Tales from a Scenic Artist and Scholar. Part 542 – Bestor G. Brown and the San Francisco Earthquake, 1906

Part 542: Bestor G. Brown and the San Francisco Earthquake, 1906

Map showing the range of the San Francisco earthquake in 1906

I discovered an interesting article about Bestor G. Brown and the San Francisco earthquake while researching Freemasonry in Kansas during 1906. It is a fascinating eyewitness account of the natural disaster and subsequent fire. Brown was in town attending a meeting at the San Francisco Masonic Temple. It was while lodging at the Union League Club that Brown experienced the first tremors during the early morning hours on April 18, 1906. The earthquake triggered several fires that burned the city for two days. This article really gives you a sense of Brown’s personality, story-telling ability and charisma, much more so than any published history. The article was first posted in the “Topeka Daily Capital” on April 25, 1906, page 7.

Here is the first half of the article:

“Bestor G. Brown who is in Topeka attending the Scottish Rite Masonic reunion, was in San Francisco at the time of the earthquake, and puts in the time at the Masonic hall, when he is not helping with degree work, in relating his experience. Most of yesterday afternoon he sat in a big armchair in the smoking room and lodge quarters and told the story of the disaster. His audience changed continuously and he would finish the story to one party, some fresh listeners would drop in, and he would have to tell the story over again for their benefit.

The San Francisco earthquake as reported by the Cincinnati Post
The fires that raged for two days after the San Francisco earthquake on April 18, 1906
The same area after the fires swept through San Francisco from April 18-20, 1906

He stated that if it had not been for the fire, the damage to San Francisco would have been comparatively slight. Many of the buildings were destroyed by the earthquake, but the largest and finest structures stood through the successive shocks, only to be consumed by the flames which swept over the unfortunate city. He left San Francisco in the afternoon of the day on which the disaster occurred and remained in Oakland until the next days before he started for Kansas. He arrived in San Francisco late Tuesday evening and his baggage was left at Oakland to be brought across the bay the following morning. What personal baggage he had with him at the time of the earthquake he saved so he lost nothing on account of the earthquake except his breakfast and dinner which he did not get.

“‘I can’t describe an earthquake of the feelings one has who experiences one,’ said Mr. Brown. ‘The best description I have heard of the earthquake, I heard from a Los Angeles man. He said that it was like he was a nice red apple in the top of a tree with a crown of husky boys around the tree trying to shake him down.

“All I can say is that I felt frightened and couldn’t tell why. I felt eight shocks. They say that there were forty-eight. I don’t know what became of the other forty. Eight was more than a plenty for me. I suppose that the first shock was the most severe, but it was the later ones that frightened me. I suppose that was because I was not thoroughly awake when the first one was in progress, and did not realize how severe it was until I got downstairs. The real horror about an earthquake shock is the uncertainty of it. You never feel just sure about how it will end or what it will do. A cyclone you can see and can form some idea of what will happen next, but with an earthquake it is all mystery and uncertainty.

“I got into San Francisco late Tuesday night and went to the Union League club. I was sleeping soundly at the time of the most disastrous shock. I got up, dressed and went out with my overcoat and grip. The destruction in that part of town had not been extensive. The fire that came afterward was the horrible feature. [The Union League Club is located at 1000 California Street and along with the Fairmont Hotel across the street, the only structure to survive the 1906 earthquake and fire in the area].

The Union League building where Bestor G. Brown stayed the evening of April 17, 1906. James C. Flood Mansion, 1000 California St., San Francisco

“It was curious to note the different effects the earthquake had on the buildings in different sections. In some sections the buildings were twisted and out of shape or totally destroyed and in others they did not seem greatly affected.

“The terror of each severe shock is something that cannot be forgotten. The longest shock I felt probably continued five seconds, but it seemed much longer. The earth seemed to rise and fall and rock back and forth and then finally the shock ended with a sudden jar. It felt like the rising up of some huge animal in an effort to shake something off its back. That is as near as I can describe it.

The ruins of the San Francisco Masonic Temple after the fire in 1906. This was where Bestor G. brown met with other Masons on the morning of April 18, 1906, after the earthquake.

“The Grand Chapter of Masons met in the forenoon at the Masonic temple and were holding their meeting when the military came in an said it was time to move as they were going to dynamite the Palace hotel.

The Palace hotel on fire in 1906.

I went out to the street and saw the fire creeping up from two sides. I saw it creep up to the back door off the meat market on Market Street and the minute it touched the rear of the building it seemed to sweep through and bulge out into the street in front. About the time I took to the woods, I started for the waterfront and got there in about an hour and a half.

“When I left the Masonic temple I saw the fire creeping into the center of town. I decided that the town was doomed and that I could do no good so I decided to get out. It was not so hard to get out if one used head and feet. It took me about an hour and a half to reach the waterfront, but I got there. I had to take a rather roundabout route, though, I would start down one street until I was stopped by fire. I would cross over the next street and maybe meet the military there being ordered to move on. And so dodging fires and military from street to street I finally reached the dock.

“My route took me down through the poorer part of town and it was almost ludicrous to see people trying to get out with their effects. They seemed to use anything that had casters on it and haul their things on. I saw one man shoving an old carpet lounge with some small articles on it down the streets. I wondered how long the cheap casters and legs of the lounge would last. I saw another man shoving a cheap piano stool ahead of him and all there was on it was a brass birdcage with a canary in it. It was funny, and still it was rather pathetic.

“At the ferry boat landing there was no confusion. I got there in time to catch the 2 o’clock boat to Oakland. The boat was greatly crowded. In fact it was not a larger load that can be frequently seen in the evenings at San Francisco. The crowd on the boat was not excited. The Southern Pacific was very nice about taking people out of San Francisco, but they would not take anybody into it. They ran their boats across the bay on schedule time and carried all who came to the dock without saying a thing about fares or trying to charge. At the Oakland docks the people were allowed to get into the suburban trains for Berkley, Alamdeda or Oakland, according as they chose to go, and they were carried free.

“When I got to Oakland I had not had breakfast or dinner so about the first thing I did was hunt up a restaurant. I ordered two poached eggs on toast. They were very fine. I had just eaten one of the eggs when I saw the chandeliers of the dining room begin to shake and I decided to eat another egg some other time. Everybody else left the dining room at the same time I did and without completing their meals so that I do not feel the least ashamed.

San Francisco on fire after the earthquake

“From Oakland I saw the most magnificent spectacle I ever witnessed in my life. The papers stated that the flames at San Francisco were fanned by a high wind. That is a mistake. The great clouds of smoke and flame floated straight up into the sky. I saw the Palace hotel catch fire and burn. It made a beautiful blaze. Wednesday night I went down to the pier to see about my trunks which had not been sent over to San Francisco the night before and so were never taken over. I loitered about the pier talking to the baggage man as he looked for my trunks. I looked across the bay and the sight was wonderful. The boats were still bringing people from San Francisco and I managed to slip into one of them before it started back to San Francisco. I remained on the boat as it came back across the bay to Oakland it looked like great waves of flames were following the boat an account of the reflection from the fire in the waves which were caused by the boat. The fire lit up the bay so that it looked like it was afire. It looked like a sea of fire.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 540 – Thomas G. Moses and the Topeka Scottish Rite, 1906

Part 540: Thomas G. Moses and the Topeka Scottish Rite

In 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.”

