Category: Moving Scenery

Tales from a Scenic Artist and Scholar. Part 492: Ringling Brothers’ Grand Spectacle of 1913 – “Joan of Arc”

Part 492: Ringling Brothers’ Grand Spectacle of 1913 – “Joan of Arc”

Advertisement for the Ringling Bros. grand spectacle “Joan of Arc,” from the “Chickashaw Daily Express,” 18 Oct. 1913, page 7

In 1913, Thomas G. Moses wrote, “When we were setting the Ringling scenery at the Coliseum, the big elephants stampeded and there was some excitement for awhile, but the trainer went after them and brought them back and made them go through all the tricks again.” At the time, he was working on another Ringling Brothers’ grand spectacle “Joan of Arc.”

Artwork for “Joan of Arc” posters at the Circus World Museum in Baraboo, Wisconsin.
Artwork for “Joan of Arc” posters at the Circus World Museum in Baraboo, Wisconsin.

Newspapers reported that the Joan of Arc story was told by 1200 characters, 300 beautiful dancing girls, a chorus of 400 voices and 600 horses (The Daily Herald, 12 April 1912, page 4).

The “Santa Ana Register described the spectacle:

“The story of ‘Joan of Arc,’ a simple peasant girl who became the deliverer of France, and at last, betrayed by all, was burned on the public square on the false charge of heresy and witchcraft, is familiar to all. It is presented by Ringling Brothers in a masterful way, retaining to the end its pathos, its sentiment and its thrilling dramatic interest. The play begins with Joan, just sixteen years old, comes from her father’s pasture at Domremy at the command of the Archangel St. Michael to the court of Charles VII at Chinon. In the light of a thousand torches she is brought into the presence of the king in the great palace which throngs with the nobles of France. The reception which the king gives the peasant girl is filled with impressiveness and suspense. The second climax of the great spectacle is reached when Joan, dressed in armor, crosses the river at Orleans and rides at the head of the French army into the beleaguered city. One of her heralds presents himself at the English camp. Respect to the messenger of a reputed sorceress is denied and the herald is threatened with death. Another messenger is sent to defy Talbot, and to declare from the girl that if any harm is done him ot shall be retaliated on the English prisoners.

Joan in shining armor appears on a tower facing the Tournelles, bidding, the soldiers of Suffolk and Talbot to depart. This they refused to do. At the head of the French knights and archers Joan rides between the towers of the besiegers and followed by the villagers who look on in wonder at the sight of a mere girl leading the armies of France.

Joan rides through victory after victory, her mysterious power leading her on. A scene of matchless beauty is disclosed by the changing of scenery to that of the magnificent court of Charles VII at Rheims, where, through the inspired deeds of the Maid of Orleans the king is restored to his throne. Here amid regal splendor, the joyous acclaim of the populace and the pomp of pageantry, is enacted the most beautiful episode in French history. The stage version ends with the introduction of a great ballet of 300 beautiful dancing girls, a grand opera chorus, 600 horses and an ensemble of 1200 people. The closing chapter of Joan’s life is too sad for this drama of gladness, through her capture, her imprisonment and her execution are told in a series of thrilling tableaus by means of tone of scenery and a great battery of electric mechanism” (4 Sept. 1913, page 8).

The Ogden Standard reported, “Nearly one-half of an entire train section is used to transport the scenery and costumes of the spectacle of Joan of Arc. This spectacle includes a cast of 1,250 characters and a ballet of 300 girls under the personal direction of Ottokaa Bartik, ballet master of the Metropolitan Opera House, New York, and late of La Scala, Milan. In a series fo striking pantomimic pictures this spectacle tells the dramatic and historical story of the Maid of Orleans, who went forth to battle for her country and her king. The costumes and scenery used in this production are more gorgeous and costly ever secured for a presentation of this kind, either under canvas or in a theatre and the spectacle is produced with all the scenic pomp and splendor and detail of a grand opera. It is presented on a stage larger than that of ten ordinary sized theatres, occupying nearly one entire side of the main circus tent, which measure 498 by 234 feet and seats more than 12,000 persona at a performance” (1 Aug. 1913, page 9).

Scene from the Ringling Bors. grand spectacle, “Joan of Arc” in 1913, from the “Santa Ana Register,” 4 Sept 1913, page 8

After “Joan of Arc,” 375 performers took part in the ring entertainment, with approximately 200 who were recruited by Ringlings’ European agent (The Daily Herald, 12 April 1912, page 4). There were 124 acts, 40 elephants, and 108 caged animals in the traveling Ringling Brothers’ zoo.

“Joan of Arc” was reported as costing in excess of $500,000 to devise and produce (The Placer Herald, 23 Aug. 1913, page 3). Keep in mind that the amount twas half the price of “King Solomon,” the grand spectacle that the Ringlings would produce in 1914. For “King Solomon” the Ringlings added a railway car, an elephant, eighty horses, and a much larger main tent. The horses increased from 650 in 1913 to 730 in 1914. The 1913 tent measured 498 feet by 234 feet, seating 12,000. The 1914 tent measured 560 by 320 feet and added an additional 2,000 seats, totaling 14,000.

 

To be continued…

Tales from a Scenic Artist and Scholar. Part 487 – The Logistics of Touring Ringling Brothers’ “King Solomon and the Queen of Sheba”

Part 487: The Logistics of Touring Ringling Brothers’ “King Solomon and the Queen of Sheba”

One of the things that I keep thinking about is the logistics of organizing and managing a touring circus a century ago, especially the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The Pittsburgh Press published an article that provides insight into the 1914 circus (11 May 1914, page 14). Here is a section from the article that I found intriguing:

“The big enterprise bearing the name of the five brother showmen arrived in Pittsburgh in the small hours of Sunday morning and with very little noise and no confusion an enormous tented city was quickly established on the show grounds in East Liberty. The show came from Wheeling, W. Va., where it exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad by a vast horde of excited youngsters who had braved both the displeasure of parents and Sunday school teachers in order to be on hand to help unload the elephants and lead the spotted ponies to water. All day yesterday they loitered around the East Liberty grounds watching the erecting of the tents and other unusual sights.

