Moses & Hamilton – Drypigment.net

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 61 – Will Hamilton

Will Hamilton worked as a scenic artist for Sosman & Landis during the early 1890s. He continued to sporadically work with the firm over the years, and even partnered with Thomas G. Moses from 1900 to 1904. Like many of his contemporaries, Hamilton was not only a skilled painter, but also a stage mechanic well-versed in scenic spectacle.

*William Franklin Hamilton in 1919. Passport application photo.*

William Franklin Hamilton was born on Dec. 11, 1864, in Warren, Ohio. He was the only son of William F. Hamilton, Sr. (1840-1906) and Mary Ann Moffett (1842-1922). His three younger sisters were Emma (1867-?), Carrie (1871-1957), and Nellie (1878-1946).

The 1870 US Federal Census listed the Hamilton family as living in Harmony, Pennsylvania. At the time, their household included William F. Sr. (30 yrs.), Mary A. (30 yrs.), Charles (9 yrs.), William Jr. (5 yrs.), Mary (3 yrs.), and maternal grandmother Elizabeth Moffet (54 yrs.).

A decade later, the family was still living in Pennsylvania, but had moved to Bradford. In Bradford, William Hamilton Sr. worked as a carpenter. “Willie” Hamilton was 15 yrs. old at the time and working as a clerk. It remains unclear as to exactly when Hamilton commenced his career in scenic art, however, by 1887 he was working as a scenic artist in Lancaster, Pennsylvania.

On June 15, 1888, the “Northumberland Country Democrat” of Sunbury, Pennsylvania, reported, “W. F. Hamilton, of Lancaster, a scenic artist, is in Sunbury on business” (page 1). He did not remain in Pennsylvania for long, moving to New York later that summer. On August 1, 1888, an article in the “Pottsville Republican” reported, “W. F. Hamilton, a scenic artist, of New York City, is domiciled at the Merchants’ Hotel. He is at work on a 5×5 feet lawyers card with a view of Tumbling Run in the center, which he is placed at the Court House” (page 4).

Hamilton’s travels throughout the region continued that year and included Staunton, Virginia. The “Maysville Evening Bulletin” published his endorsement for a local photographer on Jan. 25, 1888 (page 2). The endorsement stated:

“Kackley’s Photos.

Staunton, VA., Jan. 23, 1888.

Editor Maysville Daily Bulletin – During a recent stay in your enterprising little city, I had some cabinet photos taken at Mr. Kackley’s gallery and, as an artist, I take much pleasure in saying that the pictures that I received to-day reflect much credit on Mr. Kackley, the style and finish being most excellent.”

By 1890, the “News Herald” of Franklin, PA, announced his visit. On August 13, 1890, the section entitled “Our Card Basket” reported, “Mrs. W. F. Hamilton, of Johnstown, and her son, W. F. Hamilton Jr., have been the guest of the lady’s brother, B. Moffett. The son is a rising young scenic artist of New York city. He left this morning for Nashua, N. H.” That same day, the “The Oil City Derrick” reported, “Mrs. W. F. Hamilton, of Johnston, and her son, W. F. Hamilton, Jr., scenic artist of New York City, are visiting the residence of Mrs. Hamilton’s brother B. Moffett. Will, who is a former Oil City boy, has established quite a reputation as a scenic artist. He says he has more work than he knows how to get through with, but stole a few days to visit friends and relatives in the Oil Regions, He leaves Wednesday for Nashua, N. H.” (page 1).

By 1892, Hamilton was working in Boston at the Bowdoin Theatre. On Feb. 14, 1892, the “Boston Sunday Globe” credited Hamilton and Arthur H. Davis as painting the stock scenery, including two interior settings. The official scenic artists for the venue were former Sosman & Landis artist Henry C. Tryon and A. H. Davis. Tryon passed away that summer. On September 5, 1892, the Personal Section of the paper included, “W. F. Hamilton, the scenic artist, is again in this city, after having finished his contract placing two curtains in the Academy of Music at Pittsfield” (page 4).

Moses first met Hamilton in 1892 when they worked together on the models and scenery for “Ben Hur,” a touring pantomime tableaux. By 1894, Hamilton married Susie A. Howes (b. 1874) in Boston, Massachusetts. Their marriage certificate confirmed Hamilton’s birthplace as Warren Ohio, and his occupation as “artist.” Little is known of Suzie, other than she was from Belchertown, and that her parents were Frank H. and Ellen V. Howes. The couple was married by a Justice of the Peace. I have yet to find any divorce records, but their marriage did not last. By 1906, William married his second wife, Elizabeth (b.1878).

Like many scenic artists, Hamilton worked all over the country on a variety of projects, especially along the eastern seaboard. By 1896, Hamilton was associated with both the Standard Theatre and Star Theatre in New York, yet continued to travel for work. Hamilton painted scenery for the Thalian Hall in Wilmington, North Carolina in both 1896 and 1899.

On August 29, 1896, the “Wilmington Star” reported, “Mr. F. C. Peckham, of New York, assistant to Mr. W. F. Hamilton scenic artist and stage manager of the Standard Theatre, arrived in the city yesterday and will commence work at once on the scenery and new drop-curtain at the Opera House “ (page 1). The “Wilmington newspaper” later reported:

“Everything is now in readiness at the Opera House for the opening of the season. To use a trite expression, the new drop curtain which has just been completed by the well-known scenic artist, Mr. W. F. Hamilton, of the Standard Theatre, New York, city, is ‘out of sight.’ The new curtain is a very handsome one. The large centre scene represents the coast of Cornwall, showing the high cliffs, upon the tops of which are the homes of the fishermen and natives of this dangerous coast. Mr. Hamilton and his clever assistant, Mr. F. C. Peckham, showed a STAR reporter yesterday several superb set scenes, which they have just completed, in conjunction with the curtain, for the management of the house. The handsome old curtain, which has for many years past done excellent service, has also undergone repairs, and has thrown off its roller and will “slide up” like its companion.” In other words, Hamilton transformed the original 1858 drop curtain by Russell Smith into a fly drop.