Illustration of the Topeka Scottish Rite stage published in the Topeka Daily, 21 Feb, 1906, page 5
Illustration of the Topeka Scottish Rite audirorium published in the Topeka Daily, 21 Feb, 1906, page 5

The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5).

Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka, allowing candidates to be conferred in full form during the spring reunion of 1906 (The Topeka Daily, 23 April 1906, page 2). For the event, there were 200 candidates, the largest class ever assembled in the state. The reunion took place over the course of three days (The Topeka Daily, 23 April 1906, page 7). Two of the candidates were Dr. F. O. Hetrick and A. Haggart from Ottawa, Kansas. Their local newspaper, “The Evening Herald” reported that the two men “went to Topeka this morning to attend the twenty-sixth semi-annual reunion of the Ancient and Accepted Scottish Rite Bodies of the Orient of Kansas, Valley of Topeka. Both gentlemen are going to take degree work” (24 April 1906, page 3). This notice is not unusual, and often newspapers would list all of the candidates in a Scottish Rite class. Articles would also describe which degrees were conferred and communicated; conferred often meant that the degree was theatrically staged. Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. It says a lot about the size and prominence of the organization at the time. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity.

Grand Commander James D. Richardson, published in the Topeka State Journal, 27 Oct 1906, page 16

For the Fall Reunion in Topeka, Grand Commander James D. Richardson and his associates in the Grand Commandery were in attendance. They were attending various Scottish Rite Reunions. After Topeka, they would visit Reunions in Denver, Colorado, and Salina, Kansas. Richardson was a well-known national legislator; for twenty years he served in congress from Tennessee, concluding his service on March 4, 1905. The article reported, “He gave up a brilliant political career to devote his time and energies to the interests of Scottish Rite Masonry and is now one of the highest Masons in the land. He is sovereign grand commander of the supreme council for the southern jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry.” By the end of the fall Reunion, the “Topeka State Journal” published a picture of Richardson and an article titled, “He Likes Topeka. James D. Richardson, ex-Democratic Leader, Visiting Here.” He was quoted saying, “You have a fine city here and there are evidences on every hand that it is in a most flourishing condition.” When questioned about things political, Richardson replied, “Politics and Masonry do not mix, and I will never mix them, so you will have to excuse me from discussing any phase of politics.”

An article in the Topeka State Journal listed the activities at the Fall Reunion in detail,” Sessions yesterday were devoted to the registration of classes and preliminaries and the festivities will close Saturday evening with a reception and banquet in honor of James Daniel Richardson, of Washington. D. C., sovereign grand commander and his associates and the members of the consistory. Arrangements have been made to use the large room on the first floor of the Masonic building formerly occupied by the Topeka Athletic Association, as a banquet room during the reunion. Congressman Richardson of Tennessee is one of the orators. A condensed schedule of the work which will be accomplished during the four days of the reunion is as follows:

WEDNESDAY, OCTOBER 24

Afternoon and evening, registration of class

 

THURSDAY, OCTOBER 25

9:00 a.m., 4 deg. Secret Master, conferred

9:45 a.m., 5 deg. Perfect Master, conferred

11:00 a.m., 6 deg. Provost and Judge, communicated

1:30 p.m., 8 deg. Intendant of the Building, conferred

2:00 p.m., 9 deg. Elus of the Nine, conferred

3:15 p.m., 10 deg. 11 deg., 12 deg. And 13 deg., communicated

4:00 p.m., 14 deg. Perfect Elu, conferred

7:15 p.m., 15 deg. Knight of the East, conferred

8:30 p.m., 16 deg. Prince of Jerusalem, conferred

 

FRIDAY. OCTOBER 26

9:00 a.m., 17 deg. Knight of the East and West, conferred

10:00 a.m.,18 deg. Prince Rose Croix, conferred

1:00 p.m., 19 deg. communicated

1:15 p.m., 20 deg. Master of the Symbolic Lodge, conferred

2:00 p.m., 21 deg. Noachite, or Prussian Knight, conferred

3:15 p.m., 22 deg. Knight Royal Axe, Prince of Libanus, conferred

4:00 p.m., 23 deg. And 24 deg., communicated

4:15 p.m., 25 deg. Knight of the Brazen Serpent, conferred

4:45 p.m., 26 deg. 27 deg. And 28 deg., communicated

5:00 p.m., 29 deg. Scottish Knight of Saint Andrew, conferred

7:30 p.m., 30 deg. Knight Kadosh, conferred.

 

SATURDAY, OCTOBER 27

9:00 a.m., 31 deg. Inspector Inquisitor, conferred

2:00 p.m., 32 deg. Master of the Royal Secret, conferred

6:30 p.m., Reception and banquet

(The Topeka State Journal, 24 Oct. 1906, page 8).

The reunion either ran like a well-oiled machine, or it was one chaotic mess. With 100 drops and 17 of the 29 degrees staged, a lot occurred over the course of three action-packed days. The members and the money just kept rolling into Kansas. They were really the first state to soar in the southern jurisdiction.

Scottish Rite degree team from Siloam Lodge No. 225, Topeka, Kansas, 1920

During November of 1906, the Topeka Scottish Rite again broke ground again for a $100,000 addition to the building. The second floor that contained the stage and auditorium remained unaltered, but the Fraternity needed more space if the membership continued to increase at the same rapid rate (The Wichita Daily Eagle, 13 Nov. 1906, page 6).

To be continued…

Tales from a Scenic Artist and Scholar. Part 536 – W. H. Clifton, Yore’s Opera House, and Bell’s Opera House in Benton Harbor, Michigan

Part 536: W. H. Clifton, Yore’s Opera House, and Bell’s Opera House in Benton Harbor, Michigan

This is the second post installment about Sosman & Landis employee W. H. Clifton. In 1889, the “News-Palladium” reported on the completion of Yore’s Opera House in Benton Harbor, Michigan (Benton Harbor, Michigan, 14 June 1889, page 3). Clifton was mentioned as the Sosman & Landis stage machinist sent to superintend the installation.

The News-Palladium article noted, “Messrs. Sosman & Landis of Chicago, furnished the scenery and stage fixtures – Will H. Clifton, stage machinist, having been sent here by the firm to superintend the work some four weeks ago. He has just finished up this task of fitting the stage carpets – one green and the other red.

“The stage is admirably appointed. There are seven compete sets of scenery, namely, Parlor, Kitchen, Open Wood, Garden, Prison, Water View and Street, and all accompanying wings, borders, box scenes, etc., necessary to a first class theatre. All the doors and windows in scenery are “practicable: instead of being blind, as is usual in small theatres. There are also a number of “set” pieces – set rocks, set water, balustrades, a set house, a pair of garden vases, etc. The drop curtain is a handsome work of art and is unsurpassed in Michigan outside of Detroit and Grand Rapids, the scene being “The Hudson River from West Point.” Size of curtain 42×30 feet.