From “The Star Gazette” 21 May 1914, page 3
From “The Star Gazette” 21 May 1914, page 3

Twenty-four tents are required this season. The main canvas – the big top is the largest the Ringlings have ever used – is especially constructed, not only to accommodate the circus with its three rings, stages and hippodrome track, but also arranged for the massive spectacle “Solomon and the Queen of Sheba,” which is presented on a stage five the size of that found in the largest theater. The Ringling circus is a perfect city in itself traveling every night, making a new city every day and morning with more system, rapidity and less fuss and noise than any branch of the army. To prepare for its coming exactly 106 representatives, each with a various mission to perform, have visited this city.

From the “Sheboygan Press,” 7 July 1914, page 1
From the “Sheboygan Press,” 7 July 1914, page 1
From the “Sheboygan Press,” 7 July 1914, page 1

All of the cooking for this enormous enterprise is done by steam and in ranges built in a wagon weighing six tons and drawn by eight horses. As a mere detail of the marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs, 800 pounds of bread, 150 pounds of sugar and other items equally as large. The first order to the cooks in the morning is for 5,200 griddle cakes and yet, as large a number as this may seem, it is only four a piece. For the stock and animal department there are used daily: 10 tons of hay, five tons of straw, 300 bushels of oats, while no well behaved elephant would think of starting his day’s labor without his morning cereal – a bale of hay. Most of all, these purchases are made from local merchants.

From “The Press and Sun Bulletin,” 21 May 1914, page 5
From “The Des Moines Register,” 19 August 1914, page 15

The circus travels on its own trains and only requires engines and crews from the railroads. The show also carries its own blacksmiths, horseshoers, wagon and harness makers, tent makers, rope splicers and a corps of decorators are kept on hand continually touching up the gilded and brilliantly painted tableau wagons and cages. Two men are employed eight hours a day doing nothing but greasing axles. In the wardrobe department presided over by Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000 costumes have to be handled daily and kept in repair. Five dressmakers and six tailors, besides armorers, are in this department. The circus has its own physician who carries with him a complete surgical and medical outfit. There is also a barber shop and, incidentally, no driver or man appearing before the public is allowed to leave the show grounds until he is shaved. This also suggests another rule strictly enforced by the Ringling Brothers’ which absolutely forbids the use of whips by any of their drivers.

It costs $8,000 a day to run the circus and it represents and investment of nearly $4,000,00. The show maintains winter quarters and shops at Baraboo, Wisconsin, and Stoke-on-Trent, England. The firm is now planning an expedition of its own to trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on the alert to secure novelties.

Starting as mere boys with a borrowed tent in which they were given a few juvenile attempts at entertainment, these five brothers have seen their dreams realized and have become master showmen of the world.

The afternoon performance began at 2 o’clock and the big tent was crowded. Opening the bill came the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or so effectively presented has ever been given here before. The opening pageant, the ballet of dancing girls and the dramatic action were veritable surprises. The spectacle was followed by surprises. The spectacle was followed by the circus performance in which 400 men and women appeared. More novelties that ever before are presented, the Ringlings having brought from Europe the majority of their people.

From “St Louis Star and Times,” 20 April 1914, page 7
From “The Pittsburgh Daily Post,” 26 April 1914, page 14
From “The Dayton Herald,” 25 April 1914, page 9

The final performance will take place Tuesday night at 8 o’clock. The doors open an hour earlier, allowing time to visit the extensive menagerie and also enjoy the operatic concert rendered by the military band of 80 pieces.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 486 – Ringling Brothers’ “King Solomon and the Queen of Sheba”

Part 486: Ringling Brothers’ “King Solomon and the Queen of Sheba”

1914 poster for the Ringling Brothers’ spectacle “King Solomon and the Queen of Sheba”
1914 poster for the Ringling Brothers’ spectacle “King Solomon and the Queen of Sheba”

I now understand why people ran away to join the circus during the early twentieth century. If I were born a century ago, the circus would have been too tempting to resist as it passed through my hometown; it offered escape from a mundane existence. In 1914, the “Indianapolis Star” reported, “Nero has watched his Rome burn to a cinder beneath a circus tent. Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatara has taken her last look at Egypt before the clown’s entry. And now the wise King Solomon and the Queen of Sheba have been made the hero and heroine of the circus spectacle, surrounded with all the gorgeous pageantry and lavish costumes a showman can devise” (4 May 1914, page 3).

That same year, Thomas G. Moses was still designing scenery for the Ringling Brothers’ Grand Spectacular productions, also advertised as “great wordless plays” (The Evening News, Wilkes-Barre, Pennsylvania, 16 May 1914, page 9). Moses designed and led the scenery production at the Sosman & Landis studios. The completed settings were then delivered to Baraboo, Wisconsin, as the production was prepared at the circus’ winter quarters.

In 1914, Moses wrote, “Jan. 6th, went to Baraboo, Wisconsin, to see the Ringling’s for the new spectacle, “King Solomon.” Another big show. Made a model for one scene and got $2,900.00.” Of the final production, Moses observed, “Ringlings’ work came out very good. Everyone was pleased and that is saying a good deal.” Moses was referring to the 1914 Ringling production “Solomon and the Queen of Sheba” that toured throughout the United States.

Of the circus with Moses’ scenery, the “Star Gazette” reported:

“Nearly half of the entire train section is used to transport the scenery and costumes used in the massive spectacle, “Solomon and the Queen of Sheba.” The spectacle includes a cast of more than 1,250 characters and a ballet of 300 dancing girls under the personal direction of Ottokar Bartik, balletmaster of the Metorpolitan Opera House, New York, and late of La Scala, Milan. The music for this spectacle has been written by Faltis Effendi, formerly bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90 musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a cathedral pipe organ, costing $100,000. The Ringling Brothers’ have expended $1,000,000 in the production of this mammoth spectacle which faithfully and accurately portrays the pomp and ceremony, life and wisdom of a period a thousand years before Christ, and introduces Solomon in all his glory and Balkis, Queen of Sheba, the most interesting woman of her day” (Elmira, NY, 21 May 1914, page 3). The US Inflation Calculator measures the buying power of $1,000,000 in 1914 to be the equivalent of $25,200,600.00 in 2018. Fifty men were needed to handle scenery and special effects (Dayton Daily News, 26 April 1914, page 31).

Advertisement for the Ringling Brothers’ “King Solomon” spectacle, from “The Reading Times,” 16 May 1914, page 9,
Advertisement for the “King of Solomon and Queen of Sheba,” from “The Chicago Tribune,” 21 April 1914, page 16.