In 1897, W. F. Hamilton was listed as a scenic artist in the “Boston Directory.” He was living in room 20 at 611 Washington. From 1898 to 1899 he remained in Boston and was listed as the scenic artist for the Columbia Theatre. On March 10, 1899, “The North Adams Transcript” in North Adams, Massachusetts, published an article entitled “Columbia Scenery and New Exit” (page 5). The article noted, “The trustees of the F.M.T.A. society awarded the contract to Hamilton to complete the work. Of Hamilton as an artist, the article continued, “He has an excellent reputation, and will provide a complete set of scenery, with drop and fireproof curtains. It is expected that some of the scenes will be more elaborate than anything the house has had.” While in the city, he completed numerous projects, including holiday window displays for C. E. Osgood (“Boston Sunday Post,” 12 Dec., 1897, page 15) and Jordan Marsh & Co. (“Boston Daily Globe,” 5 Dec. 1898, page 8).

In 1898, Hamilton delivered stock scenery to the Gem Theatre at Peaks island in Portland, Maine. On June 3, 1898, the “Portland Daily Press” reported, “In addition to the large stock scenery originally purchased there have recently been painted by W. F. Hamilton of the Columbia in Boston, a full oak, a rococo parlor and colonial sets all of which are intended for the opening night and from time to time further additions will be made by the scenic artist as occasion demands” (page 7).

William F. Hamilton was also an inventor of stage effects. Manager Charles H. Yale purchased Hamilton’s “The Dance of the Elements” in 1900. Hamilton’s attraction was added to Yale’s annual production of “The Everlasting Devils Auction.” Yale created a new edition of the production each season, advertising, “New and timely matter, clever novelties, original ideas in scenery and costumes, imported and native artists in all branches of the profession, sumptuous ballets and features that were exclusive to this attraction” (“The Montgomery Advertiser, Montgomery,” Alabama, 14 Sept. 1902, page 11). By 1902, the “Everlasting Devil’s Auction” announced its twenty-first edition. Each year, announcements advertised that existing acts were replaced with “new ideas, features, scenery, costumes, and mechanical effects.”

The “Indianapolis Journal” reported, “Mr. Yale has bought outright from the Inventor, W. F. Hamilton, for presentation solely with this attraction, a new electrical sensation entitled ‘The Dance of the Elements.’ The paraphernalia employed in this scene are elaborate and intricate, and is developed by two clever dancers, who, costumed as the Elements Pirouette among real rain, snow, gold storms and cyclones, these effects being aided by the introduction of a number of new ideas in electric lighting and a multiplicity of harmonious coloring, abetted by special scenic investiture, forms one of the most beautiful light and color ideas that has yet been discovered for theatrical use” (“The Dayton Herald”, 28 Nov. 1900, page 7).

The sale of this invention occurred the same year that Moses partnered with Thomas G. Moses to establish a scenic studio. From 1900 to 1904, the two ran a very successful studio in New York, creating stage shows and amusement park attractions. Moses & Hamilton operated a scenic atusio at Proctor’s 125th Street Theatre. Their staff included Ed Loitz, Otto Armbruster and Al Robert. Projects were plentiful, and consistently spread across three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125^th Street Theater. Moses was the lead scenic artist at the American Theater, Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Roberts was the lead scenic artist at Proctor’s 125th Street Theatre.

For three years, Moses & Hamilton secured almost more work than they could handle, producing scenery for opera, vaudeville, and other entertainments. Their work for Frederick Thompson at Luna Park included “A Trip to the Moon,” “20,000 Leagues Under the Sea” “War of the Worlds,” and “Fire and Flames.” A few of Moses & Hamilton’s Broadway designs included “Under the Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey” (New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand Opera House from August to September, 1904), “The Medal and the Maid” (Broadway Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls” (Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904). Their work was sought after by Helena Modjeska, John C. Fisher, Henry Savage, and other well-known theatre personalities.

The partnership ended when Joseph S. Sosman and David H. Hunt lured Moses back to Sosman & Landis’ Chicago studio in 1904. When Moses returned to Sosman & Landis, he was promised complete control over design, construction, and delivery of all projects, plus a share in the company. Moses recorded that Hamilton was devastated with the closing of their business, writing, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it, as he saw his meal ticket slipping away.” In addition to numerous theatre installations, Moses & Hamilton had created several outdoor attractions to Coney Island, including “Trip to the Moon,” “20,000 Leagues Under the Sea,” “Fire and Flames,” “The War of Worlds,” and many others. They also designed and ran the own Coney Island attraction, “The Devil, the Man and the Maid.” As with “The Dance of the Elements,” this successful design was purchased by another manager to run.

Hamilton continued to focus on amusement park attractions after Moses headed back to Chicago. In 1904, “The Courier” reported, “W. F. Hamilton, the well-known scenic artist has secured a large tract of land in Winthrop, Mass., facing on the water, where another Luna Park will be created on a more extensive and elaborate scale. A syndicate of capitalists is going to assist Mr. Hamilton in promoting the affair, and by next May, Boston will have a summer place of amusement larger and finer than anything on exhibition at Coney Island. Architects are now busy completing the plans, and the work is expected to begin within a week. The eccentric character Verno, says we are to have Luna Park, a ‘Pike’ or something of the kind on Island Park next summer. The only evidence of it is the stone ‘pier’” (Harrisburg, PA, 13 Nov. 1904, page 9).

