Production Cost – Page 4

Tales from a Scenic Artist and Scholar. Part 806 – New York Studios and David H. Hunt, 1912

In 1912, Thomas G. Moses wrote, “Sosman left for the south on a vacation. My work doubles. We are doing a lot of work for the New York Studios – not much profit in it for us, as Hunt seems to think we should be satisfied with a small profit. I have made a number of designs for him which I am pleased to do as long as we get the work.”

David H. Hunt pictured in the “Detroit Free Press,” 21 May 1903, page 12.

Hunt was a long-term employee at Sosman & Landis, founder of the theatrical management firm Sosman, Landis & Hunt (est. 1894), and founder of New York Studios (est. 1910). New York Studios was considered an eastern affiliate of Sosman & Landis. In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” Moses did not get along well with David H. Hunt of New Yorks Studios and periodically mentions the discord in his diary.

By 1910, tensions were high between Moses and Hunt, escalating when Joseph S. Sosman leaves on a 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio, with shops in both Chicago and New York. Hunt was the company secretary and treasure, whereas Moses was responsible for the design, construction and installation of all projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and assessed the studio’s state of affairs, Moses wrote, “I heard some reports as to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled… I arrived June 25th. Sosman had his doubts as to my coming back.” It was around this time that Hunt officially established New York Studios. Smart move, as it was beginning to appear that Chicago was not big enough for both Moses and Hunt.

The establishment of New York Studios is the beginning to the eventual demise of Sosman & Landis. Sosman steps out of the daily running of the company, leaving it to others, while investing in new business ventures such as New York Studios, managed by friend and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was not. Hunt was also working on many other business endeavors that distracted him from solely focusing on any one company, whether it was Sosman & Landis, Sosman, Landis & Hunt, or New York Studios projects. Based on Moses’ description of Hunt and newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid scheme, hoping for maximum returns with minimal investments; it is all based on the underlings beneath him doing the work.

Over the years, Hunt had remained a thorn in Moses’ side for many reasons, including his poor treatment of good artists; prompting many to leave the studio. The exodus of scenic artists from Sosman & Landis included Moses’ good friend, John H. Young. Young went on to dominate the Broadway scene as a well-known designer.

Hunt had started with Sosman & Landis during the early 1890s, quickly worming his way into both Sosman & Landis’ confidence. Although I have yet to find an official start date for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition projects. By 1894, Hunt convinced Sosman & Landis to establish, the theatrical management firm of Sosman, Landis & Hunt. This was a secondary business venture; a company that leased theaters and founded touring companies in Cincinnati, Indianapolis and Detroit. The firm kept Hunt busy as the primary manager for the endeavor, yet the Sosman & Landis studio staff from Chicago completed much of the necessary work. Moses’ diaries suggest that Hunt did not treat the artistic staff working for Sosman, Landis & Hunt well; scenic artists were swapped and directed to various projects like pawns on a chessboard, ready to be sacrificed at any point. Throughout this period Hunt had remained on the administrative end of the studio, always finding the public spotlight to share his great wisdom on a subject.

By 1910, Hunt also talked Sosman into investing in a new business venture – New York Studios. That year, Moses wrote, “Hunt had started a New York studio in New York City and he expected us to do a great deal of work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29^thStreet, New York. Business listings noted that theatrical equipment was the primary product produced by the company. Now there were two scenic studios to consider, and only one Moses. In the 1919 Adelaide A. Hunt was still listed as president of New York Studios, with Edward Morange as Vice-President and David H. Hunt as treasurer, still supplying theatrical goods. Office locations varied from 29^th to 39^th to 95^th Streets. Many scenic artists worked for New York Studios including John H. Young, William F. Hamilton, Victor Higgins, William Smart, Art Rider, and Al Dutheridge to name a few.

1927 New York Studios advertisement in the publication, “Scenic Artist.”

New Yorks Studios was listed as the eastern affiliate of Sosman & Landis, whereas Sosman & Landis were listed at the western offices of New York Studios. Studio stamps on the back of some designs at the University of Minnesota’s Performing Arts scenery collection list the New York Studios “Home Office” at 328 West 39^th St. N.Y. There are other New York Studio designs that link designs to their “Chicago Office.” The Chicago Office for New York Studios was located at 1022 Consumers Building, separate from the main offices of Sosman & Landis on Clinton St.

Sosman & Landis Studio and New York Studios were two very separate entities. Although they shared work and scenic artists, Moses hints that New York Studios always got more out of the relationship than Sosman & Landis, always taking advantage of the situation.

Studio stamp on the back of a design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.

New York Studios design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.

New York Studios stencil on the back of a folding wood wing purchased by Thalian Hall, Wilmington, NC.

Between 1910 and 1912, Hunt and New York Studios were repeatedly mentioned in several newspaper articles across the country. One particular article concerned an electrical apparatus that enabled one man to handle sixty-five drops. Hunt was part of a group interviewed about the innovation; again his being in the right place at the right time. Hunt was chumming around with Martin Beck (manager of the Orpheum Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social networking and always falling in with the right crowd.

In regard to Hunt keeping company with Beck, Carson and Vincent in 1910, I am including a section of the group interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star” quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical appliance which makes it possible for one man to handle sixty-five drops. It operates everything from the stage curtain to the back, gives absolute fire protection and does the work of an average of twenty stagehands. One man can operate it. It looks good to me, and if further tests prove it as successful as the indications are here we will install in all the Orpheum Theatres. ‘The apparatus for handling drops, consisting of ropes and counterweights, has been the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum house. ‘Mr. Bailey has perfected, the first invention, bringing the stage mechanism up to date. It has been a field neglected by inventors.’