“Three traps, stage braces, stage screws and other stage paraphernalia complete Sosman & Landis’ branch of the work, which has been done in first-class shape. The proscenium opening is 36x24feet; depth of stage, 30 feet; 75 feet wide and 33 feet in length, with full set of grooves; flats 18×26; depth beneath stage, a little over 7 feet; sets of grooves, four; two roomy fly galleries. There is a special scenery entrance in the rear and also a private stage entrance. The stage will be brilliantly lighted by two rows of border lights, the footlights and numerous other side lights – electric” (Benton Harbor, Michigan, 14 June 1889, page 3). The seating capacity for the opera house was 1,027.

The fate of the Yore’s Opera House. From the “Herald Palladium,” St. Joseph 19 Jan 1994, page 44

In 1896, the first Yore Opera House caught fire, sometime after manager J. J. Simon closed the theater around 11 p.m. This immense blaze threatened the entire town of Benton Harbor and calls of distress were sent to fire department of St. Joseph (The Herald-Palladium, 19 June 1992, page 44). Eleven firefighters lost their lives battling the flames when a theatre wall collapsed; a twelfth firefighter died from complications a few days later. The Yore opera house became an example in the dangers of firefighting in the area. However, like many theaters destroyed by fire during the late-nineteenth century, another was constructed in its place and the community soon anticipated the completion of their “new, modern, first-class playhouse” (News-Palladium, 15 August 1899, page 4).

In regard to the necessity of an opera house in Benton Harbor, the “News-Palladium” reported, “An opera house? Of course we need one. No city of any enterprise or importance but can boast of a large auditorium where meetings, conventions, and entertainments of whatever nature, political, religious or educational, can be held with comfort and convenience. One of the most forcible illustrations of our need of a large auditorium was the funeral of the brave boys who dies to save the Yore’s opera house. There was no room in the city that could hold the Congregations” (5 Sept. 1899, page 1). Several plans for a new building were proposed, but all failed, until Dr. John Bell and George A, Mills entered the picture.

On the August 14, 1899, a franchise was granted “for the construction of an electric road to connect various resorts about the city, and as soon as it was given the promoters of the road surprised the alderman by showing plans of a $25,000 opera house that they have arranged to build” (Owosso Times, 18 August 1899, page 3).

Proposed opera house in Benton Harbor, Michigan, from the “News-Palladium,” 2 Sept 1899, page 1
John Bell and George A Mills, from the “News-Palladium,” 10 May 1900, page 1

On November 11, 1899, the “News-Palladium” reported “The new auditorium, which is being constructed by Dr. John Bell and Geo. A Mills, was obtained in a novel way. The promoters of the opera house desired to know whether of not the citizens really wanted the play house and in order to see what encouragement they would receive, Dr. Bell and Mr. Mills offered to erect a modern building if the business men would buy 1000 tickets for the opening performances at $5 each. The citizens responded generously and in a few days the tickets were sold” (News Palladium, 11 Nov. 1899, page 3). The article also reported, “Representatives of Sosman & Landis a scenery firm of Chicago, are here today making estimates for the scenery and scenic supplies.” But the contract was not awarded to Sosman & Landis, instead the work went to Armbruster of Columbus, Ohio; accidentally published as “Ambrewster & Company on opening night.” By that fall, the cornerstone of the new Bell Opera House was laid and fraternal orders planned a grand celebration for the occasion. On Wednesday, May 9, 1900, the Bell Opera House was dedicated.

The Bell Opera House in Benton Harbor, Michigan

Architect C. A. Brehmer of South Bend, Indiana, planned Bell’s Opera House after the famous Harrigan’s of New York City. In speaking of the opera house, Mr. Brehmer said, “There are two points which no play in the entire country can excel – its points for egress in case of fire or other necessity and the superior arrangement of the seats” (News-Palladium, 10 May 1900, page 1). On opening day, the “News-Palladium” provided detailed descriptions of the new building (0 May 1900, page 1):

“The auditorium is lighted by 450 incandescent lights and the beautiful blue tinted dome is brilliantly illuminated with 99 electric lights. The system of lighting was planned by James W. Pearl and the wiring done by the English brothers under the supervision of Henry Mason. The switch board for the main part of the building is located on the stage and is so arranged that any number of lights may be turned on or off as the occasion demands. The switch board for the lights in the halls and ticket office is in the box office, Both boards are of the latest pattern. The stage is 9 feet longer and 2 feet wider that the stage of the burned Yore auditorium and the height of this part of the building is 60 feet from the stage to gridiron, giving accommodation for any spectacular performances played in the larger cities. The theatre is fully equipped with its own scenery of the latest patterns, including slide drop curtains, side scenes, flies, and other stage setting. The scenery was painted and manufactured by Armbruster & Company, or Columbus, Ohio. The stage has fourteen dressing rooms with all improvements and conveniences.”

To be continued…

 

Tales from a Scenic Artist and Scholar. Part 519 – Palette & Chisel, October 1927 – The Design Process

Part 519: Palette & Chisel, October 1927 – The Design Process

Palette & Chisel newsletter from October 1927 with article written by Thomas G. Moses.

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series for “Stage Scenery” started during September 1927

Here is the second part of Moses’ October installment to the Palette and Chisel newsletter during 1927:

“The artist makes a ground plan of the scene, scaled to one-half inch to the foot. The stage director approves of it, the model is made and every detail is worked out in the model. The recessed window calls for glass or the equivalent; a thin piece of mica or celluloid is glued on the model over the opening cut in the cardboard, the sash lines are drawn with heavy ink, and small bits of heraldry or stained glass are introduced. All the doors have the small thickness jambs, the floor is drawn in imitation of inlaid woods, the whole model is carefully colored and when completed is submitted to the stage director who, in turn, submits it to the playwright and the producing manager. If any minor changes are necessary they are made. When the model is O.K. it is turned over to the stage machinist and an estimate is made to build and prepare the scene for the artist who makes an estimate to paint the scene, which includes the cost of the model.

When the scene is ready for the artist it is placed on his frame. When painted, the machinist puts on the finishing hardware and lines. It is now ready to be moved to the theatre to be produced or rehearsed. The artist and stage machinist superintend the setting and lighting for the first time. It is then turned over to the stage director, and here is where the real hard part of the production comes. After many nights of labor on the scene, as well as long days in preparing the models and painting the scene, completely fatigued and ready for a good nights sleep, he must attend the rehearsal, supposed to be a scenic rehearsal. It is anything but that. The chances are that a umber of artists are interested as there are three or more acts and often a number of scenes to each act, each scene probably painted by a different artist; so each must wait until his act or scene is called. Lucky the fellow who has the first act for he is apt to get away before 10:00 P.M. The one with the forth act will probably get away about 3:00 A.M. for the director will probably go over an act several times before pronouncing it perfect. If this happens in the third act the artist of the fourth act is alone in his long waiting. After he is through and on his way back to New York City he will probably be almost unable to keep awake.

Most of the new productions of New York City are tried out for a week or so over in New Jersey, at Jersey City, Newark, Trenton, Plainfeild or Elizabeth; they all have to stand for it, for that is about the only time they get any of the Broadway production, and the show soon hears from them. If it happens to be poor and the weak points are strengthened and rehearsed every day until they are in good shape for New York critics. The scenic decorations are supposed to be perfect; in fact, they must be perfect.

