Copyright © 2022 by Wendy Waszut-Barrett
James M. Wood became associated with Sosman & Landis in the 1880s. Although he began his career as a decorative painter, he soon transitioned to architectural design and construction. Wood specialized in theatre buildings and even established a brief partnership with Joseph S. Sosman and Perry Landis known as Sosman, Landis & Wood. In 1887, the firm was mentioned in the early phases of a new opera house planned for Bloomington, Illinois. On March 29, 1887, the “Bloomington Daily Leader” announced, “New Opera House. A Chicago Firm Drawing the Plans for $60,000 Building – A Sensible Scheme for a Stock Company” (page 7).
The article continued, “The prospect of securing a first-class metropolitan opera house for the city is beginning to assume tangible shape, and if leading capitalists who have pledged themselves to take stock do not back out at the last moment, it will certainly be built. Mr. E. W. Tillotson was in Chicago and arranged with Sosman, Landis & Woods to draw the plans for a four or five-story building of elegant proportions to cost about $60,000. The first and second floors are to contain offices furnished with tile floors; the third and fourth stories are to be fitted up as flats. The whole building will be heated by steam and furnished with a passenger elevator. It will be similar in plan and dimensions to the Chicago Opera House, which is regarded at the model theatre of Chicago.
The theatre proper will hold 1,600 people and will be handsomely finished and furnished. The dimensions of the stage will be 45×84, with a 36-feet opening. The stage of Durley Theatre is 22×65, so it will be seen that this is over twice as large. The theatre is to be furnished with exits from all sides.
The plans are to be ready in about ten days. Messrs. Tillotson & Fell will then call a meeting of citizens to form a stock company. They propose to take the opera house for a tern of ten years as a yearly rental of 7 per cent of the entire cost of the building and land, and will give the company the basement rooms, the yearly rental of which is estimated will pay for repairs. Estimating the taxes and insurance at one per cent, this will leave the stockholders a net interest on their money of six per cent, which will be a very handsome investment, as money loans at the present time. The property will also continue to improve in value as the city grows. Mr. Tillotson says that over $30,000 has already been pledged, and thinks there is no doubt that the stock will be quickly taken. THE LEADER hopes that the plan will succeed, as Bloomington badly needs such a temple of amusement. It is expected to have the building ready for occupancy in September.”
Wood remained associated with Sosman & Landis for another two decades, designing theater buildings and stages that were outfitted by Sosman & Landis; projects often supervised by Thomas G. Moses. Two projects that I have written about in the past included Wood’s Theatre in Bay City, Michigan (https://drypigment.net2017/09/20/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-214-thomas-g-moses-at-woods-theatre-in-bay-city-mic/) and the Jefferson Theatre in Goshen, Indiana (https://drypigment.net2018/10/11/tales-from-a-scenic-artist-and-scholar-part-532-thomas-g-moses-and-the-jefferson-theatre-in-goshen-indiana/).
Wood’s early career in the decorative painting industry and the theater are seldom mentioned when his later architectural endeavors are discussed. Here is what I have managed to locate about the life of Col. J. M. Wood.
James Madison Wood was born in New York sometime during 1841. Although a few records suggest an earlier birthyear, I am pretty confident about this date. He was one of several children born to James E. Wood (1804-1861) and Jane Dunning (1806-1895). The two were married in New York City on Jan. 11, 1827, and remained in the area for the first few decades. Their children, those who survived to adulthood, include George W. Wood (b. 1838), Henry Clay Wood (b. 1846), James M. Wood (b. 1841) and Henrietta Wood (1844-1903).
The 1850 US Federal Census listed the Woods living in Ward 3 of New York City. The household included: James E. (45), Jane (44), George W. (18) James M. (11), Henrietta C. (7) and Henry C. (4). Five years later, the Wood household had expanded to include a servant and Ann E. Wood, James E. Wood’s younger sister. In 1855, they were living in Ward 16.
By 1860, the Wood family moved west, settling in Perry, Illinois. Perry is approximately 40 miles east of Quincy, Ill, and 120 miles north of St. Louis, Missouri. In Perry, the Wood household now included James E. (56), Jane (54) James (21), Henrietta (17) and Henry (14).
In 1861, the elder James Wood passed away at the relatively young age of 57 yrs. old. His obituary was published in the “New York Evening Post” on Aug. 29, 1861, noting “James E Wood, late of this city.” Wood was buried at Perry Cemetery in Perry, with his tombstone dating August 9, 1861. The same year that his father passed away, James M. was married to Isabelle Sarah Slaughter (1843-1925). It remains unclear if Wood fought in the Civil War, although in later years, he would go by Col. Wood. Interestingly, I have yet to locate any records that suggest a Col. Wood who fought for the Union, but a Col. Wood fought for the confederacy. There was a theatrical manager, Col. Joseph H. Wood (1821-1892), who opened Col. Wood’s Museum in Chicago in 1864 at the corner of Clark and Randolph Streets. However, this was an entirely different person.
