robert Law of New York City for a lot of scenery for the Government Cantonment Theatres. First contract was $12,600.00, second $3,600.00, and third $980.00 for installing one job. All to be completed November 7^th – some hustling. I went down to the studio on five Sundays – something I haven’t done in fifteen years, and every night until 8:30. Some of the boys slept in the studio. Everyone hustled. We completed the work on the day set and inside of a week it was all out of the studio.” This was a project to help the war effort; a big one that brought in $17,180 in a short period of time. That is the monetary equivalent of $364,438.00 today; no small project.

On January 3, Moses left Akron, Ohio, and headed to New York City, where he planned to “settle up with the Government work with Law.” Of the trip between Akron and New York, Moses wrote, “All day a cold car. The first time I ever had to keep my overcoat on in a sleeping car. Very cold all night – no lights in the car, everything was frozen. Nine hours late. After leaving Philadelphia, we passed a bad wreck. A passenger train had run into another one standing on the side track. The engine had plowed through the rear coach, which happened to be a “dead head.” No one in it. The coach settled down on the engine, covering it completely. Strange to say, no one was badly hurt. Transacted my business in one day.” Unfortunately, the trip was not a success. Sosman & Landis would have to send another representative to New York later that year to collect the final payment. Of this second trip, Moses wrote, “Lester Landis went to New York and finally got a settlement with Law for our government work. It has cost us a good bit to get it settled.”

This becomes a reoccurring theme in the final years of Sosman & Landis, one that directly contributes to the eventual closure of the firm.

At the end of 1917, Moses wrote, “The greatest handicap to a profit sharing business is procrastination among the managers. The eleventh hour idea of getting scenery, we can either take it, or work night and day to get it out on a close margin, or let it alone and allow someone else to creep in and steal our business.” This represented one hardship the firm was repeatedly encountering. Add on collecting funds on projects with a “close margin,” such as the Law project. It took two trips to New York, sending a Sosman & Landis representative to meet with Law in person to collect the owed funds. Two trips, with train fare, lodging expense and meals, plus the loss of time on other projects to collect money for completed work. I then look at the career of H. Robert Law, who was in and out of courts for much of his career, also trying to collect payment for his work (see past post #962). What a mess.

The theatre industry, like any other business, is based on trust; the understanding that you will be paid for your work as identified in contractual agreements. Unfortunately, that is not always the case. Many of us have weighed the options when trying to collect money from clients for completed work. For Sosman & Landis in 1918, additional project-related expenses included two trips to New York and the loss of time. Much remains unknown about the work contracted with H. Robert Law Studios in 1917. It is possible that Sosman & Landis were simply subcontractors to Law, and he was also waiting for payment from the US government.

The point of this tale in the big picture for the studio is money owed for completed work. The delayed payment in 1918 did not cause Sosman & Landis to crumble in the same way that might have been the case with a smaller firm. However, it did leave a mark, and those marks turned into a major scar. A series of projects with delays and non-payments eventually took a toll on the studio. Keep in mind that Sosman & Landis financed the stage portions of many Scottish Rite theater projects for almost two decades – 1/3 upon delivery, 1/3 a year later and the final 1/3 a year after that. That work made up approximately 25% of all projects for twenty years. I the end, Sosman & Landis had consistent difficulties in collecting the final payment from many Scottish Rite Valleys; this was well after the client had received the contracted goods in their entirety. The continued absence of money owed added up in the end. It became the perfect storm to cause a studio’s downfall. This occurred at the same time that demand for painted scenery began to diminish. And in the midst of these difficulties, studio founder Joseph S. Sosman passed away and a series of internal struggles began. Times were certainly changing for the major theatrical supplier.

