Moses & Hamilton – Page 2

Tales from a Scenic Artist and Scholar. Part 461- Changing Partners

Part 461: Changing Partners

In 1903, Moses was studying art with R. M. Shurtleff, preparing to join the Salmagundi Club, and working on a variety of both indoor and outdoor spectacles. He lived in Mount Vernon, New York, but still traveled quite when touring shows opened in other cities. During these travels, his business partner Hamilton “held down the fort” at their Broadway Theatre offices in New York.

Moses & Hamilton was Moses’ his third partnership and it would end in 1904. In 1887 Moses entered into business with a scenic artist and an art dealer to form Burridge, Moses & Louderback (see past installment 132). By 1895 Moses tried his hand at both theatrical management and a scenic studio, establishing the short-lived team of Moses & McDonald (see past installment 336). By 1901, Moses partnered with Hamilton, forming Moses & Hamilton. My research suggests that this “changing partners” was a common occurrence at the time. The country was large, but the word of successful scenic artists was relatively small and partnerships were necessary to attain larger and more profitable projects. This period of time and the world of scenic art made me think of the lyrics from Patti Page’s song “Changing Partners”

We were waltzing together to a dreamy melody
When they called out “change partners”
And you waltzed away from me

(Here is the link to the song, if you have no idea what I am talking about: https://www.youtube.com/watch?v=ARWBstJHBe8)

The scenic art scene during the late nineteenth and early twentieth century was like one big dance; artists tried to successfully maneuver their way across the dance floor, always in search of the best partner. They were simply trying to find that perfect fit and who might ultimately increase their prospects. If they had found the perfect partner at one time, they would try to return; I think of Sosman & Landis repeatedly drawing Moses back into their studio.

Moses’ memoirs trace his interactions with scenic artists during the nineteenth and twentieth centuries, including Patrick J. Toomey of Toomey & Volland scenic studio in St. Louis, Missouri. For years, Moses would always stop by the studio when he was in town and visit with his good friend “Toomey.” Likewise, Toomey would visit Moses and send him postcards from abroad. Scenic artists needed to maintain a close-knit network so that they could not only could keep tabs on their competition, but also maintain a talent pool for larger projects.

Postcard advertising the new Toomey & Volland studio in 1922

These connections were crucial, facilitating potential alliances for upcoming work. Regional alliances were also made, such as that between Sosman & Landis and their affiliate New York Studios. The stylistic interpretation could vary from artist to artist, but the overall approach to the production of painted scenery for the stage remained relatively consistent until approximately the 1920s. At the time the theatrical industry promoted an artistic standard that was founded on established painting techniques developed in the late 17^th and 18^th centuries. Scenic artists created paintings intended to be viewed from a distance, a unique skill that wasn’t intuitive to many fine artists. Scenic art was primarily an apprenticed trade, supported by an individual’s fine art training.

The first decade of the twentieth century is what I consider the golden age of American scenic art. Scenic artists produced successful illusions, just as their predecessors, but had the advantage of electricity. In other words, they had more to work with as technological innovation flooded the theater industry. This greatest strength would later become the scenic art’s greatest weakness. There is a notable shift in American scenic art as electricity, projections, and moving pictures continue to shape the artistic landscape of the entertainment industry. The studios were working with one foot on a firm foundation and another foot precariously placed on a slippery rock. Many studios would quickly ascend, such as Sosman and Landis, but only a few would last for more than a few years. One such company was Toomey & Volland of St. Louis.

Toomey & Volland evolved from an earlier scenic art partnership called Noxon & Toomey. Thomas C. Noxon and Patrick Joseph Toomey joined forces in approximately 1867. Noxon was the firm’s first president and senior partner in the company.

The firm expanded in 1881 and changed its name to Noxon, Albert & Toomey. The famed Ernest Albert was added to the company, while Toomey was reported to be “the itinerant member of the firm” (Richmond Dispatch, 24 Jan 1886, page 3). For more information about Albert, see past installments 131, 133-139, 145, 154, 179, 231, 244 and 248. The company ran regional offices with studios in St. Louis, Missouri, Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade, but Albert eventually returned to Chicago to partner with Walter Burridge and Oliver Dennett Grover, forming Albert, Grover & Burridge. 1891, the three constructed an innovative scenic studio with twenty paint frames and a display area to fully light and stage completed sets for clients. Although there was much promise, the firm went bankrupt in two years.

Back to St. Louis and Toomey’s activities.

When Noxon, Albert & Toomey ended, Toomey formed another partnership in 1892 – the Knox & Toomey Scenic Art Company. Toomey partnered with George Knox, a stage carpenter; the two specialized in float construction and electric pageant wagons. Float for parades had remained a specialty of Toomey’s since 1878. In fact Toomey dominated the float market in St. Louis for the Veiled Profit Procession and ball. This event was St. Louis’ version of the Mardi Gras parade and will be covered in another installment.