The scenic artist should know all branches of scenic art and not specialize too much. While it is almost impossible to be perfect in all branches, he should have a good knowledge of landscape, architecture, figures, free hand scroll, marines and drapery; in fact, about everything under the sun. While it is necessary for an artist to be absolutely correct in many details he very often has to gloss over a great many important points which are not noticeable to the public.

Within the past few years many of the stage interiors have solid wood wainscoting, six or seven feet high, very heavy door casing and thick jambs. These solid and realistic interiors are all right but even the relief ornaments and mouldings often have to be high lighted and the shadows made strong. The walls are usually made of some real fabric. So on these scenes there is very little work for the artist. Even in the exteriors the modern, up-to-date idea is to have a lot of artificial flowers and shrubs among the painted pieces.”

To be continued…

 

Tales from a Scenic Artist and Scholar. Part 500 – Thomas G. Moses and “The Woggle-Bug”

Part 500: Thomas G. Moses and  “The Woggle-Bug” 

Advertisement for “The Woggle-Bug.”

This is a long installment, but too bizarre to leave anything out. In 1905 Thomas G. Moses wrote that he worked on a production called “Woggle-Bug.”  It opened at the Garrick Theater in Chicago on June 18, 1905, and closed on July 13 of the same summer.

Article for “The Woggle-Bug” with image of Fred Mace who played the title character. From “The Inter Ocean,” 20 June 1905, page 6
The title character “The Woggle-Bug” pictured in the 1905 program for the Chicago production. The Woggle-Bug was played by Fred Mace.
Mabel Hite as “Prissy” and Hal Godfrey as “Jack Pumpkinhead” picture in the 1905 production of “The Woggle-Bug.”

Written by L. Frank Baum, with the musical score by Frederick Chapin, Baum hoped to duplicate the success of his earlier production – “The Wizard of Oz.” The story was also transformed into a short children’s book in 1905. Here is the link to the Woggle-Bug eBook at Project Gutenberg with illustrations by Ike Morgan: http://www.gutenberg.org/files/21914/21914-h/21914-h.htm

The Woggle-Bug eBook is available at Project Gutenbergm with illustrations by Ike Morgan.
The Woggle-Bug eBook is available at Project Gutenbergm with illustrations by Ike Morgan.

Noted as a “spectacular extravaganza,” The Woggle-Bug was reported to be an “artistic and dazzling panorama of light an color” (The World To-day: A Monthly Record of Human Progress, Vol. 9, page 703). The “Chicago Tribune” reported, “The scenery is abundant in quantity and good in design and coloring and the costuming is in exceptionally fine taste. The stage pictures are made of uncommon beauty by the skill with which they are lighted. Better stage lighting; nicer discrimination in the changing and employing in their handling has not been seen in Chicago in many a day. The stage pictures, thanks to the elaborate scenery, the handsome costuming, and the excellent lighting become beautiful enough to make “The Woggle Bug” an impressive spectacle and well worth the seeing” (19 June 1905, page 9).

The Woggle-Bug eBook is available at Project Gutenbergm with illustrations by Ike Morgan.
The Woggle-Bug eBook is available at Project Gutenbergm with illustrations by Ike Morgan.
The Woggle-Bug eBook is available at Project Gutenbergm with illustrations by Ike Morgan.

The “Inter Ocean” reported included an extensive article on “The Woggle-Bug” (20 June 1903, page 6):

“The Woggle-Bug,” a musical extravaganza in a prologue, two acts, and an epilogue, was written by L. Frank Baum, author of the book from which it is derived, “The Marvelous Land of Oz.” The story concerns the experience of Tip, the rightfully Princess Ozma, changed into a boy by the witch, Mombi. Tip steals the old lady’s can of Magic Powder, which brings to life inanimate objects, and with Jack Pumpkinhead, a combination scarecrow and jack-o’lantern, enjoys numerous experiences, including arrest by the upsurpers of his throne, before he reaches the domain of Queen Maetta, the sorceress, is turned back into a girl again and placed in charge of the Jewel City. The Woggle-Bug is an incidental character, representing a highly magnified insect.

The world has turner over and times have changed. This summer Chicago has become the London of America and her producing theaters miniature Drury Lanes in holiday time.

In the Garrick Theater last evening there was added one more to the list of prevailing spectacles for children. “The Woggle-Bug” is entertainment pap for the little ones. It is as huge an extravaganza as the stage of the Garrick will permit it to be, and it tells all about fairies and witches, goblins and jack o’ lanterns, magnified bugs, clouds of cats and dogs, fields of lady chrysanthemums and other things.

The children will like “The Woggle-Bug.” The adults will be divided – those with the hearts of children will approve; those who prefer the stronger fare that suits their years will not. For, so far in its career, it has been written and staged apparently with the intention of appealing directly to children, and only incidentally to their guardians. It is smothered in simplicity in which the child mid will revel, and before which the adult mind will not.

The Chicago child should be proud of itself to thus force so many examples of the infant spectacle in the heat of summer. And the parents of the Chicago child should be proud of themselves. Partly on the child’s account they supported “The Wizard of Oz” and “The Babes in Toyland,” and now we see what they’ve done! But that endorsement they have convinced a whole flock of managers that their patronage is just the richest possible harvest of Chicago’s summer time, and just now there is enough to amuse all the nurseries in the country at the same time. If they keep coming we’ll be talking baby talk and wearing sailor hats with ribbons, and playing ring-around-aroses before fall.

The Woggle-Bug, we repeat, will please the children. It is full of startling incidents for the Chicago youngster. There is a pretty little princess who is turned into a prettier little boy by a wicked witch; there is a funny woggle-bug, picked up by a school teacher and magnified so highly that it comes to life and sings a very tuneful song; there is a scarecrow with a pumpkin for a head which is sprinkled with magic powder and becomes a man; there is a sawhorse which also responds to the sprinkling and jumps about in lively fashion, and there is an outlandish young person who will make papa and mamma laugh because she is a regular cut-up.

There is, too, much scenery which is attractive, and electric lights of all colors and in all sorts of places, and a whole stage full of girls who sing right out as though they enjoyed it. Sometimes they have decorated stepladders to help them sing, and sometimes vine covered and illuminated summer houses. They always have something, and it generally lights up.

During one scene, when they are dressed as soldiers, they attack the walls of the Jewel city-think of that, children!-and very pretty walls, too, studded with rubies and diamonds and emeralds, and a few chorus men who are on the other side of the fight. And when they charge someone in the Jewel city shoots toy balloons at them through great big cannon. Yes, sire, they do. But the girls don’t care; they just throw the balloons back and finally capture the Jewel city.

Afterward there is a cyclone, as there was in “The Wizard of Oz,” and on the screen are shown what appear to the corpses of numerous white cats and dogs – an uncanny effect that the managers likely did not count on. Following this there is a field of nodding chrysanthemums shown, as were the poppies in “The Wizard;” then the Woggle-Bug Tip, and Jack Pumpkinhead comes wandering in as the Woodman, the Scarecrow, and Dorothy did in the other play. In fact, “The Wizard” is palpably the inspiration for newer extravaganza. The chief difference is this: Someone took the book of “The Wizard” after Mr. Baum got through with it and did so many things to it that the original author could hardly recognize it, while with “The Woggle-Bug” the impression is strong that the original manuscript has been altered but little. The children’s show was incidental in “The Wizard;” it dominates “The Bug.”