In 1906, Hamilton had moved to Pittsburgh and was working on another amusement park. On February 4, 1906, the “Pittsburgh Press” reported, “Manager W. F. Hamilton, of the Dreamland Amusement Co., of this city, has had a force of men at work preparing the foundations and sewering the tract of 20 acres in readiness for the actual building of the array of palaces and other features as soon as Old Sol begins to beam his loveliest in springtime…In W. F. Hamilton, the projectors of the new park have a man who is not only excelled in his line of amusement park promoter int his country. He is not only a practical contractor, but he is a finished scenic artist and constructor, and in addition has some expert knowledge of the laying out of landscape gardens. He was associated with Thompson & Dundy in the first production of their spectacle “A Trip to the Moon” as designer and constructor.” On Feb. 18 of that same year, the “Pittsburgh Press” added, “W. F. Hamilton of New York, who has built a number of such great playgrounds, and who is a scenic artist of national reputation, has charge of the latest Pittsburgh Park project” (page 22). The new pleasure land on Jacob Weinman’s property, was called “Dream City and promoted as a “veritable fairyland of color light and architecture.” Weinman, of Pilkinsburg, was the president of the Dreamland Amusement Co. of Pittsburgh and W. F. Hamilton, the manager. Besides the standard amusement park attractions at Dream City, a picnic ground was planned, with rustic bridges, pavilions, and benches, to “bring delight to the seeker after pleasure and nature alike.”

By the end of the year, Hamilton also established the Pittsburgh Sportsman’s Show Association, becoming the vice president and general manager of the organization. He remained in Pittsburgh for a few years. In 1906, he married his second wife, Elizabeth Baylor, there. Elizabeth was quite a bit younger than, born in Philadelphia on March 6, 1878. The daughter of Theodore Baylor (b. 1849) and Catherine Rass (b. 1849).

By 1907, Hamilton was associated with the Alvin Theatre in Pittsburgh, listing the venue as his business address in local advertisements for stage equipment.

{Insert Hamilton Ad]

In 1907 Hamilton also began working as a salesman for Messmore & Damon Inc., and was still representing the company as a salesman in 1919 when he traveled to Cuba for the firm.

On Oct. 23, 1908, “The Oil City Blizzard” of Oil City, Pennsylvania, announced, “W. F. Hamilton, a scenic artist, of Pittsburgh, is in the city assisting in the preparation of floats for the Halloween celebration” (republished on October 23, 1948).

The 1910 US Federal Census listed William F. Hamilton as a sign painter in the Theatre industry, living with his second wife Elizabeth Hamilton (32) and his Mother-in-law Jane McNally (69) at 957 Fox Street in the Bronx, NY.

In 1914, Hamilton painted scenery for the big Actor’s Fair at “The White Rats” clubhouse on West Fifty-sixth Street, New York. On May 16 the “New York Clipper” reported, “A complete scenic equipment, transforming every interior of the main floors and roof of the building, electric multi-colored illuminations inside and out, gay bands on the walk outside and myriad gay novelties within are all comprehended in the preparations already completed. W. F. Hamilton, scenic artist, has painted several thousand feet of profile and hanging effects for the carnival. These began at the entrance with a miniature but practical reproduction of an average one-night stand town hall, which is equipped with the average town hall’s complement of scenery, will be presented every afternoon and evening, ten-minute tabloid satires of a half dozen or more of the hoary old-time ‘mellera,’ with ‘Uncle Tom’s Cabin,’ ‘East Lynne,’ ‘Ten Nights in a Bar Room,’ ‘The Silver King,’ ‘The Lights of London,’ and the ‘Corsican Brothers’ included” (page 3).

In 1915, the New York State Census listed William F. Hamilton and his second wife Elizabeth Hamilton living in New York. William was listed as a 50 yrs. old artist and Elizabeth as a 37 yrs. old vocal teacher. That year, their only daughter, Betty Clare was born.

In 1918, Hamilton was again working with Moses, but this time in California. Moses wrote, “I made a lot of models and sketches for floats for Labor Day. Hamilton came out from New York to superintend the work. He always drops into a fat job somewhere.” Their project was designing and building floats for the San Francisco Labor Day parade.

In November 1919, Hamilton was still living in New York when he applied for a passport. His application included a letter from Messmore & Damon, “artistic creators in ornamental plaster,” located on Ninth Avenue:

“Secretary of State

Washington, D.C.

Dear Sir,

Referring to the application for a passport to visit Havana, Cuba, made by W. F. Hamilton. Mr. Hamilton is making the proposed trip in our interests for the sale of our products and such contracts as he may be able to secure for floats and decorations for their annual celebration in February. Our association with Mr. Hamilton dates from 1907.

Yours respectfully Messmore & Damon Inc. President. G. H. Messmore.

*William F. Hamilton’s 1919 passport application.*

Hamilton’s passport application noted that in the past he had resided outside of the US for two days (Canada) in August 1919. In 1919, his permanent residence was listed as 409 Bedford Ave. Mount Vernon, NY, and he needed a passport to conduct business in Cuba. Hamilton was planning to spend 6 months in Cuba.

The 1920 US Federal Census listed William F. Hamilton living with his wife Elizabeth (42), daughter Betty (4) and mother-in-law Jane McNealy (also McNelly/McNally – 80). He was working in the “Decorator” industry. About this time, Hamilton shifted his focus and headed to the West Coast.

In California, Hamilton saw the potential for an ever-increasing number of opportunities associated with the Masonic Fraternty. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920. The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.

By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year. The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (“Sacramento Star,” 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”

Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15). The article continued, “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4). The Municipal Auditorium once hosted the Oakland Shrine Circus.

Moses continued to visit with Hamilton whenever he was working on a project near San Francisco. Over the years, Hamilton continually urged Moses to move west. Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.” Moses consistently landed work in California and visited his friend. In 1925 Moses wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.”

The 1930 US Federal Census listed William F. Hamilton as an artist in the newspaper industry, living with his wife Elizabeth C. (52 yrs.) and daughter Betty C. (14 yrs.) at 751 El Camino Real.

In 1936, Hamilton was still working as an artist, now living at 3404 Clay. He and his wife were listed as Republicans in the California Voter registration, San Francisco. Mrs. Elizabeth C. Hamilton was working as a musician. By 1938, all of the Hamiltons were listed as Democrats. Mrs. Elizabeth C. Hamilton was employed as a teacher, and Miss Bettyclare Hamilton was an artist. They were all living at 110 20^th Ave. in San Francisco.

In 1940 the US Census listed the Hamilton household as including: William (75 yrs. old, commercial artist); Elizabeth (62 yrs. old, vocal teacher); and Betty Clare (25 yrs. old, art teacher). They were still living at the same house in San Francisco.