By 1911, newspapers reported, “Theatrical men and others in Denver have organized a $500,000 corporation to manufacture a mechanical device, which, it claimed, will reduce the number of stage hands needed in a theatre by three-fourths, at least. The new corporation is called the Bailey Fly Rail Machine Company. It is incorporated under the laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the inventor of the device. He worked on it several years before he announced that it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W. Considine and other vaudeville managers, met in Denver and saw a demonstration of the apparatus. They appeared to be highly pleased with it. The names of A. C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft appear at the prime movers in the matter of incorporation. Mr. Bancroft is an attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,” 18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem to have vanished into thin air, as did Hunt’s association with the endeavor.

What remains significant in terms of theatre history is that Hunt was there, part of the vaudeville managers who gathered to see Bailey’s invention. He was certainly a mover and shaker. I will continue with David Hunt’s story tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 802: Miniature Stages Fully Equipped

Here is the last post about Universal Scenic Studio before returning to the life of Thomas G. Moses in 1912.While tracking down information about Universal Scenic Studio, I discovered an interesting article describing the use of miniature stages in 1931. This is the same year that Thomas G. Moses also built his electrified miniature stage model, featuring Masonic scenery (Blue Lodge, York Rite, Scottish Rite and Shrine settings).

Thomas G. Moses building a model, date unknown.

One scene from Masonic model built by Thomas G. Moses in 1931.

Other scenes designed by Thomas G. Moses for his model in 1931.

Universal Scenic Studio, Twin City Scenic Co. and the American Theatre Supply Co. submitted theatre models displaying painted scenery and drapery to the Sioux Falls City Commission during the spring of 1931.

Twin City Scenic Co. model lines to operate scenery samples.

The “Argus-Leader” reported “Stage Equipment Studied By City; Contract is Let” (Sioux Falls, 30 March 1931, page 10). I am posting the article in its entirety as it provides a wealth of information about the scenic studio bidding process at this time. This is one example of vendors educating clients during a bidding process, so that the clients understand what they are buying.

“The city commission this morning received an intensive course of training in stage equipping, stage setting and stage building, when representatives of the Twin City Scenic Co., Minneapolis; Universal Scenic Studios, Milwaukee and American Theatre Supply Co., Sioux Falls, set up miniature stages fully equipped, explained grand boarders, tormentors, teasers, oleos, work curtains, sheaves, lines, trims, counterweights and the like. For nearly two hours, Mayor Burnside’s office was changed into a scenic studio while representatives of the companies bidding on the equipment of the coliseum stage showed and explained their wears. The contract for equipping the stage was awarded to the Universal Scenic Studios on its bid of $3,690. The Minneapolis company bid $4,567.50 and the Sioux Falls company $3,975. Velours, asbestos, canvas and equipment for stages were explained to the commission in rapid fire order by each representative in turn. When the course of study was over, the city commission could at least tell the difference between a wood wing and an oleo and a work curtain and a sheave. The mayor’s private office at times took the look of an art studio ready for an exhibition as case after case of scenes for curtains were displayed. Again it looked as though it might be a salon of a modiste, as the many types of material were draped in their many colors about the office. The miniature theatre, with their full equipment, even to lights, would have delighted the heart of almost any child, or adult for that matter, and held the attention of the commissioners. The exhibitions were a distinct diversion from the regular routine duties of the commission, and the noon-day whistles were all which cut short the training courses. The meeting was adjourned until 2 o’clock this afternoon when the contract was let.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 770 – Beer is a Food at the Brewer’s Show of 1911

The Sosman & Landis studio was scrambling after losing a foreman carpenter and lead scenic artist during the month of February in 1911. On top of the loss, Joseph S. Sosman took another family vacation. Unfortunately for the studio staff, work kept pouring in that year. One of the largest projects handled by the studio that spring included a series of exhibits for the Brewer’s Show. Chicago hosted an International Brewers’ Congress during October 1911 that was devoted to showing visitors various beer exhibits.

In 1911 Thomas G. Moses wrote, “Early in April I started on the designs for the Brewers’ Show, in which they wanted to demonstrate that beer is a food and not a beverage.” What a great marketing ploy, proposing that beer was a meal. Advertisements in “Western and Daheim,” a German-language Chicago newspaper, included articles pertaining to the International Brewers’ Congress that year, characterizing various beer and malt products as “The Family Beer,” “The Source of Energy,” and “Malt-Marrow: A Perfect Score in Health” (“Geschichte des Chicagoer Brauwesens,” Westen and Daheim, October 15, 1911).

For the opening, the “Chicago Tribune” interviewed Henry E. O. Heinemann, the secretary of the exposition. Heinemann reported, “Thousands of dollars have been spent for the foundations alone, so tons of brewing machinery must be properly set. An army of painters, decorators, scene builders, and machinists was busy all day and far into the night getting everything ready for the opening” (12 October 1911, page 7). Of the event, the article commented, “Every brewer in the exposition is an ardent missionary, eager to convert America to the ways of Germany, of Belgium, of France…Beer, they asserted during the day, is not an ‘alcoholic’ drink. Continental Europeans do not regard it as such. Americans would not, they argues, if it were not for their habit of standing at bars and drinking in a hurry.”

As the project commenced, Moses wrote, “We started Brewer’s work at the 20^th Street studio, with an extra number of men.” Of the event, Moses wrote, “The Brewer’s Show opened October 12^th with enormous crowds. Had a lot of trouble getting our work into the building….Sosman was well pleased, as there was a good profit in the work. Some of the brewers thought I had overcharged them.” In the end, the Brewery Show of 1911 was a success. By October 23, over 94,000 patrons attended the exposition and consumed over 500,000 glasses of beer (Statesman Journal, 24 Oct, 1911, page 9).