When the circus arrived in Elmira, New York, the “Star Gazette” included a large article about the early morning arrival and events, advertising:

“The big circus is almost here. Tomorrow morning in the small hours just before dawn, four long red and yellow trains, made up of 86 cars will roll quietly into Elmira coming from Binghamton, over Lackawanna railroad. They will be unloaded immediately and within a few hours the big aggregations of world wonders which comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered under twenty acres of white canvas on the show grounds.”

The circus included an elaborate parade that traversed the principal streets of each town on the morning of their arrival. The “Star Gazette” announced, “The cavalcade which, it is promised, will be the longest and most gorgeous display ever seen in the streets of this city, will start from the show grounds promptly at 10 o’clock. It will be more than three miles in length and will include all the performers and animals, in addition to the long procession of handsome tableau wagons and allegorical cars, filled with pretty dancing girls in gay costumes. Six bands and two calliopes will furnish the music for the cavalcade and the fifty famous Ringling clowns will be on hand to keep the sidewalk spectators in good humor. A striking feature of the procession will be the long line of elephants, forty in all, and a team of sixteen camels, broken to bit and harness driven the same as horses. These beasts draw a huge parade wagon and this is the first instance on record where the ‘ship of the desert’ has ever been successfully broken to harness and bit.”

The “twenty-four hour man” arrived a day ahead of the circus to set up the infrastructure needed to feed an enormous amount of people and animals. Other circus staff that arrived a day early included “a number of stage and electrical experts who precede the show to make arrangements for the staging and lighting of the big spectacle “Solomon and the Queen of Sheba.” It is important to remember that the King Solomon spectacle was just one of the principal features for the Ringling Brothers’ program that season; it was not the whole show. This makes theatrical touring shows, such as “Ben-Hur,” seem like child’s play when compared with the logistics of a touring circus with thousands of moving parts.

Unloading the Red Wagons for the Ringling Brothers’ Circus from the “Sheboygen Press,” 7 July 1914, page 1

The first train to arrive was the commissary department and the first tent to be pitched on the show grounds was the “cook house.” The second and third trains pulled the heavy red wagons, loaded with canvases, properties, the elephants, the 730 horses and the other animals. On the last train, composed entirely of sleeping cars, arrived all of the performers and ancillary staff members for the show.

“King Solomon and the Queen of Sheba” was presented in a series of dramatic pantomimic pictures staged with “all the lavish splendor and opulence that marked the period when the wise Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba.” The Star Gazette continued, “The spectacle is presented on an enormous, specially constructed stage, which occupies nearly one entire side of the main tent. The tent measures 560 by 320 feet and seats 14,000 people at a performance.” Remember that two shows were given daily; one at 2pm and one at 8PM, and the doors opened an hour before show time, allowing spectators to visit the 108 cages in the Ringling zoo and purchase candy and souvenirs!

The Star Gazette concluded, “Despite the enormous cost of the spectacle, no expense has been spared to make the arena program the most thrilling and novel entertainment that has ever been presented. In the three big rings and two stages more than 400 performers will appear in a series of new and sensational, riding acrobatic and aerial acts, nearly all of which have never before been witnessed in America. Such famous foreign performers as Charles Augustus Clark, England’s foremost bareback rider; the Mirano brothers, wonderful perch artists; the Balkani troupe of the Far East equestrians; the famous four Lloyds, daring Indian riders; Mijares, the Mexican wire wizard, and the world famous Clarkonians, who turn triple somersaults in mid-air and are a few of the host of performers who will furnish the spectators with an abundance of thrills.”

The Queen of Sheba was played by Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French teacher of pantomimic art.

A Russian actress played the Queen of Sheba in the Ringling Brothers’ spectacle “King Solomon and the Queen of Sheba,” from “The Indianapolis Star,” 4 May 1914 page 3

Who wouldn’t get caught up in this excitement and plan their escape from the doldrums of everyday life? But this was just the 1914 show. Another would be planned for 1915. By the end of 1914 Moses wrote, “Took a trip to Rockford to see Ringling’s about more work for the next season.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 439 – Thomas G. Moses and “Winchester“

Part 439: Thomas G. Moses and “Winchester“

Thomas G. Moses recorded creating scenery for Edward McWade’s play “Winchester.” McWade was the author of this early Civil War drama. The five-act play premiered in 1897 and was an immediate success. The Buffalo Courier advertised “Winchester “ as the “best of all war plays” with “beautiful and realistic scenes” (22 Dec. 1901, page 22).

Edward McWade

The play was about a romance, set in Winchester, Virginia during 1863. Virginia Randolph nurses a wounded Northern officer, Major Frank Kearney, back to health in her home. While there, Frank teaches Virginia telegraphy, unintentionally teaching her to intercept Union messages and send them to her brother, a Confederate captain. Although discovered, Franks’ romantic rival, Col. Dayton, and a Northern spy, Phillip Allen, accuse Kearney of treachery. Frank is court-martialed and scheduled to be executed at dawn. Virginia confesses her guilt to the commanding general, and then mounts her horse and rides down the moonlit roads with Frank’s reprieve in hand. This scene was popularized as “the race for life.” Advertisements for the show included a quote from the New York Morning Telegraph, “The second scene of the fifth act of “Winchester” would carry it; the heroine is shown in a wild ride with a reprieve for her lover, who is to be shot.” Virginia is pursued by the villainous Allen, whom she is forced to shoot from his horse during her dangerous ride. She reaches the firing squad just in the nick of time!

Advertisement of “Winchester,” from the Buffalo Courier, 22 Dec. 1901, page 21.

The show toured with treadmills for the horses and a moving panorama for this exciting scene. “Winchester” is also a significant production when examining the earliest uses of the moving pictures for stage-and-screen hybrid presentations. For a few productions, instead of using a moving panorama, a moving projection appeared in the upstage area to simulate the moving panorama. The consistent use of this scenic effect remains unclear, nor its overall success. There must have been the novelty of a new media incorporated into the stage, but could it really meet audience expectations for a moving panorama and onstage horse race? There would be a simple lack of color and atmosphere; a stage aesthetic that an early black and white film could never convey.