By 1901, Toomey switched partners – again. However this would be for the last time. His new business partner was a scenic artist, one who had previously worked at Noxon & Toomey – Hugo R. Volland. Volland migrated from Grossbremback, Germany, and soon found work at Noxon & Toomey as the company’s secretary. He would be a major Masonic asset major contributor to the St. Louis Scottish Rite for both the 1902 and 1924 buildings.

Like Sosman & Landis, Toomey & Volland jumped on the Masonic scenery and stage machinery bandwagon. From 1901 to 1904 their production of Scottish Rite scenery installations included St. Louis, Missouri; Butte, Montana; Joplin, Missouri; Rochester, New York; and Toledo, Ohio. Likewise, Sosman & Landis created Scottish Rite collections for Salina, Kansas; Little Rock, Arkansas; Fort Scott, Kansas; Chicago, Illinois; and Duluth, Minnesota, during this same time. Just as the original 1902 Sosman & Landis scenery for Little Rock is still used in Pasadena, California, so is the original 1902 Toomey & Volland scenery for Joplin still used in Deadwood, South Dakota. These two collections extremely significant within the framework of Scottish Rite history for the Southern Jurisdiction.

Both scenic studios would remain major players in the scene painting industry for the first two decades of the twentieth-century, having a lasting impact on many future generations of artists. Tomorrow, I will star to look at the scenic artist, and good friend of Moses, Toomey.

To be continued…

Tales from a Scenic Artist and Scholar. Part 460 – William F. Hamilton and “As the Sun Went Down”

Part 460: William F. Hamilton and “As the Sun Went Down”

As I was exploring the painting projects of Moses & Hamilton, I discovered an interesting project that Will Hamilton worked on in 1909. It appeared in my search as Hamilton’s name was followed by “formerly of the firm Moses & Hamilton.” I found it interesting that a newspaper would mention a previous business affiliation five years after the fact. It suggests that Moses’ name carried a lot of weight, garnering respect, even years later.

During 1909 Hamilton was working on George D. Baker’s play “As the Sun Went Down.” The action of the play concerns the stirring events in the lives of “rough but real folks in some faraway western mining gulch” (Buffalo Evening News, 7 Sept. 1909. Page 50). The plot involved a young minister, an eastern “tenderfoot,” and “lunger.” New word for me; “lunger” was a derogatory term for an individual suffering from tuberculosis. The three charaters are thrust into the “rude social organization of this primitive and uncouth community” (Fort Scott Daily Tribune and Fort Scott Daily Monitor, 28 Dec. 1909, page 8). Enter,“Col. Billy,” a woman “with a record and a beautiful, daring and good heart.” Newspapers compared this new western melodrama to ‘The Great Divide” and “Girl of the Golden West” with scenic settings full of realism (Buffalo Courier, 7 Sept. 1909, page 7).

Advertisement for “As the Sun Went Down,” from “The Evening Times-Republican” (Marshalltown, Iowa) 30 Nov 1909, page 9.

Ten years later, it was adapted by Baker for a film version. Directed by W. Mason Hopper, advertisements reported, “Not since Bret Harte wrote ‘Outcasts of Poker Flat’ has there been given to fiction or the drama a story so picturesque, so unreservedly different and unconventional as this, the newest Metro All Star Series Production. It’s the story of a bad girl who is bigger and better and finer than most of the girls you ever saw” (The Moving Picture World, 15 Feb. 1919). Metro’s “As the Sun Went Down” was released on February 10, 1919.

Advertisement for the film version of “As the Sun Went Down” starring Edith Storey in 1919. From Moving Picture World (February 15, 1919).

The earlier five-act play toured with the Arthur C. Aiston Company, during 1909 to 1910. Other Aiston touring productions included “Tennessee’s Pardner,” “At the Old Cross Roads” and “Shadows on the Hearth.” Aiston’s company was headed by Estha Williams as “Col. Billy.” W. A. Whitecar played the role of the gambler Tarantula, “the ba’ad man of the play,” whose villainous career ended with a venomous snakebite. William Sexton played “Pizen Ike, the worst man in Rattlesnake Gulch” who is shot to death in a duel. Phil Connor played the role of “Piety Pete, the funmaking storekeeper,” while Flora Byam played “Sal Sue,” also nicknamed “Cyclone” by “Fare Bill” (Buffalo Courier, 7 Sept. 1909, page 7). The names just made me giggle.

Scene from the touring production of “As the Sun Went Down,” from “The Evening Statesman,” Walla Walla, WA, 31 Jan. 1910, page 7.

The show’s painted settings were well received; the “Star-Gazette” reported “The production is an unusually elaborate one for a popular-priced theater, a large number of special scenic effects being provided” (Elmira, NY, 1 Sept. 1909, page 2). The scenery design was credited to Lee-Lash Scenic Co. with the painting lead by Hamilton. “The Iola Daily Register And Evening News” reported, “The scenery is by the Lee-Lash Scenic company of New York and has been especially produced under the personal direction of W. F. Hamilton, formerly of Moses & Hamilton” (Iola, Kansas, 4 Jan. 1910, page 4). Similarly, “The Capital Journal” reported, “As the production is carried complete, it is necessary to have a special baggage car for the transportation of the companies’ scenery and properties” (Salem, Oregon, 8 Jan. 1910, page 9). “The production which is a very elaborate one, comes from the best artists of the Lee-Lash Scenic Company of New York city, each scene gotten out under the personal direction of W. F. Hamilton, formerly of the firm of Moses & Hamilton” (The Evening Statesman, Walla Walla, WA, 31 Jan. 1910, page 7).