To be continued…

Tales from a Scenic Artist and Scholar. Part 964 – “Hero Land,” New York, 1917

In 1917, Thomas G. Moses wrote, “I went to New York, November 22^nd. Hustled up the ‘Hero Land Work.’ “Hero Land” was advertised as a “16-day Military Pageant, Theatrical Entertainment, Oriental Wonderland and Charity Mart; Devised, Created, Managed and Financed by One Hundred Approved National War Relief Organizations for the Benefit of American and Allied Relief” (New York Tribune, 24 Nov. 1917, page 9). Newspaper advertisements announced, “Hero Land is the Greatest Spectacle the World has ever seen, for the Greatest Need the World has Ever Known.” Its objective was to bring images of the war home to encourage American support.

From the “New York Tribune,” 27 Nov 1917, page 9.

“Hero Land” opened at the Grand Central Palace on November 24, 1917. The event ran until Dec. 12 and was open every day of the week from 11 AM to Midnight, except Sundays.

Hero Land program for French Day, from “The Standard Union,” 26 Nov. 1917, page 4.

Legions of workers began to transform Grand Central Palace for the exhibition on November 10 that year. Advertisements listed the “Marvels at Hero Land” describing the attractions in detail. There were reproductions of forts, battlefields, bomb shelters, and trench lines. Special features were the Hindenburg Line and Britannia, a Mark IV British tank.

The Britania pictured in the official souvenir program. Image from an online auction.

In addition to military-themed exhibits, there was an ice skating rink, submarine divers and the Street of Bagdad. Dining establishments included Café de Paris, Army canteen, Red Cross Tea Garden, the Allies Club, the Soda Water Fountain, and the Golden West Cabaret. The Old Cheshire Cheese, the “most famous chop shop in the world, which Samuel Johnson made his eating headquarters in London.” British chairs, tables, signs, recipes and cooks completed the picture. An area called Old Bowling Green, represented a past look when New York was known as New Amsterdam with Dutch Houses, fur traders and early settlers. There was also the Great Hall and Ballroom, a Louis XVI dancing pavilion and drill ground where balls, military parades and pageants were held throughout the event. There were also three moving picture theatres that featured Government war films taken at the front and shown for the first time to the general public. Films of battle scenes were accompanied by lectures. Additional live theatre entertainments starred “a galaxy of stage, opera and vaudeville stars, dancers and moving picture artists.” Holy Land was intended to be “the most memorable entertainment festival ever held in the country.”

From “The Sun” (New York), 5 Dec 1917, page 14.

The Red Cross Tea Room at Hero Land, 1917.

Some of the special days at Hero Land included American Day, British Day, French and Alsace-Lorraine Day, Belgian Day, Jewish War Relief Day, Italian Day, Polish Day, Russian Day, Lithuanian Day, Canadian Day, Armenian and Syrian day, Scotch-Irish day, Serbian Day, American Red Cross day, United States Navy Day, United States Army Day, President Wilson day and American Red Cross Day.” Ethel Barrymore even presided over the auction at the Belgian Booth on Dec. 14, 1917

“The News Journal” reported “Most entertainments are to be held in the great hall and all have been arranged under the supervision of Mrs. Charles Dana Gibson, acting in conjunction with Arthur Voegtlin, former producer of the Hippodrome, who has been engaged to stage the spectacular features on the entertainment program” (Wilmington Delaware, 17 Nov 1917, page 7). Sosman & Landis likely provided scenery to accompany the live entertainment in the Great Hall. However, I have not located any specific mention of the firm.

From the “New York Tribune,” 24 Nov 1917, page 9.

To be continued…

Tales from a Scenic Artist and Scholar. Part 962 – H. Robert Law Scenic Studio, 1917

In 1917, Thomas G. Moses wrote, “We closed a contract with H. Robert Law of New York City for a lot of scenery for the Government Cantonment Theatres.” Yesterday’s post examined Smileage Books for government cantonment theaters during WWI. Today I explore the life of H. Robert Law.

Harry Robert Law, Jr. was born in Toronto, Ont., Canada, on September 20, 1876, but only lived there for the first year of his life. In September 1877, the Laws returned to the Wilmington, North Carolina.