Hamilton passed away only a few years later, on Nov. 7, 1943. His obituary was published in “The San Francisco Examiner” on November 9, 1943 (page 15). It announced, “HAMILTON – In this city. Nov. 7, 1943. William F., beloved husband of Elizabeth C. Hamilton, loving father of Batty Clare Hamilton. Funeral Services will be held Tuesday afternoon. 1 o’clock, at the mortuary of Halsted & Co., 1123 Sutter St., near Polk.”

On Nov. 9, “The Times” in San Mateo reported:

“WILLIMAM F. HAMILTON.

Funeral services were held this afternoon for William F. Hamilton, for many years a resident of Burlingame, who died on Sunday. Surviving members of the family are the widow, Mrs. Elizabeth C. Hamilton, the well-known vocal teacher, and a daughter, Betty Clare Hamilton. The Hamilton residence was at 751 El Camino Real. Mr. Hamilton was an artist who made study of Indian relics a hobby and of which he had a large collection.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 989 – William F. Hamilton, 1918

In 1918, Thomas G. Moses wrote, “I made a lot of models and sketches for floats for Labor Day. Hamilton came out from New York to superintend the work. He always drops into a fat job somewhere.” Moses was referring working with William F. Hamilton again. The project was floats for the San Francisco Labor Day. The parade of 1918 focused on labor unions and worker’s rights, with eighty-seven unions participating in the parade that day, spread out over seven divisions.

Article about the San Francisco Labor Day parade in 1918, From the “San Francisco Chronicle,” 3 Sept 1918, page 11.

Detail from the “San Francisco Chronicle,” 3 Sept 1918, page 11.

It has been more than two years since I explored the life of scenic artist Will Hamilton and the short-lived firm of Moses & Hamilton. It is time to recap, because I think that working with Hamilton during the summer of 1918 prompted Moses to tender his resignation to Sosman & Landis by that fall. Hamilton may have reminded him that better opportunities were lurking elsewhere, and that Sosman & Landis was a sinking ship.

Moses first met Hamilton in 1892 when they were both hired to design the models and paint scenery for “Ben Hur,” the pantomime tableaux (see past installment 256 https://drypigment.net2017/11/22/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-256-thomas-g-moses-painting-scenery-for-the-ben-hur-tableaux-and/).

Less than a decade later, the two established Moses & Hamilton in New York. The partnership lasted until 1904 when Moses returned to Chicago to become vice-president at Sosman & Landis studio. When Perry Landis had to leave the company for health reasons, Sosman assumed many of the administrative and marketing duties. Therefore, someone was needed to supervise all design, construction, painting and installation.

Moses & Hamilton advertisement in Julius Cahn’s Official Theatrical Guide, 1903-1904.

It had been difficult for Moses to leave in 1904. That year he wrote, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it.” Moses was leaving a good friend, a good crew, and good work, hoping for something even better upon his return in Chicago. This was especially difficult as the theatrical center of the United States was shifting to New York.

Moses & Hamilton had assembled a paint crew at the Proctor’s 125^th Street Theatre only three years earlier. Their staff included Ed Loitz, Otto Armbruster and Al Robert. Projects were plentiful, and consistently spread across three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125^th Street Theater. Thomas G. Moses was the lead scenic artist at the American Theater, William F. Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic artist at Proctor’s 125^th Street Theatre.

For three years, Moses & Hamilton had more work than they could handle, producing scenery for opera, vaudeville, and other entertainments. Their work for Frederick Thompson at Luna Park included “A Trip to the Moon,” “20,000 Leagues Under the Sea” “War of the Worlds,” and “Fire and Flames.” A few of Moses & Hamilton’s Broadway designs included “Under the Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey” (New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand Opera House from August to September, 1904), “The Medal and the Maid” (Broadway Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls” (Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904). Their work was sought after by Helena Modjeska, John C. Fisher, Henry Savage, and other well-known theatre personalities.

Another advertisement for Moses & Hamilton.

Even after Moses & Hamilton folded, the two continued working together on a variety of projects across the country until 1909. Moses remained at Sosman & Landis, while Hamilton worked at New York Studios, the eastern affiliate of Sosman & Landis. However, as business picked up at Sosman & Landis, it became more and more difficult for Moses to do any outside work with Hamilton. Previously, he earned extra income by taking on these outside projects. Part of the perks was his being able to use the studio for night work. However, as Sosman & Landis took on more and more work, hours were extended into the evening, prohibiting outside projects.

So work slows down during the war years, and Hamilton comes around again. It was no coincidence that Hamilton shows up in July and Moses resigns as president of Sosman & Landis less than two months later. Moses wrote, “September 1^st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service. I joined the New York Studios and expect to get a studio and an office to do business.” On September 2^nd Moses recorded, “There was a big Labor Day parade and such a crowd. Mama and I went down but were very careful not to get in the thick of it.” That was his first day of freedom from Sosman & Landis, his first day without the worry of being president at the company.

To be continued…

Tales from a Scenic Artist and Scholar. Part 573 – Otto Armbruster, 1908

Part 573: Otto Armbruster, 1908

In 1908, Thomas G. Moses wrote, “August 16^th, heard of Otto Armbruster’s death by suicide. It was an awful shock as we were such close friends. The German way of getting out of trouble, but he had no trouble, plenty of money and a good business. No one seems to know just what the cause of the rash act was.” Newspapers suggested various causes for Armbruster’s suicide, including a lack of studio work and the intense summer heat.

Armbruster was a colleague and friend of Moses during his time in New York when he worked for Moses & Hamilton. During the spring of 1900, Thomas G. Moses and William F. Hamilton opened the scenic studio of Moses & Hamilton at Proctor’s 125^th Street Theater. That year, Moses’ wrote, “Otto Armbruster was with us and he was a very valuable man. He and [Ed] Loitz worked at 125^th Street most of the time.”