Scene from the touring production of “As the Sun Went Down,” from Goodwin’s Weekly (Salt Lake City) 23 April 1910, page 12

The mention of William F. Hamilton’s work at the Lee Lash Studios really peaked my interest, and caused me to recall a clipping in Thomas Moses’ scrapbook. The newspaper article depicted Moses painting on a Lee Lash studio frame. It was possible that Moses was brought in to supervise the painting on the production, just like Hamilton. Lash was known for hiring a variety of artists to work with his paint staff and supervise various projects. This was a unique quality of the scenic art network at the turn of the twentieth century. Artists worked in one studio and then another, quickly forming partnerships that would last for only a few years. We don’t know if it was artistic temperaments or simple opportunities at the time that drove two artistic join forces. It was the artistic culture during a time when work was plentiful.

Thomas G. Moses (back with lining stick) painting at Lee Lash Studio, date unknown.

To be continued…

Tales from a Scenic Artist and Scholar. Part 456 – William F. Hamilton, of Moses & Hamilton

Part 456: William F. Hamilton, of Moses & Hamilton

This advertisement for Moses & Hamilton was from “Julius Cahn’s Official Theatrical Guide,” 1904-1905 season.

“Will” Hamilton partnered with “Tom” Moses in 1901. The New York partnership lasted until 1904 when Moses returned to Chicago to lead the painting at the Sosman & Landis studio; Landis’ poor health caused him to leave the studio, resulting in Sosman assuming many of the administrative and marketing duties. Therefore, Sosman needed someone to lead the paint studio, essentially functioning as his replacement there.

Hamilton was from the East Coast. He settled in New Jersey during the 1890s, where he remained with his wife Betty for thirty years. He started out as an itinerant artist, working all across the country; traveling from one painting project to another. Moses first met Hamilton in 1892 when they were both hired to work on the designs and painting for a “Ben Hur” production – the tableaux version. Other artistic opportunities presented themselves, briefly separating the two, and they went their separate ways. In 1899, they reconnected when Hamilton sought out Moses in New York City when he needed help with some Christmas displays. It appears that the two personalities and their artistic abilities were still a good fit, prompting them to soon start a studio together – Moses & Hamilton.

Even after their scenic studio folded, the two would continue working together on a variety of projects throughout the States. Moses was at Sosman & Landis, while Hamilton was at New York Studios, the eastern affiliate of Sosman & Landis. Stamps on the back of some designs from the University of Minnesota’s Performing Arts collection denote that the New York Studios “Home Office” was located at 328 West 39^th St. N.Y. They also had a “Chicago Office” for New York Studios. Just as New York Studios functioned as the eastern affiliate for Sosman & Landis, the Sosman & Landis Studio functioned as the western affiliate for New York Studios. New York Studios was managed by a previous employee David Hunt. Hunt has also partnered with Sosman & Landis to establish the theatrical management form of Sosman, Landis & Hunt, in the 1890s. The Chicago Office for New York Studios was located at 1022 Consumers Building. One example of a New York Studios design is a cave composition for the 9^th degree of the Scottish Rite, part of the Holak Collection in the Performing Arts Archives scenery collection (PA49).

Until 1908, Hamilton and Moses continue to work on several projects together, including the “White City” for a park in Pittsburg and the touring show “Tilly Olson.” Similar in nature to “Yon Yonson,” this touring production starred Emily Erickson Greene as the female lead. It tells the story of a young Swedish girl. She was first “bound” to a Minnesota farmer’s family, but later winds up in Minneapolis where she has many adventures, including the prevention of a bank robbery. In the end, she marries and settles down to a quiet country life. After this touring show, Moses records very little interaction with Hamilton, as his focus soon centers on the massive projects subcontracted to Sosman & Landis by M. C. Lilley & Co. (the fraternal regalia and paraphernalia supplier of Columbus, Ohio). Very little is known of Hamilton’s projects at this time, but his home remains in New Jersey. Like Moses, however, Hamilton’s work begins to include the painting settings for fraternal projects.

“Secret societies,” fraternal organizations, and a variety of other social clubs represented a unique clientele with scenic demands. Scenic studios meshed traditional painted spectacle for the commercial theater with unique performances in private venues. Simultaneously, popular scenic illusions continued to appear in massive outdoor spectacles and amusement park attractions for the general public, fueling a demand for visual entertainment. There were ample opportunities for scenic artists to work all across the country at a variety of entertainment venues. Business was booming during the first decade of the twentieth century and competition between studios was good-natured, if not jovial; there was always more than enough work to share.