His father, Harry Law Sr. was born in Wilmington, North Carolina. H. Robert Law’s 1923 passport application notes that his father lived for 63 years, uninterruptedly, in the United States, at Wilmington, N.C. and Baltimore, M.D. Law’s mother was born in New York.

By 1910, New York City Directories list H. Robert Law as an artist, living at 141 Park Hill Ave, Yonkers, NY. In 1914, Law partnered with John H. Young to provide scenery for the William A. Brady production of “Life.” (Boston Globe, 30 Aug. 1914, page 40). In 1915, the younger Law met and married his future wife Lilla Gertrude Batdorf. (b. March 5 1884), in Philadelphia. Lilla was a Chicago native and the daughter of John William Batdorf (b. 1852, Ohio) and Helen Gertrude Tetrick (b. 1858).

WWI draft records described Law’s physical appearance as “tall” and “stout,” with brown hair and brown eyes. “Stout” is subjective, as this simply could have meant big-boned and not morbidly obese. Draft records only give the options for a slender, medium, or stout build.

WWI draft records list Harry Robert Law’s address as 7389 West End Ave., Manhattan, New York. The record lists his present occupation as a “scenic artist” and his employer as “self.” His studio address was 502 West 38 NY, NY. This continued to be the studio address throughout the 1920s.

As a scenic manufacturer, Law was contracted by the United States Government War Department during WWI. He was a well-known individual at this time. On May 21, 1917, the “News-Journal” reported that Law had gained “considerable fame through his spectacular scenic creations” (page 11). 1917 productions that Law designed scenery for included “Molly O’” (May 17, 1916 – Jun 24, 1916) and “When Johnny Comes Marching Home” (May 07, 1917 – Jun 16, 1917). 1918 shows included “Cheer Up” (Aug 23, 1917 – May 11, 1918), “Oh Look” (Mar 07, 1918 – May 04, 1918) and “Hitchy Koo” (Jun 06, 1918 – Aug 03, 1918).

Law’s 1923 passport application, indicated that he was traveling for business purposes with his wife to France, England and Germany. His occupation was listed as that of a scenic studio manager of H. Robert Law Scenic Studios, still at 502 W. 38^th Street in New York City. Law also listed his permanent residence that year as 1925 7^th Ave., NY, NY.

While researching for additional information about Law, I noticed that he was in court – a lot. Here are just a few examples of his extensive legal battles:

In 1910, Law was involved with Joseph E. Shea in a contract dispute with D. S. Andrus & Co. (Star-Gazette, Elmira, NY, 14 April, 1910, page 7). In 1911, Law won a case against Sangor Rice Co. and Benjamin Sangor for $477. In 1914 Law sued to recover $75 from T. C. Brown, a local automotive agent for non-payment of a space on an advertising curtain (Asbury Park Press, NJ, 19 June, 1914, page 1). In 1917, Law sued Harry J. Everall and Samuel H. Wallach for non-payment (New York Herald, 22 Oct. 1917, page 14). In 1920, Law sued Daw Producing Co., Inc for $1,063.17 (New York Herald, 30 July 1920, page 13). In 1920, Law sued John Cort about the about “valuable services rendered” in relation to his scenic contribution to “Listen Lester” (Daily News, New York, 1920, page 2).

From the “Daily News” (NY) 13 May 1920, page 12.

The most entertaining story, however, was published in the “Buffalo Times” on Dec. 1, 1921 (page 15). The article “Art Show Emporium Fine But Overpriced” noted, “Admits He’s an Artist but the Bill was Too High.”

Here is the article in its entirety, as it is quite entertaining:

Abe Attell, the artist, is in trouble. An interior decorator wants Abe to pay him some money for decorating the interior of Abes’ shoe shop on Broadway, near the Winter Garden. Abe says he owes the interior decorator some of the money but not all of it, and that he’s going to get his old pal Bill Fallon to take the matter into court and see that his rights are protected.