In 1901 McWade organized a new and ambitious production in New York at the American Theatre, hiring Margaret May Fish, a western actress and his future wife, to appear with her jumping horse Mazeppa. The show was to again use the racing machines popularized in earlier productions, such as “The County Fair.” This was the production that Moses worked on while living in New York. The new “Winchester” was to include 100 men and 25 horses for a full run of the show (The Saint Paul Globe, 28 Jan. 1902, page 6). Advertisements of the new touring production promised, “The same powerful cast, the same complete scenic equipment, the same thoroughbred racehorses, the same calcium lights exactly as used during the New York run. Guaranteed to be the best war play ever seen” (The Public Ledger, 16 February 1903, page 3).

The Public Ledger reported, “A carload of special scenery, properties and electrical effects are utilized scenically and mechanically, and two thoroughbred race horses are carried to vividly portray the thrilling ride” (17 February 1903, page 1).

Edward McWade (1865-1945) was an actor and writer who transitioned from the stage to film. He appeared in more than 132 films. His father and brother were also notable stage personalities, Robert McWade, Sr. (1835-1913) and Robert McWade, Jr. (1872-1938). Both McWade brothers went from Broadway to Hollywood, continuing successful acting careers. Edward McWade and his wife Margaret May performed in a number of stage and film productions together.

Margaret McWade and Louis Calhern in “The Blot” from 1921.

To be continued…

 

Tales from a Scenic Artist and Scholar. Part 436: Thomas G. Moses and “The Village Postmaster”

Part 436: Thomas G. Moses and “The Village Postmaster”

Thomas G. Moses recorded that he created settings for “The Village Postmaster,” a domestic drama in four acts that was originally written by Alice E. Ives and Jerome H. Eddy in 1894. By the time Moses created the scenery for the third revival production, it was wildly successful production.

An advertisement for “The Village Postmaster” from “The Star Gazette,” 19 Jan. 1902, page 4.

The show premiered at Haverly’s 14th Street Theatre on April 3, 1896. As an original melodrama for Broadway, the first scenic design was credited to Homer F. Emens. The show was revived a few times at Haverlys 14th Street Theatre. By January 6, 1902, the “Star-Gazette” reported that the production had recently celebrated its one thousandth performance, having most recently played at the 14th Street Theatre in New York 227 times and in Chicago for 125 nights (Elmira, NY, page 3). When the show reached it’s 100th performance mark in Chicago, silver pie knives were handed out as souvenirs (The Daily Review, 29 Oct. 1902, page 3). The show also played numerous runs in Brooklyn, Philadelphia and other large cities, with 100 nights in Boston (The Buffalo Enquirer, 13 Sept. 1902, page 7). In 19continued on its tour.

The play begins in the Autumn of 1852. The central figure is a local mail official, who is also the general shopkeeper. The captain of the militia is a perpetual candidate for minor political honors and, in short, a sort of “poobah of the town” (Portsmouth Herald, 8 March 1902, page 4).

An illustration from a character in “The Village Postmaster,” published in “The Portsmouth Herald,” 8 April 1902, page 4.

The story begins on the morning of training day in Bridgewater, a New Hampshire Village. A note in the script explains, “Up to about 1853 in New England, and in many of the Northern states the law compelled every able-bodied citizen to assemble spring and autumn for a drill in the manual of arms, there being at this time no regular state militia. The event was a holiday of considerable importance to the villagers, and was called “General Training Day.” The action of “The Village Postmaster” begins on this day.

“The Portsmouth Herald” reported, “The cities of New York and Chicago were most lavish in their praise of the play during its long run in those cities. The Herald said of it, ‘New York has never seen a better drama of rural life than The Village Postmaster. The play carried with it the smell of new mown hay, apple blossoms and pure country air and it is enacted by a company fully capable of retaining this atmosphere.’ (Portsmouth Herald, 8 March 1902, page 4). The article continued, “The scenes of the play were a general store, the village green, with a country dance on Training Day, ending with a realistic shower of rain; the minister’s donation party; a realistic farm scene, with an old-fashioned threshing machine at work, and a village church where great preparations are being made for the night wedding of the postmaster’s daughter.” Can you imagine handling a hors-drawn threshing machine during load in, especially if the theatre was located on the second floor?

A scene created by Thomas G. Moses for “The Village Postmaster,” published in the Fort Smith Times, 23 Nov. 1902 page 9. Notice the wrinkles at the top of the backdrop from touring the scenery!
A scene created by Thomas G. Moses for “The Village Postmaster,” published in the “Austin American Statesman,” on 19 Dec. 1902, page 6.

“The Fort Smith Times” published a scene from the play and reported, “It takes two baggage cars to carry the scenery and properties of ‘The Village Postmaster’” (23 November 1902, page 9). The “Fitchburg Sentinel” commented, “In the matter of scenery and setting it is the most elaborate production ever made of any rural play” (14 March 1902, page 6). The “Austin Statesman” noted, “A thunderstorm with real rainwater” ended the first Act (14 Dec. 1902, page 10).

“The Quad City Times” published a very entertaining article about the production in regard to the stage pig (17 Oct 1902, page 5): “The education of the pig in “The Village Postmaster” is no light matter to all concerned, ‘and the worst of it is,’ said ‘Props’ plaintively, ‘I no sooner get him beautifully broken in, so that he doesn’t balk at his cue, nor run over the footlights in to the bass drum, than he gets too large to play small parts, and has to be sold to the butcher for pork. If I only knew some way for keeping him from being a hog.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 365 – “How Theatrical Scenery is Made,” 1898 (scale models, part 2)

Part 365: “How Theatrical Scenery is Made,” 1898 (scale models, part 2)

Below is an article depicting Joseph A. Physioc’s studio in New York, published in “The World” during 1898 (March 6, page 43). It provides great insight into the scenic art profession and design process at the end of the nineteenth century. Here is the second of four installments:

“The average person who goes to the theatre and is delighted and amazed with the beauties of the settings has the most shadowy idea of how they are brought about. He cannot grasp the enormous amount of work involved.

When a scenic artist is engaged to make the settings for a new production. The play itself is first read to him, or he may be permitted to read and study the play for himself. The manager determines how elaborate the scenes are to be.

The scenic artist is supposed to be able to roam over the wide world. He must know how a bungalow looks in India and make himself familiar with the vegetable life and foliage of the country. He must go research back in ancient Egypt of into modern Africa. He must know architecture and the habits and life of the people who appear in the play.

Of course the scenic painter carries these things and a thousand others that he must know in his head. But he must know where to turn for them. Sometimes the research requires months.