Of course, there were many groups opposed to the event too, including the Anti-liquor force headed by the Chicago Christian Endeavor union who were rallying for a mass meeting to protest against the brewers’ exposition (Dixon Evening Telegraph, 16 Oct, 1911, page 5). Local headlines also reported, “Brewer’s Show Drinking is On Increase. Consumption of Beverage is Three Times Greater Than the Growth of Population” (Star-Gazette, Elmira, New York, 21 Oct, 1911, page 3). The “Star-Gazette” noticed that “The volume of beer business has reached its highest point in the history of the trade.”

Moses also added, “Mr. Sosman would have nothing to do with it, and told me to go after it and get $10,000.00 out of it if possible.” There was $25,350.00 in contracts before all was finished for the event. Today’s equivalent purchasing power of $25,350 in 1911 is $683,361.28 – a sizable amount of work.

The studio’s first contract for the event was for $1,150.00. Moses recorded that the Schoenhoffen Brewing Company exhibit featured the “celebrated ‘Edelweiss.’” Edelweiss was the Schoenhoffen Brewing Company’s flagship brand. Advertisements from the time included “Delicious Satisfaction is an Edelweiss Attraction,” “Phone Before Eleven – Delivered before Seven,” “Here’s the Case, You be the Judge,” and “Phone for a Case to be Sent to Your Place.”

Founded in 1860 by Prussian immigrant Peter Schoenhofen (1827-1893), the brewery was located 18th and Canalport by 1862. During the 1860s, the made approximately 600 barrels of lager beer each year. Production continued to increase throughout the nineteenth century. By 1868, the annual output was 10,000 barrels. By 1890, Chicago was the nation’s sixth largest beer producer, with thirty-four breweries manufacturing over 1,000,000 dollars worth of beer annually. By 1900, the annual capacity of Schoenhoffen Brewing Company was 1,200,000 barrels – big business. The Schoenhofen brewery eventually housed fifteen buildings over seven acres, two miles south of downtown Chicago. The last expansion to the brewery’s complex at this location occurred during 1912, the year after the Brewer’s Show.

As an interesting aside, www.forgottenchicago.com reports that members of the Schoenhofen family used the Brewery’s tower to broadcast radio messages to German agents during World War I, prompting federal agents to seize the brewery. This claim, however, remains unsubstantiated.

The Schoenhoffen Brewing Company was acquired by the National Brewery Company in 1928. Operations ceased during the Prohibition Era, but reopened in 1933 after the national ban on alcohol production was lifted. The Schoenhofen-Edelweiss Co. was eventually purchased by the Atlas Brewing Co. in the late 1940s, then became part of Dewery’s Ltd. of South Bend, Indiana, in 1951. Dewery’s even reintroduced the famous Edelweiss brand in 1972.

To be continued…

Tales from a Scenic Artist and Scholar. Part 762 – Border Lights, 1910

Thomas G. Moses and Fred R. Megan became partners in 1923. They purchased the Sosman & Landis name after Hoyland and Lemle purchased the company contents at that same time. While they were negotiating the purchase of the name, Moses and Megan worked under their own names – Moses & Megan. However, they needed to wait for Sosman & Landis to completely liquidate and get their own charter before commencing work as the new “Sosman & Landis.” During this time, they leased the old Fabric Studio in Chicago.

By 1924, Megan was on the road most of the time, with Moses making models in his studio. The two would close the contract for the Salt Lake Consistory during 1926. The two would also provide the scenery for the Oakland Scottish Rite in 1927. Moses and Megan would continue working together until 1931. In 1931, Moses turned 75 years old.

Since 1901, Megan had worked as a salesman for Kansas City Scenic Co. In 1910, he was mentioned in an article published in “The Wichita Daily Eagle” (8 Dec. 1910, page 3). I am including it today as I near the end of 1910 in the life and times of Moses. It also provides great insight into border lights in that year delivered by Kansas City Scenic Co.

Border lights installed by Sosman & Landis in 1909, Winona, Minnesota.

Here is the article in its entirety:

“For More Stage Life.

Scenery Agent Says Forum Stage Will Be Too Dark.

F. R. Megan of the Kansas City Scenic Co was in the city yesterday and advised the city commissioners that more border lights are needed for the stage of the Forum than the number ordered. Mr. Megan says that the stage of the Forum is second only to that of the New York Hippodrome and that five series of border lights will be required to properly illuminate the stage. The specifications call for two borders of 216 lights each. Of this number 120 are white lights, 48 are red and 48 blue lights.

Mr. Megan advised the commissioners that the freight on 5 border lights will be no more than that on 2 pieces of these lights and that as the work of installing the additional lights will be immaterial, practically the only added expense will be the cost of the three extra pieces which is $385 per border, or $1,165. The present order calls for two borders at $385 each, or $770. Mr. Megan said that as the switchboard which is being built will accommodate five borders and as the lights will be needed now is the time to order them, for if they are not installed with the other lights, the three extra pieces will cost more than $385 each.

Commissioner Roetzel said he wished to give the local electrical supply companies a chance to figure on these lights.

The matter of purchasing the additional lights was referred to a committee consisting of Mayor Davidson and Commissioner Stewart.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 754 – Thomas G. Moses and Sarah Bernhardt, 1910

In 1910, Thomas G. Moses wrote, “Mme. Sarah Bernhardt bought the nucleus of several plays. We contracted to fill the necessary scenes to make her plays complete, which amounted to over $7,000.00. Our first one was ‘L’Aiglon.’ At the close of her engagement, we did a special production of “Judas” which was produced in New York City. I had to visit her every morning at her hotel to arrange the models for ‘Judas.’ I had to talk through an interpreter. She was very nice about everything and seemed pleased when I would catch her idea quickly. After she had produced the play she sent a telegram, thanking us for the brilliant success of the scenery – no trouble to please a person of Bernhardt’s class, but a rough neck actor, like a great many I know, it is next to impossible to please.”