In fact, there was almost more work than there were skilled painters to hire, leaving some areas with the only option of contracting inexperienced individuals. Many of the smaller projects for social halls, or other tiny community buildings, fell to local artisans who marginally understood the concept of scenic art for the stage; they were not trained in the standard aesthetic for the stage. All throughout the Northeastern United States, small Grange Halls and city halls displayed painted scenery that was more closely aligned with folk art than anything created for New York City or Chicago. Small towns in the west, however, often were able to contract professional scenic artists. In some cases, these small western opera houses were like sitting ducks for the big scenic studios of Chicago, Minneapolis, and Kansas City. Easily accessible by railroad, there was a quick turnaround between contact, contract and delivery.

To be continued…

Tales from a Scenic Artist and Scholar. Part 455 – Moses & Hamilton in 1903

Part 455: Moses & Hamilton in 1903

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

In 1903, Moses & Hamilton advertised in Julius Cahn’s Official Theatrical Guide. Cahn’s was one of many guides that described the interiors and technical specifications of potential venues for touring shows. These publications were compiled as a resource for touring companies, assisting them in the selection of appropriate performance venues for their theatrical productions. Many of the technical specifications presented a basic overview of the auditorium and stage house. In addition, necessary travel information, such a local hotels, print shops to publish playbills and posters, as well as the on site theater staff were detailed in the guide.

Moses & Hamilton are credited as the scenic artists for the Broadway Theatre in New York, yet they also had the use of paint frames at two other theaters. Thomas G. Moses was credited with stock scenery at the Loring Opera House in Riverside, California; the Marengo Opera House in Marengo, Illinois; the Columbia Theatre in Bath, Maine; Steinberg’s Grand Opera in Traverse, Michigan; Forbush Hall in Groveton, New Hampshire; Eagle Opera House in Petersburg, New York; Sales Opera House in Cambridge Springs, Pennsylvania; the Academy of Music in Richmond, Virginia; and the Tacoma Theatre, Tacoma, Washington, by 1903.

Moses wrote, “We started the New Year [1903] with more work than last year. We did among the many shows, “The Ramblers,” “Reaping the Whirlwind,” “As you like it,” “Lost in the Desert,” No. 1 and No. 2, “That’s All,” “Scout’s Revenge,” “Wayward Son,” “Mazeppa,” “The Night Before Christmas,” “Peg Woffington,” “The Red Café,” and “Old Sleuth.”

Moses and Hamilton were also venturing into a variety of large outdoor spectacles, adding these projects to their ever growing list of standard commercial productions and stock scenery installations. In 1903, they were creating a variety of settings for Fred Thompson at Luna Park. Of this experience, Moses wrote, “I had a big show of ‘Fire and Flames,’ a very effective amusement park show. Real fire, real engines and an awful mob of street vendors and loafers. A lot of good comedy and it did good business. We did several other small shows at Luna Park… Luna Park itself proved to be a money getter, and helped to increase the attendance at the Island; better car service was installed to New York and with the steam boats there were facilities on going and coming, enjoyed by everyone.”

These early experiences were exciting and suggested an ever-increasing profit margin. Thompson made it all look so simple, and these new projects promised huge potential, as well as the subsequent expansion of Moses & Hamilton.

During the early spring of 1903, they also started creating the “Streets of Delhi,” a big out-door spectacle, that cost close to $75,000.00. Moses recorded that they had twenty-nine elephants to train and a hundred horses. Furthermore, three hundred people were the company. Of the spectacle, Moses wrote, “I am sorry to say the show was a failure.”

Regardless of this failure, Hamilton was anxious to get into the amusement business, so Moses & Hamilton invested $3,000.00 in 1903 for “The Devil, The Man over the Maid” (today’s equivalent of $81,672 USD). Moses commented, “It was a bit taken from Faust. We had good scenery and lighting effects and many novelties were introduced. One day’s receipts was $400.00 and it all looked good to us, but a rainy spell set in an no one did business on the island.” Their gross receipts were only $9,000.00, instead of the expected $12,000.00. They started with a cast of five people in the show and ended up with twenty-three. Moses recalled that Hamilton took the advice of every old showman on the Island, but none of the suggestions proved to be of any use.

This unfortunate turn of events prompted the two to sell the attraction at the close of the season. When all was said and done, Moses & Hamilton only netted $1,000.00 for all of their effort. Although, better than a total loss, it still convinced the pair that Hamilton was not cut out to be a showman and the game of outdoor spectacles was too risky to play.

I think that Moses didn’t want to risk everything, as he was 47 years old and had worked so hard to enjoy a moderate level of financial success and security. He was working his tail off in 1903, producing stock scenery, touring theatre shows, and outdoor amusements. Yet he remained the prime talent in the studio and was leading the painting of most projects. The amount of work that was completed in 1903 by Moses & Hamilton seems almost unreal to me.

The two would soon part; Moses would return to the secure paycheck of the Sosman & Landis studio, while Hamilton would continue with non-traditional theatre and work in the East for another decade. Hamilton would become associated with the New York Painting Studio, the eastern affiliate of Sosman & Landis run by David Hunt. Hamilton would eventually specialize in massive spectacles for the Ancient Arabic Order of the Nobles of the Mystic Shrine.