Regardless of Wood’s military service, he relocated to Chicago by the early 1860s and secured work as a decorative painter. In 1863, James and Isabelle celebrated the birth of their first child, Benjamin Wood, on June 17. Five more children were born to the couple in Illinois: Ellen “Nellie” Wood (b. 1865), and Minnie Wood (b. 1869), Lulu Wood (b. 1871), Alta (b. 1872), and Edna Wood (b. 1877).
Many histories are quick to link Wood’s sporadic employment as a carpenter resulted in his later career as a contractor and architect. However, in 1870 Wood still listed his occupation as a painter and grainer in the US Federal Census. He was listed in the 1870 Chicago Directory as a paper hanger, living at 9 Vincennes Ave. His son Benjamin also entered the wall paper trade, a profession that he continued until his own passing in 1912.
In 1870, the Wood household as included James (30 yrs.), Isabelle (27 yrs.), Benjamin (8), Nellie (5 yrs.), and Minnie (3 yrs.). Isabelle’s younger brother, Robert Slaughter (20 yrs.), was also part of the household and listed as a painter too. In later years, Slaughter continued to work as a painter, moving from Chicago to Cincinnati by 1880. Interestingly, Slaughter’s son, Robert F. Slaughter Jr., later worked as a sign painter in California.
In 1872 Wood was still listed as a painter, but included a new service – “builder.” This would make sense, as Chicago began to rebuild after the 1871 fire. Wood’s directory listing continued to shift with the times and included the trade of painter, paper hanger, builder and contractor. Like many, his directory listing reflected ever-changing projects. In 1873, he was listed as builder, but in 1874 was again listed as a paper hanger, now working at 614 Cottage Grove, During this time, his private residence remained on Langley ave., although the house numbers would change from 8 to 72. In 1875 he was listed as a contractor, living at 72 Langley Ave. Wood also suffered some legal troubles around this time too. On Jan. 12, 1876, “The Inter Ocean” reported, “James M. Wood, of Chicago, – 3,054 – Involuntary petition files against James M. Wood, a contractor, of 72 Langley avenue by E. E. Cadwell, on a claim of $1,425; Wm. Stevens, $446.95; Carney & Haskell, $375. The debtor is charged with giving on Jan. 8 last to James Berry & Co., a judgment for $134.88, with a preferential intent, also with transferring certain moneys to his wife with a fraudulent intent. Ryule to show cause Jan. 22. Olney & Waters attys.” (page 3).
On May 8, 1877, the “Chicago Tribune” announced, “R. K. Jenkins was yesterday appointed Assignee of James M. Wood.” This is likely when Wood began to travel across the country for work, ever expanding the scope of his projects throughout the regions. The 1880 US Federal Census listed Wood as a decorator, now living with his family at 215 Johnson Place. His neighbors were primarily painters and paint suppliers. Their names included William Warner, Thomas Turner, William Edmour, and William Appleker.
Between 1880 and 1882, Wood increasingly worked as an architect. By 1882, Wood relocated his family from Illinois to Wisconsin. On March 28, 1882, the “Oshkosh Daily Northwestern” reported “The committee is much relieved of embarrassment on this point by the receipt of a letter from J. M. Wood, theatrical architect, who built the Rockford Opera House, accompanied by a pamphlet giving full information as to the building of the opera house at that place, its seating capacity, its status as a financial investment and its acceptability to both public and artists playing in it” (page 4).
By the end of 1882, Wood added a new title – theatre manager. He settled in Racine, Wisconsin and began managing Racine’s Blake Opera House.
On Dec. 7, 1882, the ‘Racine Advocate” published a letter form James Wood (page 8):
“Card to the Public”
In announcing the opening date of the Blake Opera House Friday, Dec. 13, I have felt that it would not be out of place for me to say a few words to the people of Racine regarding the house, and the aid and cordial support which the Board of Directors have afforded me in my efforts to present, to you and Opera House which for completeness and refined elegance is without rival in the west. To produce these results has required an outlay far in excess of their original intention; but realizing that there was a future for Racine justifying it they have cheerfully furnished the means to erect a public building that will be a pride and source of pleasure in the years to come. In the management of this House it will be my aim to present only such attractions as shall tend to elevate the morals of the community or at least to divert the minds from the worrying cares and anxieties of active business which without some recreation makes man prematurely old. I would respectfully call your attention to the magnanimous manner in which sister cities of the west have shown their appreciation for such public work. The citizens of Peoria when called upon responded at the auction sale of seats for the opening to the tune of about $8,000. Kalamazoo, Mich., $4,400, and the little city of Lima, Ohio, nearly $3,000; and I might name many others, Trusting that the citizens of Racine desire not to be considered lacking in generous liberality and public spirit I would invite you all to assemble in the Opera House on Saturday evening, December 9, at 7:30 P.M., when you will be afforded an opportunity of tendering a benefit to the Opera House Association in the purchase of seats for the opening entertainment which will be disposed of by auction.