The costuming is pleasing in design and coloring, if not rich in material, and the scenic setting is at all times effective. “The Woggle-Bug,” taken in all, represents an earnest effort to provide an extravaganza free from objectionable feature. The music is an attractive virtue, and reawakens the hope that some day Composer Chapin will have a real good book to work with.”

The show did not do well at all. By July 13, 1905, the “Chicago Tribune” published, “’Woggle Bug’ is Hungry – Salaries unpaid; electrical apparatus taken for debt. Creditors of the Company Playing at the Garrick Theater Clamor for the Money Owed Them and Probably Will Force Close of the Engagement- Show is Given Under Difficulties Without Lighting Effects-Owner Makes Efforts to Continue” (page 3). The company was obliged to turn over its electrical apparatus to the Garden City Calcium Light company. Then the fifteen electricians struck and would not do their work until guaranteed wages by the house management.

When a show about lights loses the lights, it makes for a difficult time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 494 – Thomas G. Moses and “An American Woman,” 1905

Part 494: Thomas G. Moses and “An American Woman,” 1905

In 1905, Thomas G. Moses wrote, “My first production for the year was ‘An American Woman.’ For the First Act I had an illuminated drop supposed to be up north in the pine forests. The sky was one of the grandest sunsets I ever saw, purely accidental as far as I was concerned. It was the lights, but of course I took the credit, as long as they insisted that they lights were my suggestion.” “An American Woman” was a poetic drama in four acts written by Charles Eugene Banks for Miss Amber Lawlord. Lawlord starred in the leading role as Helen Chadbourne.

Amber Lawlord played the leading role in “An American Woman,” with scenery designed and painted by Thomas G. Moses. Portrait from the “Chicago Tribune,” 21 Sept 1907, page 5

The “Sioux City Journal” commented on Moses’ scenic contributions: “The unusual stage settings were important adjuncts in many of the stage pictures, for it must be confessed it was the beauty of these pictures and also the music of some of the lines , rather than the dramatic merit of the play, which made the evening a pleasure to the altogether too small audience present” (17 Jan. 1905, page 6).

The Daily Times (Davenport, Iowa, 12 Jan. 1905, page 6) described the play in its entirety:

“The opening scene, laid at the residence of Senator Whittleson in the pine woods of the upper peninsula of Michigan, introduces the gigantic business deal in which the senator hopes to make millions from the forest lands. The Indian, ‘Eagle Wing,” delivers a powerful plea for the life of the trees, in which he is seconded by Helen Chadbourne, the niece of the senator, who wins over her lover, John Thorne, to the cause. The secret attachment between the Baron von Auerbach and her aunt, discovered by Helen, causes he to sacrifice herself in the climax to save the honor of her family name. The second act, laid in the Chadburne home in Chicago develops the plot of the baron to ruin the newly formed syndicate, and his attempts to gain possession of valuable papers, from Mrs. Whittleson are frustrated by the heroine. Helen Chabourne’s actions, misunderstood by her lover, have caused a separation between them and in her sacrifice to save her aunt is the theme of the romance. In the studio of Baron von Auerbach, shown in Act III, the strongest and best action in the play is developed. Mrs. Whittleson’s attempt to elope with the baron, taking her husband’s entire fortune in stocks with her, is checkmated by Helen who makes her see the error of her ways. The baron is caught in a cleverly laid net and the fourth act is only a rounding out of the happiness that the close of the third assures.”

 

In many areas, the play was panned; the actors criticized the playwright, as well as each another for the terrible reviews. The tipping point for the production, however, was at the Willis Wood theatre in Kansas City when people in the audience audibly made fun of the play and of the star during the performance. Lawford struck back, blaming the author and her manager, The “Leavenworth Times” quoted Lawford in their article, “Miss Amber Lawford Finds She Can’t Act” (Leavenworth, Kansas, 2 Feb 1905, page 8). She was quoted as saying, “I know my play, ‘An American Woman’ is rotten. It was written by an amateur, Mr. Banks, a delightful old character, who howls if a line is changed without his consent. I designed the scenery and settings. My faith in Banks has ruined me. My company does not know how nearly I am to collapse and the public thinks I am an amateur and do not understand. The time will come when they will know me differently.” In Miss Lawlord’s interview with the paper, she said, “I don’t try to hide my identity. I am the widow of William Fairchild Morgan, who was accidentally killed while hunting in the Adirondack mountains four years ago, and have two children. My husband’s father was one of the richest men Kentucky has ever known and he bequeathed to my husband an immense fortune. I was married when I was 16 year old and I had an income of $100,000 a year until the death of my husband. I have traveled all over the world. I have had an ambition to go on the stage ever since I was a girl in the Roman Catholic convent at Notre Dame. That is where I was educated. I studied for the stage in Paris and devoted seven years to the hardest sort of work under the direction of masters of stagecraft. I joined Wilton Lackaye’s company to get experience. I took a minor part during the New York production, and was playing second leads before the end of the engagement. I played twelve weeks in Chicago with Mr. Lackaye…I still have money and property. Why I have a home at 7 East Thirty-third street in New York that has $100,000 worth of furniture. Do you know where 7 East Thirty-third street is? It is right on Fifth avenue and within a stone’s throw of the Waldorf-Astoria. Do you wonder that a woman of my experience, of my social standing, wealth, education and refinement whould resent these insults?…They say I am beautiful. But is it a crime to be beautiful? Cannot a woman be beautiful and still be something else? Is a woman cursed and hissed and ridiculed because she is beautiful?…The dresses I wear are the same that I wore a year ago at the horse show in New York, and they were favorably commented on in the society columns of the papers. But I will win yet, I am closing here and will have a play in a few weeks called “My Wife’s Husband.” It is a comedy. I will win of it tales the last drop of my life blood. I will be a star.”

Article about Amber Lawlord from the “Philadelphia Inquirer,” 29 Sept 1907, page 6

In 1908, Lawford married Samuel Willets, “son of a millionaire, master of hounds for the Meadow Brook Club, owner of the great jumper Heatherbloom, and member of six leading New York clubs” (The Pittsburgh Press, 21 June 1908, page 5). He was considered “one of the most desirable catches in the matrimonial market” at the time, coming from “one of the old aristocratic Long Island families.” The same article described that the new Mrs. Samuel Willets was “born in Frankfort, Ky., in 1880, the daughter of J. Henry Lorillard, a planter, alleged to be distantly related to the Lorillards of New York. A strain of Spanish blood flows in her veins. Her mother died when she was two years old and her father sent her to Notre Dame convent, where she was educated, remaining until she was 13, at which time her father died. A year and a half later she became the child-bride of William Fairchild Morgan, a wealthy resident of New Orleans. Their married life was happy. Morgan died in 1900, leaving his fortune in trust for their two children. She shortly afterward went on the stage.”

Amber Lawlord was later married to Mr. Samuel Willets. An article commenting on their marriage was published in the “Pittsburgh Press,” 21 July 1908, page 5

Her life may have been the best plot for a play.