Program for L’Aiglon. Sarah Bernhardt’s United States tour, for the 1910-1911 season

The amount of scenery purchased by Bernhardt in 1910 is equivalent to $188,298.53 today, a significant contract for Sosman & Landis at the time. On October 22, 1910. The necessary scenes designed by Moses and produced at the Sosman & Landis studio in Chicago was for Bernhardt’s seventh tour in the United States.

Newspapers reported that the trip was Sarah Bernhardt’s final tour in America. A theatrical icon, the public embraced the sixty-six-year-old actresses. Her tour began in Chicago at the Studebaker Theatre on October 31. Her first appearance was in “L’Aiglon” (The Joliet News, 12 Oct. 1910, page 4).

The first week’s bill included:

Oct. 31 – L’Aiglon

Nov. 1 – La Tosca

Nov. 2 – L’Aiglon

Nov. 2 – Les Bouffons and Las Bois Sacre

Nov. 3 – Camille

Nov. 4 – Fedore

Nov. 5 – Phedre

Nov. 5 – Jeanne d’Arc

After performing in Chicago, she traveled to New York for four weeks before beginning her cross-country tour. In 1910, Bernhardt’s repertoire included the following:

“L’Aignon” by Rostand

“Jeanne d’Arc” by Emile Moreau

“Les Buffons” by Miguel Zamacois

“Sapho” by Alphonse Daudet

“La Sorcerie” by Victor Sardou

“La Dame aux Camelias” by Dumas

“La Beffa,” “Phedre,” and “La Rampe” by Rothschild

“La Tosca” by Sardou

“La Passe” by G. de Porte-Riche

“Fedora” by Sardou

“Monna Vanna” by Maeterlinck

“Hamlet”

“Resurrection” by Bataille, from Tolstoy’s novel “Le Bois Sacre”

“Romanesques” and “La Princess Leontine” by Rostand

Prior to her departure, the French actor Le Bargy arrived during her last week of performance. He appeared with Bernhardt in both “La Princess Leontine” and “Faust.” Once the tour was completed, Berhardt returned to Paris where she began another season, opening with “La Princess Leontine” and “Faust.” The productions for both shows were made in the United States and exported to France.

To be continued…

Tales from a Scenic Artist and Scholar. 753 – The Miles Theatre, Detroit, Michigan, 1910

In 1910, Thomas G. Moses wrote, “Miles of Detroit for $3,800.00 which was $1,050.00 higher that a close competitor.” Moses was referring to the new Miles Theatre at 1220 Griswold St., Detroit, Michigan, that opened on May 15, 1910. It was designed by the architectural firm Kees & Colburn of Minneapolis. George D. Mason of Detroit was the supervising architect for the project.

On May 15, 1910, “Detroit Free Press” described the auditorium, “The walls of the auditorium are so stenciled and tinted as to represent rare tapestries of red, pale and silver hues. Over the proscenium arch and in the frieze work of the foyer, Judson Smith, of Detroit, has wrought realistic presentations of scenes of the Caesarian epochs of Rome. Separating the orchestra from the first row of the parquet is a partition made to resemble Italian marble. The effect is realized by concrete work worked over with scagliola. The columns supporting the balcony are constructed in the same way, and give the same appearance. This entire decorative scheme followed is artistic, in every detail. The wrought work along the balcony is in festoons and garlands and the flowers are painted in natural color. Plate glass mirrors panel the walls” (page 1).

Postcard of the Miles Theatre in Detroit, Michigan

C. H. Miles was the president and general manager of the Miles Detroit Theatre Company. He operated the Miles circuit with many theaters scattered across the country, including in his hometown of Minneapolis. He set his sights on Detroit during 1909 to build another popular-priced vaudeville house. Arriving to the city that summer, Miles secured a 99-yer lease of the property between the Chamber of Commerce and the Bank. The theater’s policy included three shows a day, with extra matinees on Saturday and Sunday; listed prices for entertainment were 10, 20, and 30 cents.

Miles Theatre of Detroit photographed on April 29, 1910, during construction

The success of Miles’ policy was noted on March 16, 1913, in the “Detroit Free Press, “People soon found that they could go down-town after supper, see an entire performance and get back home in time to retire at the usual house. Or, if they were detained down-town by business or a dinner party, they found it convenient to drop in for the second show and still get home at a reasonable hour. Thus, very shortly, going to the Miles came to be a regular habit and the Miles clientele steadily grew larger. In the meantime, stores and offices erected by Miles as part of the general structure were leased by various concerns and Griswold Street, north of State, began to take a commercial look. Property values around Capitol Park began to soar. Men of large means began to take an interest in the development of Griswold Street. Car lines were re-routed, old brick pavements were supplanted by the more modern creosote block…That is the story of the rejuvenation of Griswold street, and to Mr. Miles, as the man who took the initiative, is due a large share of the credit. It is just another illustration of how much can be accomplished through that happy combination of courage, determination and far-sightedness” (page 83).

C. H. Miles and his theatre in Detroit, pictured in the “Detroit Free Press,” May, 30, 1911, page 3

The property had a frontage of 152 feet on Griswold Street between State Street and Grand River Avenue. Once built, his theater’s policy included three shows a day, with extra matinees on Saturday and Sunday. On May 30, 1911, the “Detroit Press” included an advertisement to buy stock for the Miles Theatre, promising “You will be paid dividends every three months” (page 3). The advertisement commented, “It is the largest, most handsome, update and complete theatre in Detroit – the Miles Theatre has been in operation over one year and is earning money every day.” It continued to explain that the theatre was ideally located and convenient to every carline in the city, and near one of the busiest marts. Miles and Mr. C. W. Porter, local manager, personally looked after the sale of stocks in the Miles theatre building daily.

Advertisement for Miles Theatre stock, from the “Detroit Free Press,” May 30, 1911

The last show at the Miles Theatre was on Nov. 28, 1927. By May 1928 the theater was demolished to make way for the Griswold Building, designed by Albert Kahn, a structure that still exists today.