J. M. Wood, Manager.
For years our society people have been regretting the lack of a suitable place for entertainments and amusements. In the Blake Opera House such a place has been provided and it is to be hoped that our citizens will give it the patronage it deserves. Go to the Opera House next Saturday evening, pick out a good seat and pay for it. The seats will be sold at auction” (page 8).
Wood’s construction of the Blake Opera House and its management signifies a definitive link with both Thomas G. Moses and Sosman & Landis. Moses painted scenery for Racine’s Belle City Opera House and Blake Opera House in 1883. On March 14, 1883, “The Journal Times” of Racine, reported, “Thomas Moses, the scenic artist, who painted all the handsome scenes at the Blake Opera House, departed for Illinois to-day. During his stay here Mr. Moses has made many warm friends, who wish him every success, wherever he may go” (page 2). At the time, Moses was working with Lemuel L. Graham and John H. Young. Other projects completed by Graham & Moses between 1882 and 1883 included the Academy of Music in Kalamazoo, Michigan; Redmond’s Opera House in Grand Rapids, Michigan; the Opera House in Marengo, Illinois; and the Grand Opera House in Eau Claire, Wisconsin. Moses and Graham soon added John H. Young to their force, and they were able to work at multiple locations simultaneously.
Moses returned to Sosman & Landis shortly after painting scenery for the Blake Opera House in 1883, That spring he wrote, “I went to Oshkosh, Wisconsin, after a contract. I met Mr. Landis there. I got the contract. We rode to Chicago together and met Mr. Sosman on our arrival. We [Moses and Lemuel L. Graham] were offered $45.00 a week. I wired Graham at Burlington. He answered $50.00 and extras. We closed for that.”
This caused a bit of trouble in Oshkosh for all parties concerned. On April 4, 1883, the “Oshkosh Northwestern” published an article entitled, “The Opera House Scenery Contract.” It reported, “Graham & Moses who were awarded the contract for furnishing curtains, scenery and stage settings for the Opera House have notified that they withdrew their bid and decline the contract. On receipt of this also comes a notification from Sosman & Landis, also bids on the job to the effect that they have employed Graham & Moses in their establishment and asking that the contract be awarded them in accordance with their bid. It appears that there were only two bide in for the work, that of Graham & Moses and one from Sosman & Lands. The latter’s bid was about $700 larger than that of Graham & Moses, and, now it would seem the two firms have fixed it up so as to try and have the contract awarded at a greater amount. The directors are now talking of giving the contract to other parties entirely and not letting either of those firms get a finger in it” (page 4). Regardless, Moses completed the project in Oshkosh and headed back to the Sosman & Landis studio in Chicago. Of the transition from Graham & Moses to Sosman & Landis, he wrote, “I had Oshkosh to finish, which I did, and May 1st found Graham, Young and myself back on Clark Street at the Sosman and Landis Studio. I averaged $70.00 per week, as we had a lot of night work, mostly piece work. We had to do all the road work which I didn’t like.”
That same year, the 1883 Racine City Directory listed J. M. Wood as an architect. He was one of only three architects listed in the city. The other two listed in the city directory were J. G. Chandler of 315 6th and W. H. Phelps of 1013 Peral. Wood was just up the street from Chandler, working at 322 6th. It was also in 1883 that James M. Wood and his son Benjamin W. Wood founded J. M. Wood & Son. The firm’s business offices were located as Hotel Blake in Racine, on the corner of 6th and College Ave. Finally, it was also in Racine that Wood met his future busines partner, Sidney Lovell (1867-1938). At the time, Lovell was only 15 yrs. old. Some architectural historians purport that Lovell became Wood’s architectural assistant by 1883. Two years later, he was working as Wood’s draughtsman in Chicago.
There is a reason that Wood began working with Sosman & Landis in 1884; his opera house burned down. In 1884, J. M. Wood, was the architect for the Academy of Music in Saginaw, Michigan. Lovell followed his mentor, eventually transitioning from architectural assistant to a full-fledged architect. In 1885, the Chicago Directory listed Wood as an architect, with his employer’s address as 279 S. Clark Street. The directory listing noted that he was still living in Racine, Wisconsin. 279 S. Clark Street was the business offices and main studio for Sosman & Landis in 1885. Meanwhile, Lovell was also working in Chicago with Wood. He was listed as a draughtsman, boarding at the Brunswick Hotel. In 1885, Wood was credited with several opera houses, including those in Elgin, Illinois and Grand Rapids, Michigan. On July 11, 1885, Racine’s “Journal Times” reported, “Architect J. M. Wood was in the city yesterday and he is the busiest man in the country at present. He is building two opera houses in Michigan, two in Pennsylvania, one in Ohio, and is superintending the rebuilding of the Academy of Music in Milwaukee. Mr. Wood said that next winter, when he has plenty of leisure time, he proposed to work up an opera house company in Racine. It is hoped he will keep his promise and be successful in the scheme” (page 3).