Then he must carefully study the action of the play and make all allowances for any business that is of more or less importance. He must preserve the harmonies. For instance, the surroundings of the romantic play like “Under the Red Robe” would be entirely different from a pastoral play, although they might be held in the same place. That which is called the optique de theatre must be preserved.

The scenic artist must so design the scenery that it may be easily handled, and above all, every piece must be so made that it will pass through a door of 9 feet 6 inches. That is the size of doors of baggage cars, and it is expected that every play will “go on the road.”

Physioc is now working upon the scenery for “The Bonnie Brier Bush,” and it serves as an excellent opportunity to illustrate the method of preparing for a big production.

After reading the play, he secured pictures of Drumtochty – actual photographs. He secured photographs of the houses and the furnishings. He read up on the manners of the people and made sure about the tables and chairs and the clocks and all manner of things.

Having gathered his material he prepared to lay out the scenes. First he drew a sketch on a piece of paper – a rough pencil sketch. Some of the minor interior scenes he worked out swiftly enough. The more important scenes were studied over for a long time. A day was spent over the final sketch of the third set scene, which is the most effective of the play.

Then he set about making the model, and this is the most important part of the whole process. It is an exact miniature representation of the scene as it will appear on stage.

It shows the Drumtochty in the background, spanned by bridges. In the middle ground the road apparently sinks into a depression. On the right is a hill, on the left a rye field surrounded by a stone fence.

The first difficult thing is perspective. Stage perspective is absolutely false, according to the rules of art and optics. But it is true to itself. The reason lies in the flat stage. The base line cannot conform to the line of vision. Therefore it is necessary to make an imaginary base line some five feet above the real line.

The color scheme is less important from the first. Your scenic painter must paint one scene to meet all manner of meteorological conditions. In this particular scene the action opens in the morning, late in midsummer. The mist is rising from the river and the mountains. This effect is secured by means of gauze and screens. Then the sun shines in splendor. Everything is bright and brilliant. The rye n the field is waving, the leaves in the trees are rustling. The lights are largely responsible for this effect.

Then a tremendous mountain storm breaks forth in darkness and fury. Again are the lights is to be depended upon, but the scenery must be so painted that the lights can be effective.

The rear drop is made to bear the burden. It is translucent. Throwing a light in front with the back dark makes one effect. A light back of the drop produces another. Wherefore it will be seen that the painting of these drops is a silicate matter. They must be effective, artistic, and have a similitude of truth under wholly different conditions.

Physioc finishes his models very carefully. He makes them to a scale of three-quarters of an inch to a foot. Every tree is in its place and painted carefully. The foliage is cut out exactly, as it is in a finished scene. And this is the only work that the artist does not do himself.

The finished model is firmly supported on a frame. It is about three and a half feet long. Then it is taken to the miniature stage for the final test. It is slipped in place and it only remains to turn on the lights.

In order to carry out the illusion, this little stage has a proscenium arch. It has footlights of different colors and all manner of other lights, including a calcium effect. The lights can be regulated so that any degree of brilliancy may be had. Physioc has established an electric-light plant of his own, simply for his miniature stage.

The switchboard is exactly like that in a theatre. It is much bigger than the stage itself. There are red lights, blue lights, combinations giving the effect of dawn, of early morning, of high noon, of dusk, of night, of storm and moonlight, every possible thing in the way of lighting on a stage is shown with this model. Nothing is left to guess work. It is perfectly demonstrated how a finished scene will look. If there is anything wrong, it can be corrected.

If you ever look at scenery at close range, you will understand what an advantage this miniature is. Physioc has found this device, which is his own invention, of enormous value. Often he has torn a model apart because the test showed that it was not satisfactory.

If the model meets with approval, then the making of the actual scenery begins. Of course the rear drop is the first thing painted, as this dominates the whole setting.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 343: “The Artist in the Flies,” Second Half

 Part 343: “The Artist in the Flies,” Second Half

This is the second part of an article, “Artist in the Flies,” started yesterday from the New York Tribune (4 Aug 1895, page 14).

“[The scenic artist] is often interrupted in his work, when rehearsals are going on, for while the frame is being lowered it makes a horrible noise, which naturally interferes with the work of the actors.

“Oh, say, up there, won’t you give us a chance to hear ourselves think?” or “Say, just wait a few minutes until se get through the scene and then you can make all the noise you want,” are common cries. Sometimes the assistant, whose work is to run the windlass, pays no attention to the calls from below, and goes right ahead, making all the noise possible, until the stage manager in despair mounts the paint bridge and in a forcible language commands the young man to desist; this he does after growling and grumbling about the delay.

After the scenery has been painted it goes back into the hands of the stage carpenter and his men. In a wood scene or a rural scene there is a great deal of cutting to be done. The leaves and branches are cut away from the canvas which has not been painted.

After the properties have been made – they are usually of papier-mâché – they are sent up to the paint bridge to be touched up with a coat of paint. The stage cloths or carpets are also painted by the artist. The getting up of the scenery is the most expensive part of a production. It is no wonder that a manager is leery of putting on a new piece. The great cost incurred before the curtain goes up makes him hesitate about engaging in a venture which the audience may find dull.

The most expensive scene drop is one which requires a number of faces painted on it, to represent an audience, for instance. Here the services of a portrait painter are generally called in, and each face is actually a likeness. Of course the faces in the background are not as perfect as the front ones. After one season of wear and tear in traveling, the scenery is not a thing of beauty. It is hardly worth storage room. When a piece is to be played a second season, the scenery goes back into the hands of the scenic artist and stage carpenter to be patched up and retouched. A great deal of this old scenery is bought by small out-of-town managers, to whom scenery is only a second consideration. In one-night towns it is often a puzzle to find out “where the actors are at.” The backdrop represents a French chateau and the house in the foreground is an English Inn. The properties used “have nothing to do with the case,” but they help to fill the stage.

It is a small wonder that scenery is in such a tattered condition when it returns after the season is over. The carting of scenery is an important to the stage carpenter, who travels with the company, as the box office receipts are to the treasurer.

In New-York may be found wagons especially built for the transportation of scenery, but few other cities have these wagons.

Advertisement for scenery transfer in Chicago. Julius Cahn’s Official Theatrical Guide, 1906.
Detail from scenery transfer advertisement in Chicago. Julius Cahn’s Official Theatrical Guide, 1906.
Detail from scenery transfer advertisement in Chicago. Julius Cahn’s Official Theatrical Guide, 1906.