To be continued…

Tales from a Scenic Artist and Scholar. Part 688 – The American Reflector and Lighting Co., 1900

Part 688: The American Reflector and Lighting Co., 1900

Yesterday, I examined some correspondence about footlights between Frank A. Derr, of the Scottish Rite in Guthrie, Oklahoma, and Charles E. Rosenbaum, of the Scottish Rite in Little Rock, Arkansas.

The original stage lighting for Guthrie was listed in a contract between the Guthrie Scottish Rite and E. A. Armstrong Mfg. Company of Chicago, dated April 28, 1900. The Armstrong company was located at 300-302-304 Wabash Avenue, Chicago, and listed as “Manufacturers of Secret Society, Military and Band Supplies.” The lighting, scenery and stage work for the new Guthrie stage was provided by through M. C. Lilley and Co. The companies western sales manager, well-known Mason Bestor G. Brown, subcontracted the new work to Sosman & Landis.

In 1900 the Guthrie Scottish Rite hired E. A. Armstrong Manufacturing C. of Chicago to outfit their new stage, lighting was included in the purchsse. The Scottish Rite bodies spent a total of $694.50 on lighting for the stage, the equivalent of $20,811.19 today.

Here is what the contract specified:

STAGE LIGHTING

Four (4) Borders, each 24 feet long, each containing 60 lights wired for three color; sockets and wiring complete but no lamps-

Four (4) portable ground rows, each 10 feet long, each containing 15 lights, wired for three colors, sockets and wiring complete – but no lamps-

Two (2) Strip rows, each 16 feet long, each containing 24 lights, wired for three colors; sockets and wiring complete but no lamps-

Two (2) eight light, porcelain lined, swing head, iron stand bunch lights; complete with extension cord and plug, but no lamps-

Six (6) cast iron floor pockets

Twenty-four (24) Slate receptacles

Fourteen (14) Plugs for receptacles

Fourteen (14) Plugs for receptacles, three lights attached to each of ground rows and one each to bunch lights-

Four (4) 40 Ampere dimmers, German silver wire wound

Three (3) 20 Ampere dimmers, German silver wire wound

One (1) Slate switch board, full fused, containing 1 main, 3 Service and 32 subordinate double contact knife switches – 36 switches in all; connections on board all made

Sockets all of Edison pattern

MISCELLANEOUS LIGHTING APPARATUS

One (1) lamp and chaser

One (1) 4,000 c/p focusing lamp and reflector, stand and rheostat included.

Large and small carbons – no charge

One (1) Lighting box, Complimentary

NOTE- Goods packed and shipped by American Reflector and Lighting Co. Charges collect, but to be paid and applied on bill.

For Scottish Rite theaters in 1900, scenery and lighting went hand in hand. The same would be true over a decade later, as the scenic studios still had great influence over the lighting systems used to light their painted scenery on Scottish Rite stages. Sosman & Landis were involved with the manufacture of painted scenery, stage machinery, and rigging for the stage. They were also heavily invested in the lighting industry. They designed and manufactured electric scenic theatres, electrical floats and other spectacular electrical effects for a variety of performance venues.

The American Reflector and Lighting Company opened its doors just before the Columbian Exposition. On March 24,1893, the “Chicago Inter Ocean” listed Perry Landis as one of the company’s incorporators and Charles Landis as the treasurer. Joseph S. Sosman was a major investor for the enterprise.

A floor pocket produced by the American Reflector and Lighting Co. found at the Scottish Rite theater in Yankton, South Dakota.

In 1894, the Sosman & Landis studio catalogue offered stage hardware and lighting for other projects than the stage. Actually, an entire page was devoted to the American Reflector and Lighting Company in their catalogue. They offered “a full line of improved lighting fixtures for electricity, gas or oil, specially adapted for the lighting of theatres, halls, assembly rooms, and churches.”

The American Reflector and Lighting Co. salesroom was located at 271-273 Franklin Street where the company advertised 150 styles of reflectors for users of electricity, gas and oil. Their products included lighting fixtures for art galleries, display windows, orchestra shades, street lights, stage dimmers, theatre lamps, silver plated mirror reflectors for incandescent cluster with prisms, and many other products. Their lighting fixtures used crystal glass lined with pure metallic silver to provide “the best practical reflecting surface.” The company advertised that their reflectors, for both indoor and outdoor lighting, “promised that the power of light was fully utilized, as its rays are saved from waste, strengthened and thrown in the desired direction.” In 1904, the American Reflector Co. was located at 199 Van Buren St. in Chicago. By 1914 various advertisements listed a new address for the company at 517 Jackson Blvd.

In addition to standard lighting for the stage, the Guthrie Scottish Rite ordered fifteen special lighting fixtures that included:

Four fixtures, two lights each – one above the other-

Four fixtures, four lights each, each fixture the shape of a circle – 12 inches in diameter-

Three fixtures, nine lights each, the lights in each fixture arranged in the shape of three equilateral triangles with the apexes joined – 18 inches square

One Fixture containing nine lights, eight in the shape of an octagon, and the remaining light in the center fixture 18 inches.

One Fixture containing three lights in the shape of an equilateral triangle – 12 inches

One Fixture of seven lights, arranged in the shape of a triangle, four in the bottom row, three in the next, two in the next, and one in the apex.-fixture 32 inches-

One fixture of five lights in the shape of a square, 5^th light in the center.

With the foregoing fixtures are 116, 8 candle power 110 volt frosted, and colored lamps, also 7 receptacles.

NOTE: – Foregoing is billed at $31.25 less than the estimate.

The price for the above-listed special light fixtures was $419.75, making the total lighting purchase of $1114.25, todays equivalent of $33,389.30.