Wood kept his word, and drew up plans for a new opera house by that fall. On October 20, 1885, the Milwaukee “Sentinel” reported, “J. M. Wood, the architect who remodeled the Academy, and who also built the Blake Opera House at Racine, recently destroyed by fire, and the Saginaw and Wausau opera house, has completed the plans for a new playhouse to be built at Racine. The building is to cost between $30,000 and $40,000, and will be owned by Bell City capitalist and Mr. Wood. It is to be located on a centrally located piece of real estate on Main Street.”
Wood improved upon the old Blake Opera House design. In an article written for Racine’s “Journal Times” on Nov. 11, 1885, Wood stated, “You had an opera house that you had reason to feel proud of, for it stood second to none in artistic effects, The mistake made in building it upstairs will neverbe repeated” (page 3). Wood’s proposal for a new opera house included a first floor-venue and larger stage. In short, he paid attention to backstage activities when managing the first Blake Opera House. Wood became a very successful theatre architect because he understood backstage activities and stage systems. More so, he knew what worked and drew touring productions to a venue.
It is not surprising that by 1887, Wood partnered with Sosman & Landis to establish Sosman, Landis & Wood. Although the firm was short-lived, the affiliation between Wood with the well-known Chicago scenic studio lasted for decades.
The 1880s was a turning point in both the life and career of Wood. Not only was his business thriving, but his children were leaving home and starting their own families. On Oct. 6, 1886, Wood’s daughter, Ellen “Nellie” Wood married Edward P. Clancy. The next year, Minnie Wood, married James H. Driver. On April 13, 1887, the “Racine Journal” announced the wedding, noting that Minnie’s parent, James and Isabelle Wood resided at No. 1136 College Ave.
In addition to working as an architect, Wood began to invest in other business ventures. On April 2, 1887, “The Irish Standard” in Minneapolis, Minnesota” reported, “The Hennepin Avenue Theatre Company was incorporated Wednesday by W./A. Barnes, Jacob E. Sackett, James M. Wood, Enoch W. Wigging, Frank P. Weadon, Carroll Gates and Burt P. Gates. The company has a capital stock of $100,000 divided into share of $50 each” (page 5). That same month, Wood also helped establish and opera house company in St. Paul.
On April 19, 1887, Article of Incorporation were filed for the Murray Opera House Co. An announcement in the St. Paul Globe noted the commencement of the corporation as 1 April 1887 with a capital stock of eighty thousand dollars, divided into sixteen hundred shares of fifty-dollars each. The names and places of the persons forming this association for incorporation were William P. Murray, residing at St. Paul, Minnesota; Jacob E. Sackett, residing at Chicago, State of Illinois; James M. Wood, residing at Chicago, Illinois; Enoch W. Wiggins, residing at Minneapolis, Minnesota, and Frank P. Weadon, residing at Minneapolis, Minnesota.” The announcement stated that “The general nature of the business shall be the building, erecting and operating a public hall or halls and opera house or opera houses within the limits of St. Paul.”
Wood also began casting his net much wider for projects throughout the country, and soon set his sights to the West. It is also around this time that he begins using the title Colonel, going by Col. J. M. Wood.
On Aug. 2, 1888, the “Morning Oregonian” of Portland reported, “The New Opera House – Col. J. M. Wood, the celebrated architect of Chicago arrived here on the O. & C. yesterday. He brought a sketch of the plans he is drawing for the new opera house on Marquam’s block. The house will be 70×133 – will have parquette, parquette circle, balcony and gallery, will seat 1600 people, will have six proscenium boxes and six large elegant parlors both for ladies and gentlemen. The theatre building will be separated from any other building and will have an alley or court eight feet in width around the entire theatre, which, as Col. Wood puts it, will make it the safest theater in America in case of a panic, as the house will have any number of exits, and is on the ground floor. The interior will be of East India Style in architecture and finish” (page 5).
On April 4, 1889, the “Lincoln Journal Star” in Lincoln, Nebraska reported, “The visit at this time of Col. J. M. Wood, whose name and fame as an architect and builder is widely known across the continent, is believed to indicate preliminary movements about to be made towards the erection of some elegant and expensive buildings in this city. On account of the distinguished gentleman’s intimate social and business relations with Mr. John Fitzgerald, it is but natural to conclude that our honored citizen has plans of the long talked of hotel and opera house project now nearly matured and seeks the valuable services of the noted builder with the object of soon commencing active operations…Col. Wood is now engaged in building the California Theatre and the Grand Hotel at San Francisco, for Mrs. John McDonough, erected at an expense of $100,000. Mr. McD. (deceased) is pleasantly remembered by all pioneer Californians as the enterprising person who built the first theatre in that city. The new building is located on the old site. Mr. Wood is also building the Burbank opera house at Los Angeles, Grand opera house at Portland, Oregon, and new opera house at Tacoma, W.T., and Broadway theatre at Denver. He has just completed the Bush street theatre at San Francisco, a magnificent structure for Mrs. Leavitt. He erected the Hennepin opera house at Minneapolis, the Murray at St. Paul, and ‘Wonderland Theatre,’ Grand Rapids, Michigan for J. E. Sackett of our new Lincoln Eden Musee…” (page 4).