To be continued…

Tales from a Scenic Artist and Scholar. Part 476 – Thomas G. Moses and “The Wayward Son”

Part 476: Thomas G. Moses and “The Wayward Son”

After a brief exploration of Masonic activities during the first decade of the twentieth century, I return to the life and times of Thomas G. Moses in 1903. As Scottish Rite scenery production was on the rise in the Midwest, Moses continued designing and painting scenery in the East. In addition to providing the 1903 stage setting for “Old Sleuth,” “The Ramblers,” Lost in the Desert,” “Reaping the Whirlwind,” “As you like it,” “Lost in the Desert,” “That’s All,” Scout’s Revenge,” “Mazeppa,” “The Night Before Christmas,” “The Red Café,” and “Peg Woffington,” Moses & Hamilton designed and painted the scenery for “Wayward Son.”

Advertisement for “The Wayward Son,” from “The Scranton Republican,” 2 Nov 1903, page 2

The “Buffalo Evening Enquirer reported that there was a “wealth of scenic splendor” in “Wayward Son.” The article continued, “The play is presented with scenic accessories, rarely equaled in variety and magnificence. The great locomotive scene, is an especially fine example of stagecraft” (22 Dec. 1903, page 9). Another article commented, “while many organizations are provided with a full scenic equipment, few companies, even in these days of managerial extravagance, carry such an elaborate scenic outfit” (17 Dec. 1903, page 20).

Newspapers published that the show gained the indisputable right to use the subtitle “A Whirlwind Success” for its mechanical and electrical effects. The technical feature that made “Wayward Son” the “talk of the town” was the scenic illusion in the third act. There was a great locomotive rescue scene that took place in the midst of a driving snowstorm. “The Buffalo Courier” reported, “In this thrilling stage picture the highest art of the scenic artist, the stage mechanician and the electrical expert is represented, the cast of this one scene alone reaching a larger figure than that expended for the entire scenic equipment of many pretentious productions” (13 Dec 1903, page 46). Another article also commented, “Besides its dramatic value, this scene is acknowledged to be one of the most beautiful and lifelike ever presented on the stage” (17 Dec. 1903, page 20).

This comedy drama written by Neil Twomey told the “fascinating story of home life, in which the hero, Tom Hanford, suffers almost every hardship possible to conceive” Star-Gazette (Elmira, New York, 31 Dec. 1903, page 6). The locomotive scene was described in the Star-Gazette article as “the sensational rescue of the hero, Tom Hanford, who is imprisoned in a baggage car by his brother and a confederate, who is no less a person than the chief of police himself. At the moment when the conspirators feel that they have their victim at their mercy the heroine of the play, Martha Barnard, a young secret service detective, dashes onto the stage in a locomotive, which her faithful colored ally, ‘Sleepy Bill,’ quickly couples to the hero’s temporary prison, and, with throttle thrown wide open, the engine dashes forward, to the great discomfiture of the conspirators, bearing the helpless hero to a place of safety” (26 Dec. 1903, page 6).

The “happy-go-lucky” Tom Hanford was played by the author Neil Twomey and the show opened at the Grand Opera House on October 12, 1903. The production enjoyed a long run at the Grand Opera House before touring across the country during 1904 to 1905.

To be continued…

Tales from a Scenic Artist and Scholar. Part 475 – Brown’s Special Counterweighted System

Part 475: Brown’s Special Counterweighted System

Brown’s Special Counterweighted System at the Scottish Rite in Santa Fe, New Mexico.

 M. C. Lilley’s western sales representative, Bestor G. Brown, subcontracted Sosman & Landis for the painted scenery, props, and stage machinery for their large Scottish Rite Theatre contracts. By 1912, many of the counterweight rigging systems installed in Scottish Rite theaters by Sosman & Landis were referred to as “Brown’s Special Counterweighted,” such as the one at the Santa Fe Scottish Rite.

Brown’s Special Counterweighted System at the Scottish Rite in Santa Fe, New Mexico, 1912.

So what do we know of the system referred to as “Brown’s Special Counterweighted” style of installation and how many are left? There are still examples of Brown’s Special Counterweighted System, however, some are slowly being removed and replaced with other rigging system. I first came across the designation in a series of letters between Bestor G. Brown, and the Austin Scottish Rite representative of Austin William G. Bell. Brown used the Dallas Scottish Rite as one example.

Wooden arbor cage with counterweights. Brown’s Special Counterweighted System at the Scottish Rite in Pasadena, California. This system was originally manufactured for the Scottish Rite Little Rock, Arkansas, during 1901.

Let me provide a little context for why the counterweight system came up in their discussion. Brown was trying to explain the intricacies of the installation process to a client who was completely unfamiliar with theatre. The Austin Scottish Rite was in the process of purchasing some of the Guthrie Scottish Rite’s old drops. Guthrie had been returned the old drops for credit on the purchase of new scenery when their stage was enlarged in the first building. M. C. Lilley had approximately 70 used Guthrie drops on hand to sell to another venue; they measured 15 feet high by 30 feet wide. A $1400.00 credit was given for the return of their 1901 scenery. The scenery collection was originally purchased for $8,000; today’s monetary equivalent is approximately $250,000, a significant purchase at the time.

Looking up into the flies. Brown’s Special Counterweighted System at the Scottish Rite in Pasadena, California.

On January 23, 1913, Brown also reported, “The [used] scenery is in very good shape – infinitely better that the average theatrical scenery used on the road. The writer personally went over the scenery at the studio last week. While our contract does not contemplate it, we are touching up some of the scenery and if it be properly lighted, you will have a handsome set of scenery that we would not undertake to paint and install for less than, at least, $8,000.00.”

View from under the fly rail. Brown’s Special Counterweighted System at the Scottish Rite in Pasadena, California.

The Austin Scottish Rite was initially interested in purchasing fourteen of the used drops, but wanted a definitive price for installation before determining the final number. Reading several letters of correspondence between Brown and Bell, it is obvious that Brown’s patience was wearing very thin as he had to repeatedly explain the final installation cost was based on the number of drops purchased. The continued correspondence, however, provides a wealth of information pertaining to the manufacture and installation of Scottish Rite scenery.

Brown’s Special Counterweighted System at the Scottish Rite in Austin, Texas, 1914.
Brown’s Special Counterweighted System at the Scottish Rite in Austin, Texas, 1914.

As Brown negotiated, the Valley of Austin was purchasing and renovating the old 1821 Turner Hall. Brown mailed a scene plat to the Austin Scottish Rite. This was to reference while determining the final arrangement of scenes. Of this process, Brown wrote, “The arrangement of drops is one of the most difficult things.” Brown further explained that they would arrange the used scenery so that it could be “properly adapted to the different Degrees and the sequence of Degrees.” However, he warned that even after careful preparation, some modifications would still need to occur once the scenery was hanging. This was all an art of the haggling between the Austin Scottish Rite and M. C. Lilley. Bell, representing Austin wanted to pay as little as possible for the used scenery. The process was taking longer than expected and Brown was trying to get the Austin Scottish Rite to contractually commit so that the project could be scheduled. Finally, the Austin Scottish Rite committed to the purchase, but wanted an unrealistic timeframe. At this time, a much larger project was driving M. C. Lilley’s installation schedule – the Santa Fe Scottish Rite. Santa Fe’s new building, stage and scenery were delaying all other installations, such as the Austin Scottish Rite

Brown’s Special Counterweighted System at the Scottish Rite in Austin, Texas, 1914.