In 1910, the Guthrie Scottish Rite border lights were mentioned in a letter from Bestor G. Brown (western sales representative for M. C. Lilley & Co.) to Frank A. Derr (Secretary of the Oklahoma Consistory, in Guthrie, Oklahoma). Guthrie was enlarging the stage in their existing building, a project that necessitated the purchase of new scenery, stage machinery, and lighting equipment. The used stage systems were being returned for credit on the purchase of a new scenery collection. On July 26, 1910, Brown wrote, “I shall probably go to Lawrence some time within the next few days and if I can dispose of your electrical equipment, I will be very glad to do so. It is old and will not pass inspection. The borders have a wooden strip on the top and that disqualifies them under the present regulations. If the Lawrence people want to buy them with the full knowledge of the facts, I shall be very glad indeed to see them get them.”

A lighting fixture by the American Reflector and Lighting Co. included in the “American Electrician,” Vol. 16

To be continued…

Tales from a Scenic Artist and Scholar. Part 678 – The 1899 Guthrie Scottish Rite Contract for Costumes

Part 678: The 1899 Guthrie Scottish Rite Contract for Costumes

E. A. Armstrong Manufacturing Company, manufacturers of secret society, military and band supplies, was located at 300-302-304 Wabash Avenue in Chicago, Illinois. Their letterhead noted that the company was located “Next to Auditorium.” That was the Chicago Auditorium, previously discussed in detail in regard to the development of Brown’s special system.

A copy of the E. A. Armstrong Manufacturing Co. contract with the Guthrie Lodge Scottish Rite

On January 13, 1899, just a few days before a three-day reunion where degrees were conferred by all four Scottish Rite bodies in Guthrie, Oklahoma, the E. A. Armstrong Mfg. Co. filled a large purchase by the Guthrie Lodge of Perfection, No. 1. A.A.S.R. Order No. 1-272 for the Masonic department received a cash payment for costumes, a stereopticon and lantern slides. The head of the Masonic department at E. A. Armstrong was Bestor G. Brown. $1,187.35 worth of costumes and props were purchased for the 4, 5, 6, 9, 14, 15, 18, 21, 30, and 31 degrees. $1,187.35 in1899 is the monetary equivalent of $36,000 today. In addition to costumes, one “double stereopticon with electric lamps and rheostata, mechanical dissolver was purchased for $120.00.” For use with this device, lantern slide subjects included one set “Rock of Ages,” containing twelve slides, one “Ark of the Covenant” and two 18^th degree banners, adding another $51.70 to the total.

Here are a few examples of costumes in the 1899 contract, listing degree characters, as it gives a scope of necessary items at the time:

FOURTH DEGREE

Costumes with head-dresses for Venerable Master, two Wardens, and master of ceremonies 30.00

FIFTH DEGREE

Two (2) Costumes – in white- for King Solomon & Hiram King of Tyre – with head-dresses 30.00

SIXTH AND NINTH DEGGREES

Costume for King Solomon – yellow and purple pluch

Costume for Hiram King of Tyre – red plush

Costume for Heardsman – leggings Greek

Shirt, fillet – with sheep skin mantle 85.00

FOURTEENTH DEGREE

Costume for King Solomon – in cashmere 50.00

Two costumes for Wardens in white-

With headdresses, at $15.00 30.00

Costume for Master of Ceremonies

With head-dresses 10.00

Crux Ansata, 1.50

Pentateuch 1.75

Seven branch candlestick 12.00

Gilt triangle for altar 2.75

Embroidered triangle for altar cover 3.75

Cubical stone with pedestel 18.00

FIFTEENTH DEGREE

Costume for Cyrus 40.00

Costume for Satrap Assyria 25.00

Costume for Satrap Persia 25.00

Costume for Master Calvary 20.00

Costume for Master Infantry 20.00

Two (2) Costumes for Persian Guard

Tunic, helmet, hose, armlet, sandals

Spurs and shields at $12.00 24.00

Garb of slavery 2.75

Costume for Zerubbubel 10.00

EIGHTEENTH DEGREE

Costume for Wise Master-cassock,

Cassock, chasable, and biretta for first

Apartment 32.00

Altar cover – black 24.00

Crucifix 2.75

Crosses – two – black 2.00

TWENTY-FIRST DEGREE

Complete costumes for the following

Lieut. Comdr.

Richard

Alphonso

Isadore

Altandorf

Reinfred

Adolph

Thaddeus

Phillippe Augustus

Warder 225.00

THIRTIETH DEGREE

Four (4) Papier mache skulls, 5.00

Triple tiara, regel crown

Roman cap of Liberty 10.00

Four (4) black cowls 5.00

Four (4) white beards 3.60

THIRTY-FIRST DEGREE

Costumes with wire masks, and head-

Dresses for the following:

Osiris

Atum

Thoth

Anufu

Isis

Nephthys

Har

Four (4) Genic 150.00

Twelve (12) White sateen robes – with

Bald wigs, and white beards, 55.00

Mummy and bier 60.00

Scale, weights and vase 17.00

Four (4) Incense vases 20.00

Looking at the costumes listed about makes me think of the degree performers. It was that western men from a variety of backgrounds who would portray biblical characters, Egyptian gods, and medieval knights. From bankers and lawyers to rancher sand oil men, each had the opportunity to become a star on the Scottish Rite stage.