On Aug. 29, 1889, “The Los Angeles Times” reported, “Col. J. M. Wood, the architect of the New California and the New Grand Opera-house in Portland, talks of building an opera-house where the stage will be run by electricity – two men being able to operate the most intricate spectacular production, one being able to handle the entire scenery of an ordinary drama” (page 2).
In 1889, Moses and Wood were brought to Tacoma. On 6 Jan 1922, “The Tacoma Ledger” published an article on the return of Thomas Moses after 33 years. (page 18). The article reported, “Mr. Moses has been closely identified with Tacoma for many years. It was he who, 33 years ago, was brought to Tacoma with Col. J. M. Wood in connection with the construction of the Tacoma Theater, one to do the scenery and the other to build the structure. That both performed their appointed tasks well is attested by the fact that the Tacoma Theater is still Tacoma’s leading playhouse and that some of the scenery painted by Mr. Moses 33 years ago is still in excellent condition.”
On Sept. 3, 1889, “The News Tribune” of Tacoma, Washington, reported, “The New Theater Architect. Col. J. M. Wood, the noted Chicago architect of theaters, and daughter, are at the Tacoma hotel. Col. Wood designed the new Tacoma Theater. He came out to see how work was progressing on it. He expected to find more progress was made. Manager Hanna said this morning that he expected to be doing business in the theater by Thanksgiving at the very latest” (page 4).
Father and daughter then headed down the coast to California. On Dec 27, 1889, “The Daily Courier” of San Bernardino credited Wood as the architect for the Riverside Opera House. The 100-set Loring Opera House was one of the first built in southern California. The newspaper article mentioned “J. M. Wood, the architect of Chicago, considered the finest theatrical architect in the country.” The article also reported, “the scenery has been painted by Thomas G. Moses of Chicago, one of the best scenic artists in the United States” (page 3). Sadly, Wood’s trip to California with Lulu ended in tragedy. On March 26, 1890, “The San Francisco Examiner” announced Lulu’s death. The obituary announcement reported, “WOOD – In this city, March 23, Lulu, beloved daughter of James M. and Isabelle S. Wood, a native of Chicago, Ill., aged 18 years I month and 7 days. The funeral services will be held tomorrow (Thursday) at 3 o’clock P.M, at the undertaking parlors of Halstead & Co., 746 Mission street. Friends are respectfully invited to attend. Remains will be taken to Chicago for Interment.” At the time, her father had just completed 1,000-seat Loring Opera House in Riverside, California. I have yet to locate her cause of death.
It was around this time, that Wood’s assistant Lovell was added as a full-fledged partner to the architectural firm, establishing Wood & Lovell. Lovell had garnered quite a reputation of his own by this time, having continually assisted Wood since their early work together in Racine. On Feb. 25, 1890, the “Journal Times” of Racine, Wisconsin, reported that Lovell was “one of the finest draughtsman in the western country” (Page 3). Wood & Lovell established regional offices in San Francisco and completed a remarkable amount of work together by 1892. Projects included: Grand Opera House, Los Angeles; Loring Office Building and Opera House, Riverside, California; California Theatre, San Francisco; Columbia Theatre, San Francisco; and the Burbank Theatre, Los Angeles; Tacoma Theatre, Washington; and Marquam Grand Theatre, Portland, Oregon. They also remained associated with Chicago during this time.
It is in the California voting registry that we get a little more information about Wood’s appearance. On Oct. 2, 1892, his physical description was listed as 5’-8”, light complexion, grey eyes and grey hair. That year Wood was noted as “an enthusiast in this branch of his profession, and has devoted a great deal of time and study to the comfort, convenience, acoustic qualities and effect in the design and arrangements of opera houses, theaters and concert halls” (“The Bay of San Francisco,” Volume 1, 1892).
In 1893, Wood & Lovell’s business offices in Chicago were located in the new Ellsworth Building, at 537 S. Dearborn Street. Their list of accomplishments continued to grow throughout the duration of the decade.
On Dec. 2, 1894, “The Commercial Gazette” of Memphis, Tennessee, included an article on the new Lyceum Theater in that city (page 2). Architect Wood & Lovell.
“Col. James M. Wood.