To be continued…

Tales from a Scenic Artist and Scholar. Part 452 – Thomas G. Moses and “Lost in the Desert”

Part 452: Thomas G. Moses and “Lost in the Desert”

In 1903, Thomas G. Moses produced scenery for the melodrama “Lost in the Desert” when he was in New York and running Moses & Hamilton. Living in Mt. Vernon, New York, he commuted to the city daily where he worked at both the American Theatre and the 125^th Street Theatre.

Advertisement for “Lost n the Desert,” from the Boston Post, 2 May 1903 page 10.

The Democrat and Chronicle (Rochester, NY, 1 March 1903, page 16) reported:

“Lost in the Desert” is one of the numerous successes of that popular and prolific melodramatist, Owen Davis. The play tells of the adventures of a party of Americans who are wrecked upon the coast of Arabia, and who, through the villainy of one of their party, fall into the hands of the tribe of wandering Arabs. The chief of this tribe falls desperately in love with one of the ladies of the party and makes desperate efforts to force her to return his love. Through the aid of a friendly Arab, who has been touched by the young American girl’s helpless position, she is enabled to escape. After many exciting adventures and trials she is again captured and taken to the mountain home of the Arab chief. He determines to kill the girl’s friend and force his unwelcome attentions upon her. She is taken to his tent and her friends are placed under guard in the vaults of an old fortress. The American whose plans of revenge for his unrequited love had been the cause of all the trouble of his fellow-countrymen, begins to fear that the girl’s tears will prevail upon the Arab chief, and that he will be induced to spare the hero’s life, decides to take things into his own hands and plans an explosion that will bring about the death of the party of Americans. His plans, however, fail, as the explosion, instead of killing the prisoners, merely blows down the prison walls and opens their way to freedom. Once clear of the prison, by a daring ruse the girl is saved from the chief, and securing food and arms, the happy party starts home across the desert, guided by the Arab. The action of the play gives unusual opportunity for picturesque scenes and exciting climaxes, and the entire idea is novel and interesting.”

The touring company that performed “Lost in the Desert” was composed of twenty-three performers that included Arab acrobats. Sie Hassan Ben Ali’s Whirlwind Acrobats and a camel were noted among the “accessories” that toured with the show. Newspapers commented that these exotic elements added realism to the production (Hartford Courant, 13 March 1903, page 7). The Hartford Courant also advertised, “It is said to be handsomely staged with special scenery.” These special settings produced by Moses & Hamilton included:

Act I-Deck of the Mary Jane – from Rockland to Budapest. A fire at sea.

Act II.-Lost in the desert. “O, for water to quench our thirst.”

Tableau-“A Race with Death.”

Act III. Scene 1. The Arab prison. “To Liberty.” Scene 2. The road to freedom. Scene 3. The oasis. The recapture.

Act IV.-The Arab camp. “Feasting and Pleasure,” introducing Sie Hassan Ben Alis Whirlwind Acrobats. “Who laughs last, laughs best.”

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 444 – Thomas G. Moses and “An American Gentleman”

Part 444: Thomas G. Moses and “An American Gentleman”

Advertisement for “An American Gentleman, Courier-Journal,” 2 Dec. 1900, page 15

Thomas G. Moses recorded that he created the scenery for “An American Gentleman.” Of Moses & Hamilton’s work, the “Times Herald” noted “Abundant scenery of novel and elaborate design” (Port Huron, Mich., 28 April 1902, page 3). “The Record Argus” commented on the “gorgeous scenery” and “novel mechanical effects” (Greenville, PA, 9 Oct 1902, page 3).

William Bonelli both wrote and starred “An American Gentleman.” Bonelli had previously worked with Charles Frohman, W. A. Brady and Jacob Litt, enjoying a prolific career on Broadway between that began in 1899.

William Bonelli in “An American Gentleman,” from “The Courier-Journal,” 2 Dec. 1900, page 15

Of “The American Gentleman,” “The Daily News Democrat” reported, “ The play is in four acts and there is not a dull moment from the rise to the fall of the curtain. Thrilling situations, startling climaxes, bright comedy, unexcelled specialties, a carload of magnificent scenery, combined with a specially selected cast, contribute to make ‘An American Gentleman’ such an overwhelming triumph”“ (8 December 1902, page 1)

Advertisement from “An American Gentleman,” from 4 “The Bradford Era Newspaper,” 22 Nov, 1901, page 3

The Sandusky-Star Journal summarized the plot: “The scene of action begins at the summer home of George Hathway, a Yale College athlete, located on the Hudson River; young Hathaway is a bright and manly fellow of athletic build and strong as a lion. Because of his great strength he is called “Sampson of Yale.” He meets a beautiful Gypsy girl known as ‘Carina,’ the Golden Gypsy, and becomes a suitor for her hand. Of course there is a rival, and the rivalry becomes so strong between them that an exceedingly animated wrestling match is the result. Hathaway proves to be the victor. In the third act young Hathaway is decoyed to the headquarters of the Gypsy Queen by his enemies, is seized and chained to the wall in her lodge. The plan is to kill him as well as Carina, and a frightful death by fire and explosion stares them in the face. His strength serves him at this juncture as he breaks his chains just in time to save the lives of Carina and himself. In the fourth act Carina learns that she is no Gypsy and discovers her right father and finds that she is of good birth and family. In the end she finds true love and happiness in becoming the wife of an American Gentleman. There is a lot of pure wholesome comedy interwoven in the play which serves to keep the audience alternately between laughter and tears” Sandusky, OH, 3 Nov 1902, page 3).