Part of the initial delay was caused by the Austin Scottish Rite, not M. C. Lilley; this concerned the ongoing negotiation pertaining to the estimated expenses of the final installation. The Austin Scottish Rite wanted M. C. Lilley to provide a firm number for the installation cost without specifying the number of drops that they were purchasing from M. C. Lilley. Brown explained that the final expense was directly tied to the number of drops purchased to be installed. The carpenter’s expense of transportation and maintenance were figured from the time he left home until he returned. So, if he were to install only fourteen drops, that part of the expense would be proportionately greater than if he were to install twice that number of drops. Brown also explained that there was a difference in transportation charges directly relating to number of drops purchased and installed, either a full carload of scenery or less than a carload lot.   Brown also explained that M. C. Lilley could also furnish the hardware, such as pulley blocks and counterweight frames if the Scottish Rite wanted the installation done locally; this was the salesman trying to be accommodating.

Brown’s Special Counterweighted System at the Scottish Rite in Salina, Texas.

There was another complication; Brown noted that they had only one specific carpenter who was sent to direct a Scottish Rite installation which was why multiple installations could not simultaneously occur; this individual was actually a Sosman & Landis employee as they installed their scenery. Brown commented that the one who would be “superintending the installation” for the Austin project was currently occupied in Santa Fe at the Scottish Rite, installing an entirely new stage there. This necessitated that their expert stay on site for approximately three weeks. Shortly after Brown’s correspondence with Bell, Brown wrote that their superintendent and installation expert had died from an accident, causing another delay. Brown explained that this employee was the “only one thoroughly familiar with the special method of installing Scottish Rite scenery.” Brown wrote, “We do not mean that it is impossible to follow the same methods as heretofore, but it will take a longer time to do it because of a lack of familiarity with the work.” Thomas G. Moses also mentions the death of their head stage carpenter, writing, “Mr. Brown, our foreman carpenter” died very suddenly.

 

As Brown later explained, M.C. Lilley used only one employee who specialized in Scottish Rite scenery installation. I believe that this individual was the stage carpenter who Thomas G. Moses referred to in his memoirs – Brown. In 1892, the “Carlisle Weekly” reported that a “Stage Carpenter Brown” worked for the Metropolitan Opera House at the time it burned (Carlisle, Pennsylvania, 1 Sept. 1892, page 4). This may have been the same individual before he became associated with Sosman & Landis, as this is the same time when additional staff was added to Sosman & Landis’ studio for Columbian Exposition and other large projects.

 

Stage carpenter Brown was likely the individual who developed the counterweight system, and that the salesman Brown was mistaken for the namesake of the design. Newspapers would therefore erroneously refer to Bestor G. Brown as a “Masonic stage Carpenter.” In 1903 one article noted that Brown “created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States.” My findings suggest that “Brown’s Special Counterweighted” was credited to the salesman of the product and not the actual designer; this is understandable if they both shared the same last name.

 

In the end, the Austin Scottish Rite Bodies purchased 64 drops, not 14, on February 25, 1913, from M. C. Lilley. Thomas G. Moses would list the Austin scenery as one of the collections that he supervised while working at Sosman & Landis. The price for these used drops and their later installation was $1,650. The contract specified that a third of the amount was due upon installation (cash), a third due the following year, and the final third due in two years. Surprisingly, this financing was standard for Scottish Rite Theaters. Brown wrote, “In fact, if we had not been able to carry the Bodies in the Southern Jurisdiction as we have, we believe that fully one half of the development of the past ten years would not have been possible.” This is big as it presents how Scottish Rites were able to purchase state-of-the-art scenery, props, lighting and costumes – they were buying everything on credit and only had to pay a third upon receipt of goods. To pay off the rest meant increasing membership numbers that would generate even more income.

Bestor G. Brown

Brown died in 1917 at the Battle Creek Sanitorium after a relapse following an operation for kidney complications. At the time Brown was 56 years old and survived by his daughter, Mrs. Dana L. Davis of Topeka. It is sad to think, that a mere 14 years earlier he was a soaring star in both the Fraternity and fraternal supply business. Change can come so quickly.

To be continued…

Tales from a Scenic Artist and Scholar. Part 466 – Patrick J. Toomey’s Allegorical Float Designs for the Wichita Carnival and Fall Festival, 1900

Part 466: Patrick J. Toomey’s Allegorical Float Designs for the Wichita Carnival and Fall Festival, 1900

Wichita Carnival and Fall Festival button, 1900

The “Wichita Beacon” described the allegorical nature of each float in the Wichita Carnival manufactured by P. J. Toomey (5 Oct. 1900, page 5). Here is conclusion of the article introduced yesterday:

“The ‘Artist’s Dream’ float is the original painting by A. E. Begas. Reclining low upon a couch is a sleeping figure upon who groups of cupids shower roses and encircle rounds of graceful glee. The absorbing vision of ‘The Artist’s Dream’ is the incarnate spirit of motion poised upon a pedestal of light and executing a serpentine dance.

Advertisement from “The Wichita Beacon” (Wichita, Kansas), 5 October, 1900, page 5.

The ‘Vitality of Mother Earth’ float was painted by M. A. Wagen. The beautifully designed group symbolizes Mother Earth making her yearly triumphal round in a jeweled chariot drawn by two prancing steeds at whose touch nature yields the bounties of life.

The ‘Policco Verso’ float is by that well known painter J. L. Gerome. The Roman emperor and his attendant courtiers watch from the imperial balcony of the Roman Colosseum a contest of arms and strength between a group of gladiators and the arena below. One of the gladiators has vanquished two of his opponents who raise their hands to the mighty arbiters of their fate, begging mercy upon their lives. It pleases the cruelty and pomp of the court best to see the vanquished suffer the extreme penalty for the lack of prowess, and the verdict is ‘Policco Verso’ – or ‘thumbs down’ meaning no mercy for the fallen and the victor is thus compelled to extinguish the life of his adversaries and thus help “to make a Roman holiday.”

The float ‘Rock of Ages,” is by J. A. Oertel. This picture has become a familiar and favorite one in many of the humble as well as the sumptuous houses of the Christian land. It impersonates the hope for a glorified mortality. It is the Christian race clinging to the cross through every tempest of fate and struggling souls stretch out to reach it through the whirlpools of temptation.

‘Fairies Chariot,’ the float by Mme. Madeline Lemaire, is a fanciful conception which shows the occult power and subtle influence in the fairy folks at they speed by in their golden chariot drawn by beautiful large tigers which the magical spell has changed from ferocious beasts of the desert into the docile animals charmed to do the fairies bidding.

The float ‘Lucretia Borgia’ gives a fine scene from the life of that personage and was painted by that well known artist, H Raulbach. Lucretia Borgia, who was of noble Italian birth, and had many near relatives in high ecclesiastical offices is entertaining a prince cardinal andhis suite by displaying her accomplishments in dancing.