Col. James M. Wood, the architect of the New Lyceum, is one of three American architects who make a specialty of theater building. He has been in the building business since he was 24 years old. As a practical contractor he has been engaged in several important lines connected to the building trade. He began the construction of theaters sixteen years ago, and among his notable structures are the California Theater, San Francisco; the New Broadway, Denver; the Marquam Grand, Portland, Ore.; the Grand Los Angeles; the Hennepin Avenue, Minneapolis; the Yosemite, Stockton, Cal.; the New Empire, Quincy, Ill.; Academy of Music, Kalamazoo; Black Opera House, Racine, and his own theater, Wood’s of Bay City, Mich. The characteristics of his work is the progressive spirit manifest in all of it, originality in arrangement and rigid adherence to the orders of architecture. He is the senior member of the firm Wood & Lovell of Chicago. Lovell has been associated with him for many years, giving his attention to the office work. The two men are in close artistic sympathy. Mr. Lovell’s talent as a designer, accounting for the perfection of their work. Mr. Wood is the inventor of the peculiar system of stage machinery in use at the new Lyceum. This theater is absolutely his own conception. It does not resemble any other theater in America, and will stand as a model…The stage is 68 feet in width and 40 feet in depth, and it is 60 feet to the gridiron, making the stage large enough for any requisition. The stage machinery will be the same as that delivered by Col. Wood for the new Broadway Theater in Denver, and similar to that adopted by the directors of the Chicago Auditorium, who sent one of the best American Stage carpenters to Europe to examine the most approved machinery in use abroad. The entire machinery is operated form the stage floor by a system of endless wire and cables counterweighted, thus avoiding the confusion incident to stage hands being crowded in the fly galleries, There are all the usual mechanical appointments. The scenery has been painted by some of the best American artists. No wood appears on the stage, apart from the flooring. The fly galleries and rigging loft are entirely of steel. An asbestos curtain running in iron grooves has been provided, and also an automatic skylight ventilator, which will open upon a rise of temperature. Automatic fire sprinklers have also been placed, so that every appliance has been rendered to use the stage safe and fire proof” (page 2).
Wood was also the theatre architect when Lyceum Theatre scaffolding in Memphis collapsed with seven men plummeting to the stage floor (“The Commercial Appeal,” 4 Dec 1894 page 3). This was another project supervised by Moses. It resulted in a death and a subsequent court case. Those who were working on the scaffolding when it collapsed were scenic artists Al Morris (Chicago), Charles Wallace (Des Moines), John Vorhees (Chicago); stage carpenter Joseph Wykupt; and assistants Horace Posey, A Ewell, and John Wiley.
On Dec. 2, 1898, the “Detroit Free Press” reported on the ongoing collapse of the Wonderland Theatre roof collapse. “Col. Wood testified that in the first interview with John Scott, the latter told him that his firm would insist on having control of the construction of the building and would consult with him regarding the arrangements of the theater. The witness had a book showing a record of all the material used in all the theaters he had built of the fire-proof type, and he was able, without any hesitation, to answer any question regarding them. His answers were all so direct and positive that there was no chance to quibble with him. He asserted that he was employed to look after the stage, the seating, acoustic conditions, line of vision, boxes and other matters pertaining strictly to the Wonderland Theater, while with the architectural and steel construction he had nothing to do; and paid no attention to it. Regarding to the fact that he had loaned John Scott & Co. a set of plans of the Detroit Opera house, he said that he did it simply as an act of courtesy, to a brother member of the profession, thinking that it might give him some idea of theatrical construction. He denied that he told Arthur Scott to follow those plans, saying that he had no authority to order him and he had not been asked to have anything to do with the construction of the building.” Woods connection to the Wonderland Theatre project was later described: “Col. Woods then narrated how he became connected with the Wonderland work, stating that in early April Mr. Wiggins called on him at the Russell House and referred to building a new theater. Mr. Wiggins told him he had contracted for the upper floors of the Barbour building for the museum, which made it necessary to employ the same architect. ‘He asked me,’ said Col. Wood, ‘to act in conjunction with John Scott & Co., and I said that I would, providing it was perfectly satisfactory to them, and Mr. Wiggins told me that they had already agreed. In talking to John Scott, he said the Scotts would expect to control the construction of the building and act with me as the designer of the theatrical arrangements in the building.”
Meanwhile, Wood continued to work throughout the region. On October 6, 1898, the “Lake Geneva Weekly News” of Lake Geneva, WI, reported, “Kansas City – The Auditorium destroyed by fire last winter, is to be rebuilt at an early day and run as a popular price house. Col, J. M. Wood of Chicago has arrived with plans for the new building.” (page 2).
In 1899, Wood was working out of Detroit. He was also assisting the architect William J. Brockett for a new theater to be built on the same site as the Cook Opera House in Rochester, NY. On May 9, 1899, the “Democrat and Chronicle” of Rochester reported, “The intention of the owners of the property was submitted to Mr. Brockett about a month ago, and he has been devoting his entire time to the plans since that time. Colonel James M. Wood, of Detroit, will be associated with Mr. Brockett as a consulting architect, after the actual work of construction is begun” (page 7). On August 18, 1900, “The New York Times” reported, “ Detroit, Aug. 17. – Col. James M. Wood of this city is preparing plans for a new vaudeville theatre to cost $300,000 to be begun this autumn in Sixth Street, Pittsburg. The theatre is to be built by Eirick & La Marche, proprietors of the Empire Theatre, Cleveland. Col. Wood said that Wiggins & Moore, proprietors of the Wonderland, the vaudeville theatre in this city, would probably also be interested. The new building is to be called the Empire and will probably be finished this winter” (page 7). On August 18, 1900, the “Detroit Free Press” reported, “Col. James M. Wood, the architect of this city, is preparing plans for a splendid new theater which is to be erected this fall on Sixth street, in Pittsburg, and in which the proprietors of the Wonderland will in all probability be interested. Col. Wood said last night that the theater, when completed, would be the finest vaudeville theater in the country” (page 5).