“The Pittsburgh Daily Post” also provided a description: “The motive of the story is furnished by the kidnapping of an heiress, Carina, by the Gypsies. In the first act, which takes place at Charles Hathaway’s house on the Hudson river, the villain, Farker hires Zeppo, a Gypsy, to murder Hathaway and carry off his wealth. Young George Hathaway, the “American gentlemen,” known also as ‘Sampson of Yale,’ runs the murderer to earth comes on the scene when there is a wrestling contest between Zeppo and another Gypsy for the hand of Carina. After Zeppo has conquered, Hathaway steps in and throws Zeppo, thereby winning Carina. After many adventures Carina is rescued and returned to her people, who are of the English nobility. They want her to marry a title, but ‘an American gentleman’s’ title is sufficient for her” (25 Feb. 1902, page 6). Rose Stahl played Carina; Eugene Staley played Zeppo; and James C. O’Neil played Farker.

William Bonelli pictured in “An American Gentleman,” from “The Post-Standard,” Syracuse, New York, 18 Nov 1904, page 5

The most applauded scene in the show was reported as when Bonelli surprised the gypsies in their camp and “triumphs only by the aid of his powerful physique” (The Time Herald, 28 April 1902, page 3). In 1915, “An American Gentleman” was made into a movie. Directed by John Gorman, it starred William Bonelli and Grace Lowell.

To be continued…

Tales from a Scenic Artist and Scholar. Part 425 – Thomas G. Moses’ design for “In Dahomey”

Part 425: Thomas G. Moses’ design for “In Dahomey”

In 1901, Thomas G. Moses wrote, “We started with Hurtig and Seamons, which proved to be good in quantity and quality.” He was referring to the theatrical management team who was made up of Benjamin F. Hurtig, Jules Hurtig and Harry J. Seamon. Benjamin and Jules were brothers. Their offices located at 1435 Broadway.

In 1901, Julius Cahn’s Official Theatrical Guide advertised that the firm ran the Harlem Music Theatre (a variety venue in New York), the Bowery Burlesquers Co. and The Social Maid’s Burlesque Co.; they were well-known as “New York amusement caters.” By 1909 when Benjamin Hurtig passed away, the firm controlled five playhouses in New York, two in Brooklyn, two in Chicago, one in Syracuse, one in Rochester, and the Lyric in Dayton, Ohio. They also owned and controlled nine companies on the road. Hurtig & Seamon were members of the Columbia Amusement Company, which controlled the operation of forty-five burlesque houses; of which Jules Hurtig was vice-president.

Moses & Hamilton painted the scenery for a few of Hurtig & Seamon shows, including “The Sons of Ham,” a show that featured the African American performers Egbert Austin “Bert” Williams and George Walker. This production rejected the stereotypical black roles, with Williams portraying a man who was simply down and out. The production boasted a company of fifty people with “special scenery and electrical effects” (Davenport Morning Star 15 February 1901, page 5).

The Harlem Opera House was used by Hurtig and Seamon while their new theaters were under construction.

The same year that Moses & Hamilton began working for Hurtig & Seamon, the theatrical managers were in the midst of planning the construction of two new theatres in New York, both on 125^th Street (The Evening World, NY, NY, 28 June 1901, page 9). One was to be erected on 125^th Street between 7^th and 8^th Avenues, while the other was to be erected near Lexington Avenue. The first structure would contain a music hall, theatre and big roof garden. During the planning and construction, Hurtig & Seamon primarily occupied the old Harlem Opera House (est. in 1889 by Oscar Hammerstein) that was just down the block at 211 West 125^th Street.

Program for “In Dahomey” at the New York Theatre

“In Dahomey” with painted scenery by Moses & Hamilton, 1902

In 1902, Moses recorded that he designed “In Dahomey” for Hurtig & Seamon. He wrote, “Williams and Walker were starred, and the show was taken to England, where they were commanded to appear before King Edward VII.” The show starred Bert Williams (as Shylock Homestead) and George Walker (as Rareback Pinkerton). The cast was invited to give a command performance in the garden of Buckingham Palace on June 23rd for the young Prince of Wales’ birthday celebrations (the future King Edward VIII). In England a cakewalk scene was added to the finale of the show.

Advertisement from “In Dahomey” while on tour in the United Kingdom

Program for “In Dahomey” at the Shaftesbury Theatre

“In Dahomey” was advertised as “a negro musical comedy,” based on the book by Jesse A. Shipp, with music by Will Marion Cook and lyrics by poet Paul Laurence Dunbar. It was the first full-length musical written and performed by all African Americans that opened at a major Broadway house. The three-act musical production opened at the New York Theatre on February 18, 1903, and closed after 53 performances on April 4. The show with almost fifty performers, was then transported to England where it opened on April 28, 1903, at the Shaftesbury Theatre and completed a provincial tour throughout the United Kingdom. In 1904, the musical returned to Broadway and ran from August 27 until September 10, at the Grand Opera House. This seventeen-show run was followed by a major 40-week tour across the United States.