When “Rob Roy” was on its travels last spring, the scenery was being carried from the theatre to the railroad station. The wagons were not long enough to carry scenery properly, and the tower of Sterling Castle hung way out of the back of the wagon and touched the ground. This almost drove the stage carpenter to despair, until a happy idea struck him. He borrowed a wheelbarrow, and then hired a sturdy boy to follow the wagon, with the top of the tower resting in the barrow. This scheme worked beautifully for a few blocks, until the boy got tired. He demanded his pay, and said the work was too hard. He could not be induced to resume his journey. Again the stage carpenter put on his thinking cap. “Come, boys, let’s have a drink,” he said to his employees. All retired to the nearest barroom, and when they returned each and every many was perfectly willing to carry the tower on his shoulders down to the train.

All of the big railroads have cars especially adapted for the transportation of scenery. Francis Wilson rents a whole house for the storage of his scenery. He has complete sets with properties, costumes, etc., of all his operas from “The Oolah,” his first production, to the “Devils’ Deputy.” In case of accident by fire or railroad disaster, he will not be obliged to close his season, but can resume it after a few weeks of rehearsals, of one of his former operas. The final resting-place of all the beautiful grottos, ballrooms, etc., is the furnace in the boiler-room down in the cellar of the theatre.”

 

To be continued…

Tales from a Scenic Artist and Scholar. Part 329 – Traveling through the country is so thrilling…

Part 329: Traveling through the country is so thrilling…

“…standing out in front on opening nights. Smiling as you watch the theater filling, and there’s your billing out there in lights”

Thomas G. Moses painted numerous productions during 1895 that included “Ben-Hur,” Alexander Salvini’s “Hamlet,” John Griffith’s “Richard III” and “Faust,” the world premier of “Mystery of Agnes Page” with Mary Wainwright, some scenery for Joe Jefferson to pad out his “Rip Van Winkle” production, a road show of “Said Pasha” for Jules Murray, and several good scenes for Mme. Modjeska for a play called “Mistress Betty.” Moses wrote that in addition to these productions, he also completed a “dozen smaller shows.” Keep in mind that these were just shows that he highlighted in his typed manuscript and in addition to those already mentioned in earlier installments, such as the outdoor spectacle of “The Storming of Vicksburg.” In addition to touring shows and Chicago projects, Moses and his crew also painted several stock scenery collections for theaters across the country.

Here are just a few snippets concerning some of the productions listed above as it hints at the personalities Moses was directly working with as he created the scenery. Of “Ben-Hur,” Moses wrote, that it “kept the crew busy at the old Waverly Theatre.” This likely was the pantomime version created for his hometown of Sterling, Illinois, that year.

His scenery for “Hamlet” would be some of the last that the well-known Italian actor Alexander Salvini would perform in front of in America. Alexander was the son of Tomas Salvini, another famed Italian actor. But the end of 1896, Alexander Salvini died from “consumption of the bowels” in Florence, Italy.

Alexander Salvini pictured in “Hamlet,” Chicago Tribune, 26 April, 1896, page 24
Advertisement for “The Mystery of Agnes Page” and “Hamlet,” both shows with scenery created by Thomas G. Moses in 1895.

John Griffith performed in Collie Cibber’s version of “Richard III.” Moses wrote that the production was “quite elaborate.” The Nebraska State Journal reported, “It will be staged complete, even to the minutest detail, the scenery having been painted by that eminent artesian, Mr. Thomas Moses, of Chicago from historical drawings” (17 August 1896, page 8). Other newspapers advertised “Richard III” as “the grandest scenic production ever given of the play” (Scranton Tribune. 13 November 1896, page 7).

John Griffith, “The Courier (15 August, 1895, page 3)”

Moses also painted the scenery for another Griffith production -Henry Irving’s version of “Faust.” Griffith played the role of Mephisto. The Butte Daily Post reported, “It takes a 60 foot car to carry the scenery, calcium and electric effects. The scenery is painted by Mr. Thomas Moses of Chicago, from a photograph of the original scenery painted for the Lyceum theatre of London, by Mr. Carven” (18 May 1895, page 8). In Washington, the Seattle Post-Intelligencer confirmed the replication of the an entire set, publishing, “The scenery of the production is especially fine. It was painted by Tom Moses from photographs of the original scenery in the Lyceum theater, London” (The Seattle Post-Intelligencer, 4 May 1895, page 6).

Advertisement for “Richard III” and “Faust,” both productions painted by Thomas G. Moses and his crew in 1895.

Moses painted the settings for another touring show managed by Jules Murray -“Said Pasha.” This show toured with “Amorita,” and featured the Calhoun Opera Company. The two productions traveled with “forty-five people and a carload of scenery” painted by Moses and his crew (Weekly Journal Miner, 20 March 1895, page 3).

Moses also designed and painted the scenery for the production of “Mistress Betty; or the Career of Betty Singleton.” This was a play by Clyde Fitch starring the Polish actress Helena Modjeska (Helene Modrzejewski) that was never really successful on tour. It retold the tragic tale of an eighteenth-century London actress who married and alcoholic and is driven mad by his preference for another woman. It opened on October 15 at the Garrick Theatre in New York before going out on tour. Over the years, Moses created the scenery for many of Mojeska’s productions as she took quite a liking to him.

Advertisement for Helena Modjeska in “Mistress Betty.” Buffalo Commercial (29 Oct 1895, page 9)
Helena Modjeska

In addition to all of the touring shows and everything else going on at the Waverly during 1895, Moses designed and painted the settings for the world premiere of “The Mystery of Agnes Page” at the Schiller. It was an incredibly busy year for Moses. Miss Wainwright played the title role in this four-act production by A. E. Lancaster and Nathaniel Hartwig.

Marie Wainwright’s show painted by Thomas G. Moses. St. Louis Post Dispatch (19 April 1896, page 25 Moses)
Illustration of Mary Wainwright in “The Mystery of Agnes Page” Chicago Tribune (12 April 1896 page 42)

The Chicago Tribune advertised, “Special Scenery by Thos. G. Moses” for “The Mystery of Agnes Page” (5 April 1896, page 43). The painted settings depicted locations in both Virginia and New Orleans, La., “just prior to the rebellion.” The story hinges on the discovery that the heroine, Agnes Page, is of Ethiopian descent. She struggles with the decision of whether or not to reveal this secret to her lover as she is currently perceived as white. There are lots of surprises and twists in the plot as Agnes realizes her true parentage. The Inter Ocean reported, “The well-known scenic artist Thomas G. Moses has been employed during the past three weeks on the play” (5 April 1896, page 45). Another article noted, “The management is to be heartily praised for the admirable manner in which this new play was staged, the scenery being quite true to the South” (8 April 1896, page 7).