During the fall of 1899, Wood’s youngest daughter was married. On Oct. 19, 1899, the “Chicago Tribune” reported, “The marriage of Miss Edna Wood, daughter of Mr. and Mrs. James W. Wood, 4212 Greenwood Ave., to Mr. Burt C. Hardenbrook took place last night at the residence of the bride’s parents” (page 7).
Business was booming at the dawn of the twentieth century. The 1900 US Federal Census listed the Wood home as located at 4200 Greenwood Avenue, Chicago. He an Isabelle had been married 37 years, and enjoying life as grandparents, yet James was not slowing down yet. At the age of 59 yrs. old, he had designed dozens of very well-known theaters and was running architectural firms in Chicago, Detroit and New York. For the next decade, Wood worked on dozens of theater projects. Here are a few newspaper articles describing several projects:
On Sept. 2, 1900, the “Democrat and Chronicle” announced, “Manager J. H. Moore, of the Cook Opera house of this city, and the Detroit Theater has just perfected arrangements for the building of a new vaudeville house in Pittsburg, Pa. Colonel James M. Wood, the well-known architect, has completed the plans for the structure” (page 16).
On Feb 1, 1901, “The Buffalo Enquirer” reported, “New Theater’s Iron Delayed.” (page 8). “Col. J. M. Wood who has charge of the erection of the new Academy of Music, on Washington Street, arrived in Buffalo yesterday. It was expected that the work of putting up the iron of the stage would be begun this week, but the mills were unable to turn out the material on time…”
On April 13, 1901, “The Ottawa Citizen” of Ottawa, Ontario, Canada, announced, “Theater to be Rebuilt. Manager Small Announces That the Restoration Will be Effected Under the Supervision of Col. Wood of New York” (page 1). He was referred to as “Col. J. M. Wood, the theatrical artist of New York” and later “Col. J. M. Wood, the eminent theatrical architect of New York, Chicago and Detroit.”
On April 20, 1902, Detroit’s “Free Press” noted “Grand Rapids, Mich., April 198 – (Special) – Col J. M. Wood, of Detroit, the well-known theater architect, has leased what was formerly Powers’ Opera house, and it will be known hereafter as the Campo Square theater. The new opera house will be remodeled, and put in excellent condition and only first-class attractions will be booked for the next season” (page 23).
On Nov. 6, 1903, “Huntington Weekly Herald” of Huntington, Indiana, reported, “Col. J. M. Wood, of Grand Rapids, a noted architect whose specialty is opera house work, is in the city today in consultation with the opera house company regarding the structure to be erected in this city. The Colonel is the architect of most of the theater buildings in Michigan, including the fine play hoses of Detroit and Grand Rapids” (page 5). (page 5).
On June 25, 1904, the “Daily News-Democrat” of Huntington, Indiana, reported, “At the Opera House. Rapidly the brick is being laid on the new opera house. On an average the walls have reached fifteen feet in height. Pressed brick is being put on the front. Two round columns at the entrance extend to the floor of the second story. Carpenter work is also being hurried along on this building. Timbers for the balcony and gallery are in place and the other carpenter work is kept ahead of the brick masons. Col. J. M. Wood of Chicago, architect for the building, is in the city most of the time overseeing the construction. The opera house is to be a most complete modern and commodious structure, a distinct credit to the city” (page 13).
On April 1, 1904, the “Fort Wayne Sentinel” reported, “Col. J. M. Wood of New York City who has been in Fort Wayne for over the past two days to look over the ground for a number of New York Capitalists who contemplate the erection of a combined theater and office building in this city, returned to the last night, and will report favorably on the proposition to his principals…Colonel Wood is one of the most noted architects in the east and has made plans for more than fifty theaters in the larger cities of the country…he was a guest of E. Gregg Davis” (page 1).
On March 18, 1905, “The South Bend Tribune” reported, “Goshen, Ind. March 18. – The Sanders, Hay & Niedeg company of this city, has contracted with Col. J. M. Wood of Chicago for plans and specifications for a three story business block and theater…”
Wood’s reputation continued to grow over the years. On Oct. 24, 1905, “The Indianapolis News” reported, “Builder of Ninety-Eight Theaters. (Special to the Indianapolis News.] GOSHEN, Ind., October 24. – Col J. M. Wood, supervising architect of Goshen’s new theater, the Jefferson, to be opened November 6 by Richard Mansfield, with a dedicatory address by Governor Hanly, has closed a contract to build a $150,000 fireproof theater at Cincinnati. It is to be owned by the Schubert independent theatrical organization, and the site will be cleared this winter for early spring construction work. Colonel Wood had built ninety-eight theaters, some of them the finest in the country. He will also build one at Toledo and another at Garrett, next spring” (page 2).