The float, ‘Gulliver in Broadbingnag,’ by R. Redgrave. The famous Dean Swift in his account of ‘Gulliver’s Travels Into Several Remote Nations of the World,’ gives vent to his fondness for satire by bringing the people of his day and his country to compare themselves in wisdom and strength to the primitive and sometimes untaught races of whom he is supposed to have discovered and visited. In Mr. Gulliver’s accidental storm-tossed journey’s to Broadbingnag in the South Seas, he finds himself among a race of giants averaging about sixty feet tall in whose country everything in nature and art is the same gigantic proportions as themselves. Gullliver, though a typical Englishman of the eighteenth century is a mere pigmy in their sight, and is placed upon a table thirty feet high to be viewed as a curiosity. The giants come from far and wide to see him but some find him so diminished that it is necessary for them to use spectacles to see him in any degree of perfection. They decide that he is just like a human being, though infinitely smaller than is usual.

In ‘The Garden of Love,’ is another float by C. Schienigle. It represents a garden terrace, where Dan Cupid has secreted himself and is about to aim his relentless darts at several of the young people gathered in this ideal retreat to enjoy the pleasures of music and conversation. Cupid’s aim will be true and decisive and there will be some joyous awakenings.

‘Evening,’ by C. Gleyre, is a graceful barque gliding in a smooth stream where music and song accord with the ripple of clear waters, the gentle evening breeze bags the sail and the oarsman languidly plies his car. The pleasure seekers in the boat are quietly absorbing the quiet and beauty that abound upon the breast of nature.

The ‘Apothesis of Louis XIV.’ is another resplendent float showing a chariot drawn by winged horses and heralded through time and space by royal trumpeters. The insignia of divinity is about to be placed upon his brow by the hand of Fate. Luxury and profusion follow in his wake.

‘Shakespeare’s Reciting Before Queen Elizabeth,” is a float by H. H. Slimarski, which depicts a scene of regal splendor. Elizabeth sitting upon her throne chair attended by ladies and gentlemen of the court is listening spellbound to the Bard of Avon recite passages from his plays which he then realized were to become immortal and would be read by future generations and be admired as long as the English language endured.

The ‘Bull Chariot’ is a handsome design by M. A. Waagens. This from a marble group and represents a scene from the ancient heathen rites of the Romans, when processions in honor of the gods and goddesses were frequent and always imposing.”

Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.
Toomey & Volland design for a 1913 Veiled Prophet Float, one of the five Physical Senses. The five designs sold at auction for $650 USD.

To be continued…

Tales from a Scenic Artist and Scholar. Part 465 – Patrick J. Toomey’s Electrical Pageant for the Wichita Carnival and Fall Festival, 1900

Part 465: Patrick J. Toomey’s Electrical Pageant for the Wichita Carnival and Fall Festival, 1900

Wichita Carnival and Fall Festival, 1900

In 1900, the “Street Railway Journal” reported, “The possibilities in the way of electrical decoration and illumination in street parades afforded by the overhead wires of a trolley road have been proved in several cities, particularly New Orleans, and views of the floats use din the Mardi Gras processions in that city last winter were published in the Street Railway Journal” (August 4, 1900, page 705). The article continued, “The unlimited current available for lighting and power to propel the flats makes it possible to secure finer spectacular effects than would otherwise be possible. This was shown during the special carnival, held June 28 in Milwaukee, in which trolley current was used for this purpose to a greater extent probably than ever before, and which was generally regarded as one of the most successful night pageants ever held on this continent.”

Milwaukee Carnival, 1900
Milwaukee Carnival electric floats by Toomey, 1900

Toomey was involved with the electric floats in Milwaukee since 1898, when he received the news of Noxon’s death. By 1900, the Milwaukee Carnival consisted of twenty parade floats, placed on electric trucks, and lighted with 6000 lights of different colors. A variety of subjects, they were “presented without any aim at continuity of idea, but solely for their picturesque beauty and scope for fantastic display of form, color, and effulgent light.” By 1915, San Francisco’s electric parades would boast, “the first electrical pageant to be staged in the city independent of street car current;” the currents for the parade float lights were supplied by automobiles and storage batteries (San Francisco Chronicle, 5 Dec. 1915, page 61).

Veiled Prophet Parade, 1883
Pageant of the Veiled Prophet, 1883

Toomey’s production of parade floats started in 1878 for the Veiled Prophets procession. His unique floats became a staple for Mardi Gras in New Orleans, the Veiled Prophets in St. Louis, and Carnivals across the country. Illuminated parades emerged appeared all over the country, including Milwaukee, Wisconsin; Springfield, Illinois; El Paso, Texas; and Wichita, Kansas. The Wichita Beacon provided detailed accounts of the electric pageant in that city, giving us great insight into the design and construction of Toomey’s floats.

Noxon & Toomey float design for Veiled Prophet parade

In 1900, the “Wichita Beacon” included an article concerning the City’s contracting P. J. Toomey to design and manufacture the electric pageant for the upcoming Wichita Carnival and Fall Festival (14 July 1900, page 5).

Here is the wonderful description of Toomey’s artistic contribution to the upcoming Wichita Carnival and Fall Festival in 1900; the event was scheduled for October 1-6.

“Contract Closed.

Electrical Pageant Will Be Given Carnival Week.

Attractions for Midway About Secured.

The Wichita Carnival and Fall Festival association yesterday closed a contract with P. J. Toomey of St. Louis for the production of his electrical pageant in this city on Friday night during street fair week. The floats, twelve in number, will be built at once by the Noxon-Toomey Scenic Art Company of St. Louis.

Sixty-five costumed characters will be required on the floats, besides 120 attendants on foot. The floats will be lighted by incandescent lamps, 150 being placed on each float. The floats will be mounted on street car trucks and run over the lines of the street railway company. The parade will be seen on Douglas and Main streets and will counter march to the starting place.

Outside of the regular scenic floats, four floats will be provided for bands. The parade will be brilliantly lighted by colored lights and the costuming of the attendants will be elaborate. The floats will be run about 200 feet apart.”

The carnival association also contracted three searchlights to be used to illuminate the streets at night, besides the other electrical decorations. A Carnival queen was be crowned with a very elaborate ceremony. “The Anthony Bulletin,” reported that colored calcium flashes would be thrown on the scenic effects and upon a chorus of one hundred female voices, dressed in white and arranged to show a red, white and blue scene” (The Anthony Bulletin, Anthony, Kansas, 6 Sept, 1900, page 4). The state of Kansas was billed as the “Italy of America,” and Wichita “the Peerless Princess of the Plains” (The Kingman Journal, Kingman, Kansas, 21 September 1900, page 5).

On October 5, 1900, the “Wichita Beacon” credited Toomey with designing and constructing the floats in St. Louis, working on them “with great care and painstaking for several months” (5 Oct. 1900, page 5). Their cost for the twelve floats and their transportation over the Missouri Pacific railroad was reported to be several thousand dollars. Each float, because of its size, occupied a special flat car. The article continued, “The street car company has arranged four cars to accommodate the various bands that will furnish the music for the occasion and these also will be trimmed and will be a feature of the grand pageant. The latter will form on Douglas, just east of the Rock Island track and at eight o’clock sharp will move west on Douglas to Main, north to Oak street and, returning over the same route, will end at the starting point.

The electricity will be supplied by the street car trolley wires. The various persons who will participate in the affair will be tastefully costumed to represent the characters they assume for the occasion in the great variety of subjects.”

Tomorrow, I will include an article that described each individual float designed by Toomey during 1900. There are amazing!

To be continued…

Float design by Noxon & Toomey