All of the above-mentioned productions advertised that Thomas Moses created the scenery. By 1895, his work was well known and included in advertisements to promote the productions.

To be continued…

Tales from a Scenic Artist and Scholar. Part 306 – David H. Hunt and The Pike Theater Company

By 1901, David H. Hunt was listed as manager for the Pike Theater Company. It appears that theatrical management company of “Sosman, Landis, & Hunt” closed and other firms took over the management of their Cincinnati and Indianapolis venues. Hunt’s sole role became that of a stock company manager and his company toured the country, stopping in St. Paul, Minneapolis, Detroit, Washington, Baltimore, and New York.

The Minneapolis Star Tribune on July 1, 1901, reported that the company brought with it nearly “three carloads of scenery, specially designed and gotten up for the plays to be presented during the summer season in Minneapolis and St. Paul.”

“The Banker’s Daughter” was one of the shows performed by the David H. Hunt Pike Theater Company in 1901.

In Minnesota, the “David H. Hunt’s Pike Theater company” was performing several plays, including Bronson Howard’s “The Banker’s Daughter” and “Uncle Tom’s Cabin.” In a July 14, 1901 interview with Hunt and company members, his scenic artist explained the importance of scenery for their company:

“People are just commencing to realize that good plays are frequently as dependent upon good scenery as good actors,” said Scenic Artist Slipper, “and it is certainly true that a play without the advantage of scenery would be a burlesque upon the modern methods of management” (Star Tribune, page 14). “We are told that Shakespeare’s plays were first produced without scenery, but we are not informed they were great success except as lectures or monologues of rare literary merit.” He continued, “The success of the drama depends upon the illusion it creates; acting is an illusion – that, is, it excites the auditor to tears over a situation which does not exist, or moves to mirth with an incident that is purely imaginary. So, too, is scenery an illusion. We show you a landscape in a production at the Metropolitan which seems to the spectator in front to stretch away for miles, whereas it is but a few rods distance from the eye, and, perhaps, no more that three feet away from the house, or the shrubbery, or the forest which seems so near you. Thus, if the actor deceives your ear with a cry which seems to have it in tones all the attributes of heart-felt sorrow and tragedy, the artist deceives the eye by producing an impression simply by a few touches of the brush and the proper combination of colors something akin to that produced by the omnipotent hand of nature herself as revealed in the far stretching landscape, or as is shown in the more artificial work of the man as applied to the architecture and the furnishing of apartments.”

Advertisement in the Star Tribune for the production of “The Banker’s Daughter” in 1901.

The following year, the Hunt’s stock company was performing Hall Caine’s “The Christian,” again touring across the country with the production. Newspapers reported that the his stock company had been in existence for nearly seven years, during which time it had played over 250 different plays and had appeared in almost 2,400 performances. This suggests that there was simply a name change from “Sosman, Landis & Hunt” to David H. Hunt for the same stock company.

The Evening Star reported, “Stock was a new thing when Mr. David H. Hunt decided that vaudeville was not a success at his Cincinnati theater, and installed the first stock company there since the famous old days when Davenport, McCullough and other old-time stars had appeared with the ante-bellum stock companies in the smoky city. Mr. Hunt was a young man, his company contained players who were themselves little known, and with the development that followed hard work and success the organization was brought to a standard of perfection. Mr. Hunt early decided that pecuniary success would only result from artistic success. He set about obtaining good plays and good players, with the result that people in Cincinnati accord the Pike Theater Company both consideration and affection. For several years the company played entirely in Cincinnati, then tried Minneapolis and St. Paul for spring engagements, next added Detroit to their list of cities and now adds Washington, New York and Baltimore” (Washington, D.C., 13 Sept. 1902, page 22).

The story for Hunt continues on a different trajectory and ends by 1911. In 1903, he marries stock company actress Angela Dolores (Detroit Free Press 21 May 1903, page 12). By 1906, Hunt was back in Chicago, managing a stock company for the Chicago Opera House. A newspaper article reported that “David H. Hunt who has considerable experience in this particular branch of amusement business, will assume active management, and he has made definite arrangements with important Eastern managers whereby he will offer their successes at popular prices” (Inter Ocean, 19 August 1906, page 26). Two years later, Hunt has returned to managing his wife’s touring production with William Duvre and Harry English(Cincinnati Enquirer 30 August 1908, page 26). This lasts for approximately five years. Newspapers report that her tour remained under the personal direction of Hunt and who promoted her as the “best known stock leading lady” (Fort Wayne Daily News, 16 Feb 1911, page 5).

But what happened to Sosman, Landis & Hunt? By 1902, Landis left the scenic studio due to health reasons. This left Sosman solely in charge of both artistic and administrative duties. He realized that he could not do it alone and repeatedly requested that Thomas G. Moses return to Chicago and work in the studio. Up until this point Moses had partnered with Will Hamilton, forming the studio of Moses & Hamilton. They were working in New York. The decade from 1894 to 1904 is one of the most interesting periods in the career of Moses.

We return to 1894 tomorrow, understanding one of the factors that caused Moses to depart the Sosman & Landis studio – for his second time – in 1894.

To be continued…

Tales from a Scenic Artist and Scholar. Part 260 – Thomas G. Moses Painting for Buffalo Bill’s “A Lady of Venice”

Thomas G. Moses created painted scenery for a variety of productions during the Columbian Exposition in 1893. One project was for Col. William F. “Buffalo Bill” Cody.

Buffalo Bill wanted his Wild West show to be part of the Columbian Exposition. The Committee of Ways and Means standard tariff for a concession was fifty percent of gross proceeds, not fifty-percent of the actual profits. Cody did not appreciate the high percentage and withdrew his request. He then forged ahead with his own plan and leased approximately fifteen acres of land adjacent to the fairgrounds and constructed an 18,000 seat coliseum.

Poster depicting the area adjacent to the Columbian Exposition fairgrounds leased by Cody for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World.”
Flyers that William F. “Buffalo Bill” Cody sent ahead to Chicago, announcing the arrival of his show in 1893.