J. M. Wood was still listed in the Architects section of the Chicago City Directory in 1907, working at 1708, 9 Jackson Boulevard H586. On April 16, 1907, Col. J. M. Wood was pictured in “The Indianapolis Star” on page 4. Beneath his picture, the caption stated, “Col. J. M. Wood of Cincinnati, the well-known architect who has drawn the plans for the new Grand Opera House and who has arrived here to superintend the building of the new theater, formerly lived in New York and knew Stanford White, who was murdered by Harry Thaw, the Pittsburg millionaire. Col. Ward was a personal friend of White, as both were prominent as architects. In discussing some of the great architectural feats the country has known Col. Wood last night spoke of the work of Stanford White. He declared the murdered architect did not deserve the reputation that has been given him in the thaw trial. ‘Stanford White is dead,’ said Col. Wood, ‘he has no defense, but the genius of the man and the refinement of the work he has produced ought to have some weight with the public. The unprejudiced mind ought to discriminate between one who is not here to defend himself and the character of his detractors. There is little doubt in my mind that the view of the entire jury in the Thaw case might have been radically changed if the efforts of the learned district attorney had been successful in bringing all the facts to light.”
By 1909 Col. James M. Wood was living in Indianapolis, Indiana, and working on a project in Rushville, Indiana. On Sept. 21, 1909, “The Daily Republican” noted that Will H. Ogan of Tipton and Col. James M. Wood of Indianapolis are directing the movement to get new factories, etc., into Rushville. Four hundred and fifty lofts were platted in the Posey farm at the northern city limits…articles of incorporation for the Young Men’s Commercial Club of Rushville” (page 4). He remained in Indiana for another decade, but the stream of work projects began to slow down. Most information about Wood’s life and career is found in census reports from this time.
In 1910, the US Federal Census listed that James and Isabelle Wood were living in Turkey Creek, Kosciusko, Indiana. Although still listed as an architect, he was living with his son Benjamin on a farm. At the age of 71, the household included Benjamin W. Wood (47) and daughter-in-law Nina Wood (39). At the time, Benjamin was working as a laborer in the Papering industry.
The 1920 US Federal Census listed J. M. Wood as an 80-yrs.-old grandfather. He and Isabelle were living with their grandson in New York. The household included Russell E. Driver (26 yrs.), Minnie Driver (51 yrs.), and Arthur E. Schneider (30, boarder). Their home was listed as 2910 Hilldale Ave in New York. Russell was an accountant.
Sometime between 1920 and 1923, James and Isabelle Wood moved to Washington, D.C., where they both passed. I have yet to locate any information about why they moved at this time. However, I was able to locate one article about Wood just prior to his passing.
On July 29, 1923, the “Washington Evening Star” reported that Wood was a guest at a gathering of old Civil War soldiers. The article detailed, “Entertains Party. Mr. and Mrs. William G. Good entertained at a dinner at Mountain View, their home in Rappahannock county, in honor of Maj. William F. Anderson, a former resident of that county who now lives in Covington. Maj. Anderson, who is eighty-three years old, is a Confederate veteran and the other guests were his old comrades-in-arms. J. M. Wood, eighty-two, Andrew T. Botts, eighty-one; Robert E. Miller, eighty, and Col. Patrick Henry O’Bannon, seventy-five” (page 11). I have yet to locate any James Woods with the rank of a Col. in the Union Army, although there were plenty of men named James Wood who fought in the war on both sides. However, in the 1878 publication “Georgia: A Guide to its Cities, Towns, Scenery and Resources,” there is mention of “the gallant Col. Wood” in the section entitled, “Confederate Military History.” This mention and the 1923 article may suggest that James M. Wood fought for the south. After all, he was living in southern Illinois when the Civil War broke out in 1861.
On October 3, 1923, the “Washington Evening Star” included Wood’s name in the “Deaths Reported” section (page 9). He passed away at 3224 Park Place. Two years later, Isabelle followed, also at the same address. On March 16, 1925, the “Racine Journal News” announced, “Mrs. James M. Wood, widow of the late James Wood, and a former resident of this city. She is survived by two daughters. Mrs. Minnie Driver and Mrs. B. C. Hardenbrook. The body will be brought to Racine Wednesday morning and funeral services will be held Wednesday afternoon 2 o’clock at the Thorson Funeral home. The Rev. N. K. Tully will officiate and burial will be in Mound cemetery” (page 4).
Wood was buried at Mound Cemetery, Racine, Racine County, Wisconsin. Although there is no marker, his grave is located in Block 11, Lot 109, grave 2.
To be continued…