While on tour in the United Kingdom, Williams and Walker were both initiated into Waverly Lodge No. 597 of Edinburgh, Scotland, along with nine others from the Williams and Walker Colored Minstrels troupe. In 1922, when Williams died, the Edinburgh Lodge requested that he be buried with Masonic honors, a courtesy performed by St. Cecile Lodge No. 568 of New York City (William L. Fox, “Lodge of the Double-headed Eagle,” page 225).

Song hits of “In Dahomey” sung by Bert Williams and George Walker

Here is the Story of “In Dahomey,” as it was printed in the original program:

“An old Southern negro, ‘Lightfoot’ by name, president of the Dahomey Colonization Society, loses a silver casket, which, to use his language, has a cat scratched on the back. He sends to Boston for detectives to search for the missing treasure. Shylock Homestead and Rareback Pinkerton (Williams and Walker), the detectives on the case, failing to find the casket in Gatorville, Fla., ‘Lightfoot’s’ home, accompany the colonists to Dahomey. Previous to leaving Boston on their perilous mission, the detectives join a syndicate. In Dahomey, rum of any kind, when given as a present, is a sign of appreciation. Shylock and Rareback, having free access to the syndicate’s stock of whiskey, present the King of Dahomey with three barrels of appreciation and in return are made Caboceers (Governors of a Province). In the meantime the colonists having had a misunderstanding with the King and are made prisoners. Prisoners and criminals are executed on festival days, known in Dahomey as Customs Day. The new Caboceers, after supplying the King with his third barrel of appreciation (whiskey), secure his consent to liberate the colonists after which an honor is conferred on Rareback and Shylock, which causes them to decide ‘There’s No Place Like Home.’”

The settings for “In Dahomey” included:

Act I – scene 1 – Public square in Boston

Picture of the Public Square for “In Dahomey,” scenery by Moses & Hamilton, 1901.

Act II – scene 1 – Exterior of Lightfoot’s home, Gatorville, Florida; scene 2 – Road, one-and-a-half miles from Gatorville; scene 3 – Interior of the Lightfoot home

Act III – scene 1 – Swamp in Dahomey; scene 2 – Garden of the Caboceer (Governor of the Providence). Execution tower in the distance.

Although Bejamin Hurtig would pass away in 1909, his brother Jules Hurtig & Seamon would obtain a thirty-year lease on the newly constructed neo-classical theatre in Harlem, New York, during 1914. This theater opened as “Hurtig and Seamon’s New Burlesque Theatre,” but the venue would be renamed in 1934 as the Apollo Theatre.

Hurtig & Seamons New Burlesque Theatre, 1914

A punch card for Hurtig & Seamon’s New Burlesque Theatre

To be continued…

Tales from a Scenic Artist and Scholar. Part 424: Coney Island – “The Devil, Man and the Maid”

For additional installments, go to www.drypigment.net

Advertisement placed by Moses & Hamilton for their new attraction in the Brooklyn Daily Eagle, June 14 1903, page 56.

For over a year, Moses & Hamilton watched showmen rake in massive profits. Thomas G. Moses wrote, “Hamilton was anxious to get into the amusement business, so we invested $3,000.00 in a little stunt, which we called ‘The Devil, The Man and the Maid.’ It was a bit taken from Faust. We had good scenery and lighting effects and many novelties were introduced. One day’s receipts was $400.00 and it all looked good to us, but a rainy spell set in an no one did business on the island. Our gross receipts were $9,000.00. They should have been at least $12,000.00 to give us a good profit. We sold out at the close of the Coney Island season and had a $1,000.00 net, for all our work and trouble.”

Their attraction was located on Surf Avenue, opposite of the Culver Depot. Moses & Hamilton advertised in the Brooklyn Daily Eagle on June 14, 1903 (page 56). The advertisement promised, “A Refined Sensational Novelty for Men, Women and Children. Spectacular in All Its Effects. Most Interesting Show on the Island.”

Moses admitted that $1000 was better than a totals loss, but it convinced Hamilton that he was not cut out to be a showman.

Moses continued to describe the experience, writing, “We started with five people in the show and wound up with twenty-three. Hamilton took the advice of every old showman on the Island, nothing they suggested proved to be of any use. Luna Park itself proved to be a money getter, and helped to increase the attendance at the Island; better car service was installed to New York and with the steam boats there were facilities on going and coming, enjoyed by everyone.” I discovered that Mose & Hamilton sold the show to Messrs. Kern and Grim. It was next used for the St. Louis Exposition in 1904.