Otto Herman Armbruster came from a well-known scene painting family in Columbus, Ohio, a son born to Mathias Armbruster (1839-1920), the founder of Armbruster Scenic Studios (est. 1875).

The Armbruster family with Otto pictured in the back row, standing next to his mother.

Detail of Otto Armbruster from family picture.

Born in Cincinnati, Ohio, on August 28, 1865. He was trained as a scenic artist under the tutelage of his father, Mathias. Unlike his other brothers, Otto moved away from the family business at the age of twenty to strike off on his own as a freelance scenic artist in New York. He was soon associated with the Broadway Theatre and also became an illustrator for decorator magazines. Like Moses, Otto was also a member of the Salmagundi Club in New York, and joined the Kit-Kat Club.

The “Cincinnati Enquirer” reported on Armbruster’s suicide and suggested that lack of work was the cause (16 Aug. 1908, page 1). In a special dispatch to the Enquirer in Columbus, Ohio, on August 15, the article reported on the suicide of “a former resident of Columbus, and one of the best-known scenic artists in the country.” The article continued that one of Armbruster’s brothers received a letter from him a month ago, in which he complained of lack of work.”

The “New York Times,” provided a little more detail about the suicide and suggesteed another cause – “ARTIST A HEAT SUICIDE. Driven Insane by High Temperature, Otto H. Armbruster Shoots Himself.” The article noted, “Mamaronek, N. Y., Aug. 15 – Driven insane by the intense heat, Otto H. Armbruster, a New York scenic artist, committed suicide at his home in Mamaroneck early this morning by sending a bullet into his right temple. He was taken to the New Rochelle Hospital, where he died while the doctors were probing for the bullet. Mr. Armbruster, who was 43 years old, came home yesterday and told his wife he could not endure the intense heat. He had been working hard in New York on some scenery, and was greatly fatigued. This morning, Mrs. Armbruster left her husband in the bedroom while she went downstairs to have breakfast prepared. She had been on the lower floor only a few minutes when she heard the report of a revolver, and on going to her husband’s room found him of the bed with a bullet hole in his temple. Mr. Armbruster came from Columbus, Ohio. He had lived in Mamaroneck about eight months. Mrs. Armbruster told Coronoer Wiesendanger that last summer her husband’s mind was affected by the heat” (16 Aug. 1908, page 1).

Starting tomorrow, I will examine one of the major competitors to Sosman & Landis – Armbruster Studios of Columbus, Ohio.

Letterhead for M. Armbruster & Sons Studio, 1915.

To be continued…

Tales from a Scenic Artist and Scholar. Part 534 – Thomas G. Moses and Marshall Field

Part 534: Thomas G. Moses and Marshall Field

Early-twentieth century scenic artists painted for a variety of venues, such as retail stores. What first brought Thomas G. Moses and Will Hamilton together to form Moses & Hamilton was the creation of Christmas decorations for a large New York department store. In 1905, Moses was still painting store displays.

Moses wrote “[I did] a lot of work for Marshall Field and Company, retail store-full decorations.”

Marshall Field advertisement from the Chicago Tribune, 29 Jun 1906, page 4

The story of Marshall Field is quite interesting, especially in light of the BBC series about a once Marshal Field employee – Selfridge. In 1856, Marshall Field (1834-1906) moved to Chicago and worked at the dry goods firm of Cooley, Wadsworth & Company. In 1860, the company’s bookkeeper Levi Z. Leiter (1834-1904), Field and John V. Farewell, Sr. (1825-1908) established Cooley, Farwell & Company. In 1864, the company was renamed Farwell, Field & Company.

The founder of P. Palmer & Co., a very successful dry goods store, was in very poor health and looking for a solution for his business. At the beginning of January 1865, Field and Leiter entered into partnership with Potter Palmer and his brother Milton Palmer, forming Field, Palmer, Leiter & Company. In 1867, the store was renamed Field, Leiter & Company, or “Field & Leiter.”

When news broke of the 1871 Great Chicago Fire, the store’s employees at Field & Leiter worked tirelessly to remove much of the merchandise before fire overcame the structure. Six months later, Field & Leiter reopened in an unburned building at Madison and Market Streets. Two years later, during October 1873, Field & Leiter returned to State Street at Washington, and opened a new five-story store at their old location. They now leased space from the Singer Sewing Machine Company. This store was expanded in 1876, only to be destroyed by fire again in November 1877. The Singer Company built a new, and even larger, six-story building on the ruins of their old 1873 store. Field, Leiter & Company bought the structure and reclaimed their traditional location at the northeast corner of State and Washington by April 1879. By 1881, Field bought out the junior partners of the firm and renamed the company Marshall Field & Co. The firm was divided into a wholesale store and a retail store. In 1887, Harry Gordon Selfridge (1858-1947) was appointed to lead the retail store as it evolved into a modern department store.

In 1892, the structures between the 1879 building on State Street and Wabash Avenue to the east were demolished; the architectural firm of D. H. Burnham & Co. was hired to design a new building in anticipation of the impending World Columbian Exposition. The Burnham associate, Charles B. Atwood, supervised the construction of the nine-story “Annex” at the northwest corner of Wabash and Washington Streets, that opened near the end of the World Fair. In 1897, the old 1879 store was rebuilt and had two additional floors added, while the first of Marshall Field’s iconic landmark Great Clocks was installed at the corner of State and Washington Streets.

In 1901, Marshall Field & Company was incorporated. Selfridge spurred on Marshall Field to raze the three buildings north of it, as well as the Cetral Music Hall at the southeast corner of State and Randolph Streets. The twelve-story building fronting State Street opened in 1902, and included a grand new entrance. A third new building was also under construction on Wabash Avenue, eventually to open in 1906. This was the project that Moses was working on. However, midway through the construction, Selfridge resigned and bought a rival store in 1904– Schlesinger & Mayer. However, he sold it only three months later to Otto Young, who leased it to Carson, Pirie Scott and Co. firm. After a brief retirement, Selfridge went on to open Selfridge’s of London.