To be continued…

Tales from a Scenic Artist and Scholar. Part 674: Henry Wallenstein and the Scottish Rite in Wichita, Kansas

Part 674: Henry Wallenstein and the Scottish Rite in Wichita, Kansas

In 1898, Little Rock Scottish Rite purchased more scenery, effects and lighting for their degree. That same year another Scottish Rite building with stage was dedicated in the region – Wichita, Kansas. “The Wichita Daily Eagle” commented on the rapid growth of the Scottish Rite in Wichita, a very similar situation to the Little Rock Scottish Rite from 1891 to 1899. (6 Nov 1898, page 13). The newspaper article reported, “The pyrotechnic career of the local organization of Scottish Rite Masonry is so really marvelous and brilliant that a brief recapitulation must be of interest to all readers. Its embryonic state was commonplace and primeval enough. Eleven years ago the co-ordinate bodies in this valley were organized with twelve charter members. They then met in the Hacker and Jackson block corner Douglas Avenue and Fourth, in lowly quarters. In January, 1891, having 92 members, the Cathedral property, corner of Market and First streets, was purchased of the First Baptist church society, and fitted up for exclusive Scottish Rite purposes. From that date, the advancement was so rapid that it was very soon it became evident that those accommodations were entirely inadequate and it was talked among members to erect a new edifice on that site….The result is that right here in Wichita is located one of the most completely equipped and magnificent Temples entirely devoted to Masonry any where in the southern jurisdiction.” By 1908, there were 412 members,

Bestor G. Brown set his sites on this new project after outfitting the stage at the 1896 Albert Pike Cathedral in Little Rock, Arkansas. The scenery for the stage was subcontracted to Sosman & Landis. In addition to representing E. A. Armstrong Manufacturing Co. of Chicago in 1898, Brown was the stage director for the Wichita Consistory. This allowed him to speak with his Scottish Rite clients in Kansas from a unique position and deep understanding of the demands for various degrees. Even though Brown’s his primary residence was in Chicago from 1892 to 1898, he remained active in Kansas Masonry. As a traveling salesman, Brown’s returning to Kansas for a Scottish Rite reunion twice each year helped fraternal sales.

In Wichita, Brown recommended the purchase of a building for their Scottish Rite, just a he had in Little Rock, Arkansas. The renovation of an existing building was far less costly than the construction of an entirely new structure. As with Little Rock, the renovation included a theater space. The Valley of Wichita purchased the Young Men’s Christian Association for during January 1898, and extensively remodeled the space to include a 300-seat auditorium. $15,000 was spent on the inclusion of a stage, scenery and other necessary paraphernalia.

The Wichita Scottish Rite before the addition

The Wichita Scottish Rite after the addition

Postcard of the completed Wichita Scottish Rite

Brown was not alone in this endeavor. There was a second Scottish Rite Mason from Wichita to greatly aided in promoting the theatrical interpretation of Scottish Rite degree work- Henry Wallenstein, a 33rd degree and Grand Cross. In Wichita, Wallenstein was the Director of the Work. Born in Cincinnati, Ohio, Wallenstein moved to Wichita at the age of twenty-seven and entered the mercantile business, becoming a co-owner of the business by 1886. He came from a city that was well-known for staged degree productions and beautiful Masonic theaters. As with Brown, Wallenstein became a well-known “staging expert” for the Scottish Rite degrees. His contributions to the successful dramatization of degree work were recognized as an outstanding achievement in Masonry.

Wallenstein was a Deputy of the Supreme Council in Kansas during 1909 when the second Scottish Rite building was dedicated on November 19. From the modest 300-seat auditorium of 1898, the Wichita Scottish Rite constructed a 1500-seat auditorium. Located on Seventh Street and Ann Avenue in Wichita, the dimensions of the complex were 138 feet long, 65 feet wide, and 78 feet high. Towering four stories over the area, the building was exclusively constructed for Masonic uses. By 1910, there were 2,400 Scottish Rite Masons holding membership in Wichita Consistory No. 2. That same year, the “Wichita Daily Eagle” reported, “Wichita Consistory is now without peer throughout the southern grand Masonic jurisdiction in the high quality of the dramatic work placed and staged before yearly increasing classes; and in numerical membership, and ranks high among other cities of the world. It boasts the costliest cathedral exclusively dedicated to Masonry, in the world” (3 July 1910, page 5). The article continued, “To Henry Wallenstein as to no other one man, belongs the most credit for any single individual…For ten years Mr. Wallenstein has been the Director of the Work, his fine dramatic personality, rare histrionic conceptions, pecularly [sic.] fitting him for this trying position.”

The 1909 stage measured 60 feet wide by 35 feet deep, necessitating all new scenery and stage equipment, including Brown’s special system. By this time, Brown was the western sales manager for M. C. Lilley and a Past Grand Master of the Grand Lodge of Kansas. He was well-respected throughout the country and known as the only Masonic stage carpenter in the United States.

Stage machinery currently at the Wichita Scottish Rite

The original counter weight system for the Wichita Scottish Rite now in Yankton, South Dakota.

The 1898 scenery and stage machinery in Wichita were returned to M. C. Lilley & Co. for credit on the purchase of their new collection. Only a few pieces were retained; the seventeenth degree visions drops were enlarged and are still used today. Keep in mind that in 1909 Brown’s special system was the standard counterweight system delivered by Sosman & Landis, subcontracted by M. C. Lilley & Co. It likely replaced their previous counterweight system. The used system and stage machinery were then sold to another Scottish Rite Valley – Yankton, South Dakota.

Brown’s special system currently in Wichita, Kansas

Fabric wrapped counterweight that was originally used at the Wichita Scottish Rite, now in Yankton, South Dakota

It remains uncertain as to what the 1896 stage machinery delivered to Little Rock, Arkansas looked like, but it likely was similar to what was delivered to Wichita in 1898 and is now at the Scottish Rite in Yankton, South Dakota. The rigging system delivered to the Yankton Scottish Rite is an interesting blend of elements, including a pinrail and cloth-wrapped iron weights, resembling sand bags. There is no question that the scenery delivered to the Scottish Rite in Yankton was the original Wichita Scenery. As is the case in Pasadena with the Little Rock collection, the Wichita scenery was clearly marked with shipping notes on the sandwich battens and “Wichita” as the first destination written on the back of many drops. The same writing is still apparent in Wichita on a few enlarged scenes that remained at the venue. This makes the scenery in Yankton, the earliest known example of a counterweight rigging system used in the Southern Jurisdiction.