On March 20, 1893, “Buffalo Bill’s Wild West and Congress of Rough Riders of the World” arrived in Chicago. 100 former cavalry troops, 46 cowboys, 97 Cheyenne and Sioux Indians, 53 Cossacks and Hussars, and several herds of animals were unloaded from the cars at the railroad. In a bold move, Cody opened on April 3 – a full four weeks before the grand opening of the World Fair. This is especially ironic as the White City was behind schedule in the overall construction process.

Photograph depicting a portion of the cast for Buffalo Bill’s Wild West in Chicago during 1893.

His show included wild animals, bronco busters, a cowboy band, a choreographed Indian attack on the Deadwood stagecoach that was vanquished by mounted troopers, a realistic staging of Custer’s last stand, and Annie Oakley’s shooting at impossible targets.

Poster for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World”
Cossacks featured in a poster for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World”
Annie Oakley featured in poster for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World,” performed in an arena adjacent to the Columbian Exposition fairgrounds in 1893.

Columbian Exposition officials were less than pleased with Cody’s presence. The relationship continued to head south throughout the duration of the fair. When fair officials refused Mayor Carter Harrison’s request for a day with free admittance to the poor children of Chicago, Cody immediately announced a “Waif’s Day” at the Wild West. He offered every child from Chicago free train tickets, free admission to his show, and all the ice cream and candy that they could eat.

1893 newspaper article noting “Waif’s day” in the weekly schedule for “Buffalo Bill’s Wild West and Congress of Rough Riders of the World.”

His show even closed one day AFTER the fair officially closed. During the fair, his show averaged 16,000 spectators for each of the 318 performances. His profits were estimated at one million dollars, today’s equivalent of approximately twenty-six million dollars.

During the Columbian Exposition, Cody also financed “A Lady of Venice,” starring Viola Katherine Clemmons (1870-1930).

Thomas G. Moses painted scenery for “A Lady of Venice,” starring Katherine Clemmons and produced by William F. “Buffalo Bill” Cody in 1893.

“Katherine” Clemmons was born in Palo Alto, California, and first appeared on the stage of McGuire’s Opera House in the mid-1880s. She was cast in a series of Shakespearean plays and traveled to England to study theatre. It was there that she met Cody after she attended one of his shows. Acting as Clemmons agent, he purchased and produced “A Lady of Venice” for her. He established a theatrical business (The Lady of Venice Company) and hired Sherman Canfield to function as her co-manager.

The production opened on September 4, 1893. Newspapers published that it would be “mounted in an extravagant fashion.” The scenes were placed in fifteenth-century Venice and Genoa. The plot dealt with Italian intrigues, politics, and love. Written entirely in blank verse, it was advertised as “a romantic story that admits picturesque accessories.” Clemmons played the character of Nina, an Italian princess and devoted wife who made many sacrifices for an unworthy husband. In the fourth act, Nina dons a man’s armor and attempts to save the city and her husband’s honor, battling her husband’s enemy to the death. She then seeks her Genoese prince, only to find him in the arms of a fair Florentine girl.

Four railroad cars were needed to transport the settings and properties for “A Lady in Venice.” Many newspapers commented on the wonderful mechanical and illumination effects for the stage. Settings included a moonlit masked Fete and Dance, a military encampment, water scenes and canal gondolas. The October 6, 1893 issue of the Buffalo Evening News reported, “The scenery is picturesque and realistic.” This was scenery by Thomas G. Moses.

1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ
1894 photograph depicting a scene from “A Lady of Venice,” with scenery painted by Thomas G. Moses. Image from The Museum of New York City collection. Here is the linkL http://collections.mcny.org/C.aspx?VP3=SearchResult&VBID=24UAYWLS9VABQ

Supporting roles were played by Effie Germon, Francis Carlyle, Clarence Handyside, Richard Ganthony, Erskine Lewis, Helen Russel, and Marion Bender. The show left Chicago for Albaugh’s Opera House in Washington D.C. where it opened on September 19. By September 25, the show was at the Broad Street Theatre in Philadelphia and performing for Buffalo audiences by October 6 (Star Theatre), moving onto the Duquesne Theatre on October 30. By November Clemmons was acting at Globe Theatre in Boston. After a whirlwind tour, the production arrived at Harry C. Miner’s Fifth Avenue Theatre in New York during 1894.

One of many newspaper articles announcing Katherine Clemmons as a “new star” in “A Lady of Venice.” Scenery was painted by Thomas G. Moses for this production.

Unfortunately, Boston and New York critics condemned Clemmons’ performance as “amateurish” and the delivery of her lines as “monotonous.” Cody had met the actress in London during 1887 when Buffalo Bill’s Wild West Show was touring throughout Europe. The November 5, 1893, issue of the Quad City Times (Davenport, Iowa) published, “It was Buffalo Bill’s money that sent [Clemmons] to Europe for a stage education. It was his money which provided for her elaborate scenery, beautiful costumes, and enterprising manager and a good company.” The article continued to explain that he “spent something like $40,000 in putting this young star upon the road, and it is hoped that she is achieving a success that will in time enable her to return to her distinguished friend the large sum of money which his generosity led him to invest in her.” Cody later claimed to have lost $60,000 on Clemmons’ career during 1892, 1893 and 1894.

Photograph of Katherine Clemmons in “A Lady of Venice.”

Unlike Clemmons, the production was praised for its lavish expenditure on scenery and costumes. The cash outlay for scenery and stage effects was reported in excess of $25,000. The Boston Enquirer (7 Oct 1893, page 3) noted that, “the play was sumptuously staged” and “the scenery well painted.”

One of many newspaper advertisements for “A Lady of Venice,” starring Katherine Clemmons in 1893-1894. The “gorgeous scenery” was painted by Thomas G. Moses.

Cody hired Sosman & Landis to design and paint the scenery for the production. The Daily Inter Ocean (22 August 1893, page 6) published, “A great many managers are stocking with scenery just now in this city. Sosman & Landis have big contracts for stocking new opera houses at Ithaca, NY, and Scranton, Pa., then they are painting an original scenic outfit for “The Lady of Venice,” Effie Elishler’s “Doris,” Heywood’s “Edgwood Folks,” Spring & Welton’s “Black Crook,” and Cheeney’s new spectacular production of “Pharaoh.” Moses was in charge of “A Lady of Venice” and many other projects during 1893. This was just one small fraction of his work with a large profit going to the studio.

To be continued…