On January 16, 1906, Marshal Field died in New York from pneumonia, a mere six weeks after the death of his son. A widower since 1896, Field, at the age of 70, had married fifty-year old Delia Spencer Caton. Caton was a widow and his neighbor for years. The couple had only been married four months at the time of his death.

On the day of Field’s funeral 900 stores and business offices in Chicago were closed. The artist, Luther D. Bradley, drew a tribute to Marshall Field after his death with the saying “There is an honest way to wealth.” It was published on January 19, 1906, in the Chicago Tribune.

“There is an honest way to wealth.” It was published on January 19, 1906, in the Chicago Tribune after Marshall Field’s death.

To be continued…

Tales from a Scenic Artist and Scholar. Part 493 – Thomas G. Moses’ Old Mill Scenery for Luna Park in 1905

Part 493: Thomas G. Moses’ Old Mill Scenery for Luna Park in 1905

I return to other painting projects by Thomas G. Moses during the year 1905, after getting sidetracked by the Ringling Brothers’ grand spectacles. Thomas G. Moses was still creating amusement park scenery, but as a Sosman & Landis employee. Past New York Coney Island projects were created with Will Hamilton as part of Moses & Hamilton; the two had worked on the Trip to the Moon, Twenty-Thousand Leagues Under the Sea, War of the Worlds, Fire and Flames, and other much smaller shows. In 1904, Moses moved from New York to Chicago.

The Old Mill Ride in Luna Park at Coney Island

In 1905 Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park. Ed Thompson went with me and J. H. Young went to do the properties and papier mache work.” In 1904. John H. Young had just opened his own studio in New York. He was a long-time friend of Moses; they had worked on various projects together since the 1870s. Young would later be known for his many Broadway designs.

The Old Mill in attraction in Cleveland and elsewhere was a “Tunnel of Love” ride. It had been a success at the Pan-American exposition and immediately replicated at Coney Island. Floating down a babbling brook, visitors traveled past simulated lakes, cavernous tunnels, and a picturesque landscape. The Buffalo Evening News described old mill rides as an amusement consisting of “many tunnels through which float boats on a stream of water” (Buffalo, New York, 10 August, 1905, page 22). On August 10, 1905, there was a breakdown of the plant of the United Electric Light and Power Company, plunging the Coney Island’s Luna Park into darkness. It provides some insight into the mechanics of the ride, as the loss of electricity caused the flow of the water to cease and the boats to settle to the bottom.

Luna Park in Cleveland, Ohio, opened in 1905 and lasted until 1929, when it was destroyed by fire. Constructed by Frederick Ingersoll of Ingersoll Construction Company, the park was located on a 35-acre site, bounded by Woodland Avenue, Woodhill, Mt. Caramel, and East 110^th Street. Ingersoll Construction Company got its start by building roller coasters and other amusement park rides. The first two parks that Ingersoll opened were in Cleveland and Pittsburgh in 1905, both of which Moses created scenery for the old mill attraction.

The entrance to Thompson & Dundy’s Luna Park at Coney Island

The entrance to Ingersoll’s Luna Park in Cleveland, Ohio

The entrance to Ingersoll’s Luna Park in Pittsburg

Of Ingersoll’s second park, Moses wrote, “We went to Pittsburg to do an old mill there for the same firm. We also did two small stages in the Pittsburg Park.” At one time, Ingersoll owned and operated over forty amusement parks not only in the United States, but also in Berlin, Germany and Mexico City.

Although Cleveland’s Luna Park shared the same name as the one on Coney Island in New York, there was no official affiliation, yet Ingersoll’s Luna Parks replicated many of the rides from Coney Island. The Old Mill ride was featured alongside other attractions, such as Fire and Flames, Coasting the Gorge, Trip to the Moon, Scenic Railways, the Miniature Railway, the Circle Swing and Infant Incubators. The Old Mill was a six-minute ride for 10 cents (The Scranton Republican, 18 June 1905, page 6 and The Raleigh Times, 7 July 1905, page 11).

Although Moses was on staff at Sosman & Landis in Chicago, he would still accept a variety of independent projects. In 1906, he would briefly partner with Will Hamilton to produce additional scenery for Pittsburgh’s Luna Park. He wrote, “Did some designs for a Park in Pittsburg for my old partner Hamilton. I did them in black and white, rather effective.” There is no other information to identify his second project for Pittsburg’s Luna Park.

To be continued…

Tales from a Scenic Artist and Scholar. Part 480 – Chicago is My Kind of Town

Part 480: Chicago is My Kind of Town

Advertisement for Moses & Hamilton in Julius Cahn’s Official Theatrical Guide, 1894-1895.

In 1904 Thomas G. Moses returned to Chicago. That same year, he was finally accepted into the prestigious “Salmagundi Club” in New York City. R. M. Shurtleff has sponsored his membership into this fine art society and Moses was eager to continue with his artistic studies. In addition to making inroads into the world of fine art, the scenic studio of Moses & Hamilton was doing very well. This meant that it was very hard for Moses to walk away from future projects in New York, as well as his business partner Will Hamilton. Moses wrote, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it, as he saw his meal ticket slipping away.” Since the beginning, Moses was the heart and soul of the company. Even five years later, Hamilton would still advertise his previous partnership with Moses as “formerly of Moses & Hamilton.”

Of Moses & Hamilton, Moses wrote, “Our work was rather pleasant and we received good prices. I sometimes think I should have stayed as our business was increasing each year. Our fiscal year was June 1^st and I remained at [Coney] Island up to the last.” They had just opened “War of the Worlds” at Luna Park that season. They received $2,900.00 on this work and made a profit of $2,200.00, as they painted it in less that one half the time they thought it would take. Moses commented, “The show was a big hit.” It was hard for Moses to leave his success to become one of many painters in a studio, even if her were in charge.