In 1905, the Allentown Morning Call (20 Sept 1905, page 1) reported that the amusement “The Devil, The Man and The Maid” had originated on Luna Park was part of the novelties for the Pike at the Allentown Fair. It was one of three attractions, along with “Around the World” and “Siberia.” Messrs. Kern and Grim has also exhibited “The Devil, The Man and The Maid” at the 1904 St. Louis Exposition. The newspaper article reported, “This is one of the most successful illusion shows ever brought to this city.

On entering, one sees a young lady hypnotized in full view of the audience, and caused to float, unsupported, in the air, all this in a brilliantly lighted room. Later, the same young lady is securely bound by some one from the audience, securely sewn up in a bag, and placed in a large trunk, which is, in turn, is tied up and locked in such a manner that any escape seems impossible. This is then placed in a cabinet, and the trunk dragged out a minute later by members of the audience, and opened, only to find that the woman has disappeared and a man substituted.

From this room, one is taken into the side theatre, without any further price of admission, and here a lady or gentleman is taken from the audience, and in full view of the audience, transformed from rosy health to a grinning skeleton, and then in turn, returned to natural state. The same person is introduced to persons appearing on the stage, and when attempting to touch them finds that they disappear at will. This show is one of the most realistic performances and aggregation of the most astounding feats ever shown here.”

The effect with the skeleton was the scenic illusion called “Pepper’s Ghost.” This is the same effect that Moses would create while working for Sosman & Landis when designing for fraternal theaters. It was successfully used in the Scottish Rite’s thirtieth degree catacombs scene where a man “from the audience,” or exemplar for the degree, turned into a skeleton on stage.

To be continued…

Tales from a Scenic Artist and Scholar. Part 423 – Coney Island – “Fire and Flames”

Part 423: Coney Island – “Fire and Flames”

Besides “Trip to the Moon,” “20,000 Leagues Under the Sea,” and “The War of Worlds,” Moses & Hamilton produced several smaller attractions at Luna Park. Thomas G. Moses recalled, “At Luna Park I had a big show of ‘Fire and Flames,’ a very effective amusement park show. Real fire, real engines and an awful mob of street vendors and loafers. A lot of good comedy and it did good business.”

Thomas G. Moses and William F. Hamilton helped create the spectacle “Fire and Flames” for Fred Thompson at Luna Park in 1903.

The attraction that Moses referred to involved the burning of a four-story brick building over the space of a city block. In 1903, the New York Times described this upcoming attraction at Luna Park, reporting that the setting for “Fire and Flames” was to depict “the greater part of Manhattan Island below Forty-fifth Street, with millions of lights in the tall buildings” (New York Times, 28 Sept 1903, page 7). The article continued, “A hotel is to catch fire, when all the paraphernalia of the Fire Department, the ambulances, and police reserves are to be exhibited.”

Detail of a scene from “Fire and Flames” at Luna Park.

The Peninsular Club Public Opinion journal advertised “Fire and Flames” as “the most realistic and stirring of all the shows.” The article explained, “Hundreds of supers take part in this, with many horses, cabs, wagons, several real trolley cars, fire engines, hook and ladder outfit, life net and water tower. The street scene is so life-like that it doesn’t seem like a show at all, and the flames bursting from the house-windows, the people at the windows screaming for help, the firemen scaling the walls with their ladders to bring down some, while others leap into the life-net, are all so terribly real that the audience feels that it has assisted at a bona-fide holocaust. The heat and ashes from the flames are sufficiently genuine to give all the thrills an ordinary mortal requires” (The Peninsular Club Public Opinion, August 12, 1905, Vol. XXXIX, No. 7, page 200).

In 1904, the former chief instructor of the New York City Fire Department, Henry W. McAdam, left his position after twenty-one years to become the director in charge of Luna Park’s “Fire and Flames” (Fire and Water Engineering, Vol. 37, 1905, page 248). McAdam was one of sixty fire fighters cast in three engine companies employed to work for Thompson for this one spectacle. The actual burning of the block involved four hundred people (Broadcast Weekly, page 7).

Moses recalled, “It was so popular that a similar attraction called ‘Fighting the Flames’ immediately appeared at “Dreamland,” the nearby amusement park also on Coney Island. Extant photographs documenting the two shows reveal almost identical spectacles.

Detail of painted backdrop next to three-dimensional building for “Fighting the Flames” at Dreamland.

Amusement park attractions, such as “Fire and Flames,” inspired early filmmakers to record the excitement and action of the spectacle. They left small snippets of popular culture that we are able to still explore when studying the past. Thomas Edison made a short movie depicting the 1904 “Fire and Flames” attraction at Coney Island, giving us a glimpse at the scene Moses describes above. Here is a link to the short film that Moses helped create for Luna Park: https://vimeo.com/165556307

I noticed something wile watching the film of “Fire and Flames;” the scenery is identical the “Fighting the Flames” as depicted in postcard s and photographs. “Fire and Flames” used a much bigger set. I wonder the film was incorrectly labeled at time of production since both attractions were filmed at the same time.

Postcard depicting the Dreamland attraction “Fighting the Flames”

Similarly, the competing attraction “Fighting the Flames” was also filmed and is available to view: https://www.youtube.com/watch?v=uJylhIhtrlA

To be continued…