It’s a fight between artists. Abe explained that as he conducted us through his multi-colored depths of his show shop, pointing out its artistic beauties.

“This shop is for ladies,” said Abe. Then he paused and said, “LADIES.”

We got him right off the bat.

“Ain’t this a grand place,” said Abe, with a wave of his hand that took in the combination of Swiss and Japanese sunset effect.

Grand doesn’t describe it. It’s magnificent. It’s elegant. It’s sumptuous. It’s palatial. It looks more like 51^st Street and Broadway than 51^st Street and Broadway ever dared to look.

The color scheme is yellow, rose, vermillion, gray, blue, brown, a touch of saffron, a hint of turquoise, a dash of raspberry, a slice of mauve, a streak of green, a flare of purple and a mere suggestion of gold and ecru and silver.

The walls are gilded, and over the gilt have been painted Japanese hoochie-koochie girls in pink mother hubbards playing hide and seek in a bamboo forest. Chinese red has been worked into the effect, to say nothing of the black lacquered panels. The chandelier and wall lights are concealed by silk shades, yellow as the streak down a welcher’s back. The chairs are carved teakwood.

When LADIES have their shoes tried on they place their silk stockinged feet on red plush cushions with long gold tassels. A miniature Japanese fountain bubbles in the center of the room. On the level, it’s scrumptious.

Abe says he picked up his ideas of art while he was on the stage and out in Chinatown in Frisco. “Of course you not bein’ an artist,” said Abe, “you can’t appreciate what this difference of opinion is about. They say I owe ‘em 728 bucks and I says right back I’ll pay ‘em all except 250 bucks, which they ain’t entitled to.” Abe was served with a Municipal Court summons by Wise & Otfenberg, attorneys for H. Robert Law Scenic Studios who executed Abes’ ideas of art. “I ain’t woryin’,” said Abe. “Bill Fallon’ll take care o’ my end of it. You got to be an artist to see what I mean.”

I have not been able to locate the ruling of the case.

In 1925, the “Bridgeport Telegram” reported on another Law court case: “The ‘Three Morin Sisters,’ singers and dancers on the vaudeville stage, and who recently appeared at the Palace theatre have been named defendants in an action brought against them by H. Robert Law, a producer and scenic artist of New York city, who seeks damages of $1,250” (Bridgeport, CT, Sept, 4, 1925). The basis of the suit is that the plaintiff was not paid his commission for perfecting their specialty act, or providing their scenery and their booking. And there were many, many more cases in court for Law. I had to wonder if Law’s lawyers worked for him full-time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 961 – The Smileage Campaign, 1917

In 1917, Thomas G. Moses wrote, “We closed a contract with H. Robert Law of New York City for a lot of scenery for the Government Cantonment Theatres. First contract was $12,600.00, second $3,600.00, third $980.00 for installing one job. All to be completed November 7^th – some hustling. I went down to the studio on five Sundays – something I haven’t done in fifteen years, and every night until 8:30. Some of the boys slept in the studio. Everyone hustled. We completed the work on the day set and inside of a week it was all out of the studio.” This was a project to help the war effort; a big one that brought in $17,180 in a short period of time. That is the monetary equivalent of $364,438.00 today.

In 1917, the War Department Commission acknowledged that it was important to keep American troops entertained as they trained for combat. This stance resulted in a new entertainment program implemented across the country.

From the “Evening Index” (Greenwood, SC) 14 Feb 1918, page 2.

“The Salina Daily Union” described the program, reporting, “The government has made arrangements whereby the best Broadway attractions will be staged at cantonments with a nominal admission to soldiers. Lectures and other entertainment of high class are also being arranged for. The object of the ‘Smileage’ campaign is the sale of coupon books, from one dollar up. The coupons are admission tickets to the government cantonment theatres. Citizens will be asked to purchase coupons books for the soldiers” (28 Jan 1918, page 8).