But he would not be welcomed with open arms by everyone at Sosman & Landis. Moses wrote about his return to Sosman & Landis that year, “When Mr. Sosman announced to the ‘gang’ that I was coming back and would take charge of all the work, there was much dissention among a few.” In particular, one lead scenic artist resented Moses’ return to a supervisory role. Moses continued, “Fred Scott tried to start a mutiny and went as far as he could by quitting, hoping the others would follow. But none did, and he came back and asked for a job. I put him on for he was a clever painter.” Scott was still working at Sosman & Landis in 1911. Very little is known about this scenic artist other than a few brief comments in Moses’ memoir.

Moses continued to describe his return to Sosman & Landis, “I fell in line with the old work rather quickly. It lacked the interest of production work, but after all, what is the difference? There is no glory to be had in the painting of a production – all the honor goes to the stage manager or director.” In some ways Moses’ return to Sosman & Landis broke his spirit; he was settling, possibly abandoning his dream of fine art. I believed that Moses recognized that his own artistic growth would become stagnant while employed at Sosman & Landis. This was why he yearned to be a fine artist; at the end of the day, you are in charge of the end product and how it will appear before the audience. Fine art is often treasured, whereas backdrops are often perceived as mere backings, regardless of how fine the painting.

Moses also commented on Landis’ failing health, writing, “We found Mr. Landis in bad shape. While he seemed to know Ella and myself, he couldn’t talk at all, yet appeared to be awfully glad to see us.” Moses might have painted side by side with Sosman over the years, but there was unique loyalty to Landis and his family.

To be continued…

Tales from a Scenic Artist and Scholar. Part 479 – Bring Him Home

Part 479: Bring Him Home

Thomas G. Moses excelled in New York from 1901 until 1904. He was succeeding in business with his partner Will Hamilton as they operated Moses & Hamilton. In fact, they had more work than they could handle, while even expanding into the amusement park business at Luna Park. Moses & Hamilton produced scenery for Broadway and amusement park attractions ranging from “A Trip to the Moon” to “20,000 Leagues Under the Sea.” Moses was at the top of his game and soaring in the world of fine art, having finally been accepted into membership at New York’s famed Salmagundi Club. He hoped to someday leave the hard grind of the studio for receptions at a fine art gallery.

What Moses didn’t plan on was his wife’s desire to return to their home in Illinois. Tom and Ella Moses were raised in Sterling and moved to Chicago early in their marriage. Their family and network of support remained in the Chicago area. Regardless of artistic opportunities for Moses, he felt his wife’s “pull” to return to the Midwest. There were only a few things that could cause his return from a successful life in New York – family and loyalty. His former employer played the loyalty card in the high stakes game of studio poker while his wife asserted her hopes to return to their Midwest relatives.

During 1904, Thomas G. Moses wrote, “Previous to this spring, I had heard from Mr. Sosman several times, wanting me to return to Chicago. Finally he and Mr. Hunt called on me, and agreed to give me $5,000.00 per year and $5,000.00 in stock and to give me full charge of the studio work, painting, designing and the construction.” What is significant about this statement in Moses’ memoirs is that he would have “full charge of the studio work, painting, designing and the construction.” This means that the design, painting and construction of work produced by Sosman & Landis after 1904 is being guided by Moses. There may be other artists in charge of the actual painting, by Moses now takes responsibility for the work that leaves the studio destined for a variety of performance venues.

Moses continued, “I was really in hopes that [Sosman] would not accept my proposition as Hamilton and I had a good business established, and didn’t want to give that up. But Ella and the children were keen on going back, and after my terms were accepted, I got in the humor myself.” Be careful what you wish for. Moses had to talk himself into all of the positive aspects of his return to Chicago. It would be a step down, no matter how he sized up the future. In New York, he was in command, in Chicago, he would remain at the whims of the company; never having complete control again. He was settling for a secure income, and this greatly unsettled him; it was the beginning of the end for Moses. He would die a slow death until for the next three decades.

Masonic business was booming, but Landis was ill and Sosman needed his “ace painter” back in the shops. Moses was known for his tremendous speed and ability to crank out work, but could he continue to do this amount of work while supervising all aspects of construction?

Portraits of Joseph S. Sosman (left) and Perry Landis (right) on company stationary in 1894. From the collection of Gary Musante, posted to FB group Archiving Technical Theater History

To be continued…

Tales from a Scenic Artist and Scholar. Part 478 – Thomas G. Moses and “The Red Café” and “Mazeppa”

Part 478: Thomas G. Moses and “The Red Café” and “Mazeppa”

In 1903 Moses & Hamilton produced the scenery for “The Red Café” and “Mazeppa.” Little is known of the specific shows with which they were associated, but they are worth mention as they are just two examples of over two-dozen projects that they worked on during that season The plots of each featured the trials and tribulations of foreign characters; one set in Russia and one set in Poland.

Advertisement for “The Red Café” from “The Philadelphia Inquirer,” 16 Oct. 1904, page 34.

“The Red Café” was advertised as a melodramatic spectacle in five acts. The play was an adaptation of Matthew Brennan’s novel “Zetka,” telling the story of a soldier to the Czar and his efforts to marry the woman he loves. “The Boston Globe” reported, “The play, telling the story of Russian life, has many thrilling scenes which keep the audience at a high pitch. The scene in the czar’s palace at St. Petersburg, where the sentence of exile to Siberia is read, is excellently staged and very interesting. The uprising of the serfs and the quelling mob with the arrival of the czar in the second act is another highly picturesque scene” (The Boston Globe 29 Sept 1903, page 8). Little else is known of this production other than that it traveled with two carloads of special scenery and effects produced by Moses & Hamilton.

The same year, Moses & Hamilton produced scenery for another foreign story – “Mazeppa.” The well-known tale had been performed for decades by 1903 and is often cited the first equestrian dramatic spectacle. “Mazeppa; or, the Wild Horse of Tartary,” was a play adapted from Byron’s 1819 poem. It is based on a popular legend about the early life of Ivan Mazepa (1639–1709), who later became Hetman (military leader) of Ukraine. In the poem Mazeppa has an affair with a young Polish Countess while serving as a page at the Court of King John II Casimir Vasa. The count punishes Mazeppa by tying him naked to a horse and letting the horse run wild. Much of the poem described the traumatic ride of the young man strapped to the horse.