From the National Museum of the United States Air Force. Here is the link: https://www.nationalmuseum.af.mil/Visit/Museum-Exhibits/Fact-Sheets/Display/Article/615639/smileage-book/

Smileage books were produced by the Globe Ticket Co. and purchased for loved ones in the military. Books were sold, containing either one dollar or five dollars worth of admissions. Soldiers could use tickets in the books for scheduled events at Government Cantonment Theatres.

The Smileage Books noted. “The coupons in this book will be accepted in purchase of admission and seat tickets at Liberty Theatres, Liberty Tents and auditoriums under the management of the commission on training camp activities in National Army Cantonments and National Guard Camps.

There is a lovely article in “The New York Age” from Dec. 22, 1917 (page 6):

“New names and phrases galore are being coined incident to the world war, and latest word to attract general attention in America is ‘SMILEAGE.’ The Military Entertainment Service working under the direction of the War Department Commission and Training Camp Activities, in a pamphlet just issued, entitled ‘SMILEAGE,’ gives the following definition for the most recent wartime terms added to our vocabulary: ‘Mileage means a stretch of miles; smileage means a span of smiles.’ Additional information in the pamphlet as to the mission of the newly-coined word reads: Smileage Books are books that contain transportation for the soldier from gloom and homesickness to smiles and gladness. The world war has created the necessity for a new age of man – one that is applicable to present conditions – a ‘Smile-age.’ So to alleviate gloom and sorrow, the new age is beginning to see the light of day. In each cantonment a theatre has been erected. In these theatres from time to time will be given the very best of entertainment – the kind that is clean and wholesome, furnished by famous stars of the stage. The price for this entertainment will be very nominal. SMILEAGE BOOKS contain coupons that are exchangeable for admission to any entertainment given at these Liberty theatres. Don’t make your boy ask you for comforts. Think of them first and send them to him. Send them to the boys who have no friends, no home to turn to for these little luxuries. Perhaps you have a boy of your own in training. Buy him a SMILEAGE BOOK. Put in the next letter you send him. Otherwise he will have to stand on the outside and envy the other fellows whose folks remembered them.” This is the appeal being made by Raymond B. Fosdick, chairman of the War Department Commission for Training Camp Activities, and Marc Klaw, head of Military Entertainment Service, on behalf of draftees who crave for a little wholesome entertainment while undergoing a rigid course of training preparatory to going to Europe to help make this world safe for democracy. Our draftees are not hungry for food. They are not compelled to worry over the scarcity of food stuffs, for Uncle Sam sees to it that the boys in khaki are provided with plenty of good, substantial eats. But many a drafted man may be found who is hungry – starving for the proper kind of entertainment to drive away dull care. The soldier boy is like the rest of us – intensely human. He tires of constantly reading, writing, listening to the phonograph and playing checkers the same as those in civil life. For this reason Liberty theatres have been erected in each cantonment, and Broadway stars will appear at these playhouses in the latest productions. Provisions have been made to charge a nominal sum as price of admission. Some smileage books contain one hundred tickets and are sold for $5, while others contain twenty tickets and cost $1. On each ticket appears the signature of the Secretary of War Baker, who realizes that the gloom and homesickness in camp should be dissipated by furnishing the drafted men entertainment of the right sort. The work of transporting the boy many miles from home to ‘Smileland’ has become one of the most important functions of the War Department. The New York office of that branch of the War Department which is engaged in arranging the proper entertainment for the soldiers is located at 15 Broadway, and is in charge of Hollis Cooley, a showman of ripe experience and who stands high in the theatrical world. Mr. Cooley and his assistants are being kept busy at this time supplying smileage books to relatives and friends of soldier boys who regard the giving of a book containing ‘transportation for the holder from gloom and homesickness to smiles and gladness’ as a most appropriate Christmas gift. Banks, department store and secret societies are among the institutions to take an active interest in the campaign just begun to create a new age of man – a ‘Smile-Age.’”

To be continued…