“Mazeppa” was first adapted for the stage by H. H. Milner and performed at Astley’s during 1831. It remained a popular show for the next thirty years, but in 1863 Adah Isaacs Mencken (1835-1868) became the first woman to portray the Tartar Prince. Menken caused a sensation when she wore a nude-colored outfit on stage; it created the illusion of nudity as she rode the horse. In previous productions performers used a “dummy steed,” but Menken allowed herself to be bound to a real horse for the thrilling ride.

Photograph of Adah Isaacs Mencken (1835-1868) in her nude suit for “Mazeppa.”

The production that Moses & Hamilton likely created settings for was the 1903 tableaux version. “The Philadelphia Inquirer” reported, “the Mazeppa Tableaux is being exhibited at one of the popular theaters,” after a local reader inquired about the history of Ivan Mazeppa (7 Oct. 1903, page 8). I have not been able to locate any information pertained to the painted settings for the tableaux.

When I think to the process to design and paint scenes for dozens of productions over the course of one year, my mind whirls a bot. Many of the settings that I have located depict elaborate compositions, such as a Russian Czar’s palace or the palatial home of a Polish Count. Moses & Hamilton were creating complex painted compositions that also needed to travel; it was a daunting task to be sure.

To be continued…

Tales from a Scenic Artist and Scholar. Part 477 – Thomas G. Moses and “Scout’s Revenge”

Part 477: Thomas G. Moses and “Scout’s Revenge”

Moses & Hamilton produced scenery for the touring show of “The Scout’s Revenge” in 1903.

In 1903 Moses & Hamilton created the scenery for “Scout’s Revenge,” a four-act melodrama written by Hal Reid. Reid also wrote “The Night Before Christmas,” another 1903 show with scenery by Moses & Hamilton. James Halleck “Hal” Reid (1863-1920) was a playwright and stage actor who eventually transitioned to film, becoming a screen actor, director and writer in Hollywood. He worked with his teenage son, Wallace Reid who was a screen actor and starred in many of Hollywood’s silent film era.

The story of “Scout’s Revenge” portrayed life on the western plains. A homeless boy is murdered and Buck Henshawe, the U. S. government marshal and scout, is notified to investigate the case. The scout sets out to find the guilty party and those responsible for the many robberies that have recently terrorized Sherman. During his investigation, Henshaw meets Olive Benton. Benton is the daughter of Col. Benton, a millionaire ranch owner. The two fall in love. The villain of this melodrama is Wilfred Castro who is also on love with Olive. Castro is related to the Benton family, but leads a double life, as he is also the leader of the outlaws – ‘Captain Wildfire.’ Castro to force Olive to marry him, but she knows he is a villain and repeatedly refuses his matrimonial offers. In the end, the villain is killed and the hero gets the girl.

The story was described in many local newspapers as an attempt to draw in a large audience, such as the Star-Gazette (Elmira, New York, 29 Dec. 1903, page 6). The article reported, “The Scout’s Revenge, which is not quite so full of blood and thunder as might be imagined from its name, is altogether better than the average run of western shows. There is, however, ample opportunity for lots of shooting, but possible objection to this offset in a measure by a good plot and a wealth of pretty scenery. Then, too, there are certain distinct parts of the piece which are characteristic of the quiet, wholesome home life of a Texas ranch. It is a pretty play, depicting life in Southern Texas with a strain of comedy and love running through it. The story of the play deals with the double life led by Wilfred Castro, who poses as a prospector, but in serious business is Captain Wildfire, leader of the band of outlaws. This band of renegades murder a little friend of Buck Hanshaw, a government scout, who has determined to bring Wildfire to justice. Hanshaw swears revenge. From that point to the end the story tells how he got it and the situations and climaxes are thrilling and full of excitement.”

“The Chicago Tribune” commented about the author’s formulaic approach in “Scout’s Revenge.” He wrote, “Villains always plot in the first act. They plot out loud so that the comic friend can hear them and tell the hero, thereby enabling him to get to the spot where the crime is to be committed at the right moment to be blowed up, or shot, or thrown in real water, or something like that just as the curtain goes down in the second act. Wilfred is plotting in the first act of ‘Scout’s Revenge.’ He is the confidential friend of Col Adial Benton, whose bewitching daughter, Olive, the villain is going to marry ‘Cu-urse her, she loves Buck Henshaw.’ Of course, Col. Benton, as the rich and fond parent, is determined to marry his daughter off to the villain, and insists that Buck Henshaw is a low down horsetheif. That’s the way fond parents always do in the first act. Some day some stage parent is going to turn on the villain in the first act and drive him from the house instead of his daughter” (20 Sept. 1903, page 52).

The article describes the scene of Olive’s departure when she says, “Nev-air; I shall not become the wife of yon villain.” Her father responds, “Well, me proud be-u-ty, where will you go?” At this point Buck Henshaw clasps the heroine in his arms and says, “She shall go with me as my wife,” and the act curtain falls. Although this may sound a little bit much, it harkens back to the wild tales of Thomas Moses running away to the big city and his secret correspondence with his future wife Ella, before “rescuing” her from Sterling, Illinois!

In the final act of “Scout’s Revenge,” the “Chicago Tribune” explains, “the villain, disguised as a Mexican, appears at the colonel’s house, for what purpose nobody seems to know except that it is the fourth and last act and the poor villain had to come around and get killed. The funeral is postponed, while the comic friend makes love to the soubrette. Then Buck appears and jerks off the villain’s false mustache and wig and the execution takes place. There is a small battle and as the smoke drifts away and the frantic gallery quiets down Wilfred rolls over two or three times and says that he is dying and that he deserved to be killed, as he was really a bad sort. He then rolls over and over again, and sticking his head in the footlights, dies, and the curtain comes down, just missing the villain, who is dragged back by the heels. Thus do virtue and true love again win their way over conspiracy and dark deeds”

“Scout’s Revenge” was still touring four years later in 1907 (The Morning Journal Courier, 16 Dec. 1907).

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…