To be continued…

Tales from a Scenic Artist and Scholar. Part 636 – John Bairstow and the Chicago Auditorium

Part 636: John Bairstow and the Chicago Auditorium

I have repeatedly mentioned the Chicago Auditorium in the past few posts. Here is a lengthy article about the theater that may help clarify its international significance. Tomorrow I will focus on the Chicago Auditorium’s stage carpenter, John H. Bairstow.

Interior of the Chicago Auditorium, 1890

On 7 December 1899, the “Chicago Tribune” published the article “The Auditorium Stage. A Revolution in Scenic Apparatus and General Equipment” (page 12). It is packed of absolutely wonderful details about the stage machinery and scenery. This is the theater that every single college student should encounter in theater history class. Unfortunately, this space was never discussed in any of my theater history throughout my BA, MA and PhD studies. Here is the 1899 article in its entirety:

THE AUDITORIUM STAGE.

A Revolution in Scenic Apparatus and General Equipment.

Twenty Hydraulic Rams by Which the Floor Can Be Raised of Lowered-Innovations Art All Old Idea-As Absolutely Fire-Proof as Anything Can Be Made-The Electrician’s Room a Study-Eleven Miles of Steel Wire Cloth-An Iron Curtain That Weighs 9,000 Pounds.

There are twenty hydraulic rams by which the entire floor of the Auditorium can be raised or lowered at will. There are fifteen traps, large and small, some extending over the entire width of the stage, which can be raised to represent elevations of be dropped to allow spirits to disappear. A goblin or fiend may shoot up as quick as lightning, or a ghost rise slowly into view. No need any longer to depend on the effects of an imperfect perspective and the occasional rock to represent the valley in which old Rip Van Winkle appears. A real valley can be produced on the stage by some ne on the stage floor touching a few brass handles and knobs, when the traps will rise or drop and give the desired elevations and depression. No need of any makeshifts to produce the impression of a ship at sea. H.M.S. Pinafore can appear rocked by waves, life size almost, and make the huge hydraulic rams oscillate to produce this motion it will take only the moving of some more brass handles on the stage floor.

What produces the remarkable stage effect in the background? It is no longer a level canvas on which perspective compels the painter to have a view toward the horizon narrowed. On the contrary, true to nature, the view expands as you look farther towards the horizon. The horizon consists of a semi-circular piece covering the background and running forward on the sides halfway to the curtain. The effect produced is as in a panorama. The painted part gradually approaches, and merges into, the adjacent parts of the real ground and objects. This horizon works a wonderful change in the appearance of the stage. It is movable. It runs on a track and is rolled around a perpendicular cylinder at the other end. It contains four kinds of weather so that be setting the rollers in motion a perfect effect of a change from fair weather to a dark, threatening sky, and finally the heavy clouds of a storm, can be produced. Transparent clouds will permit the effects of light, be it sun, or moon, or lightning, to be made from behind this horizon. The horizon looks pretty and airy, but weighs 5,800 pounds, including the counterweights.

AS COMPARED WITH OTHER STAGES

The trap arrangements, the movability of the entire stage, and the horizon are probably the most remarkable improvements that distinguish the Auditorium from all other stages, not only in this country but in Europe. It is to be the most completely equipped stage in the world, and will be in every respect, except size, the most perfect. There are only three other stages containing all the improvement that the Auditorium will have – namely: at Budapest, Prague, and the old German University Halle. Most of these innovations are the patents of the Asphaleia company of Vienna, or the firm of Kautsky & Sons, one of whom, Fritz Kautsky, has been here for a month superintending the construction. This system was selected by Architect Adler and Mr. John Bairstow after a careful examination of the systems of the principal European stages, and it is safe to say that the introduction of it by the Auditorium will cause a revolution in the scenic apparatus and general equipment of American theaters.

If there ever will be an absolutely fire-proof stage this one is probably the ideal. Everything is of iron and steel. There are no wings, the horizon makes them superfluous. There are no grooved running crosswise, suspended from the flies; the horizon dispenses with them. Side pieces of which there are an immense number, thirty-five to forty feet high are let down on stout wire ropes and pulled up again with ease. Everything, including the large cylinders and pistons for lifting the stage is moved by hydraulic power, the water being stored in huge tanks above the fifteenth story. The properties are stored away from the busy stage in large, convenient storerooms, There is no other than electric light. Rows of 990 colored globes run along the flies across the stage, forming the border lights, and by a touch of a little handle the most startling effects of light can be produced. The clumsy old calcium light process is at last completely wiped out. The electrician’s room is a study in itself. As it will require a most expert engineer and one of the highest ability to mange the apparently inextricable network of pipes, rods, rams, cylinders, pistons, and cables, so the electrician must be of the highest order obtainable in order to find his way through the wilderness of handles, knobs, and buttons in the little room on the stage floor behind the reducing curtain. He has to control 5,000 lights on the stage and in the house. In the like manner the engineer has to control eleven miles of steel wire cable and any number of rams, beside the iron curtain which weighs 9,000 pounds. But everything is so perfectly balanced by counterweights, and the hydraulic motors so admirably arranged, that a mere touch of the hand is sufficient to set in motion many thousands of pounds.

NO FLIES ON THIS STAGE

During the performance nobody will have to be in the flies. In fact there are no flies on the Auditorium stage. The side pieces – Mr. Kautsky calls them “walls” to avoid the term “wings” – are held up by steel ropes and propped up from behind. Almost 100 feet above the stage floor these “walls” are suspended ready for use. The artistic finish of all these pieces makes them worth looking at on their own account. Ordinary stage decorations are coarse when looked at closely, but in this case each piece is a picture in itself, so perfect that one might hang it in a parlor alongside a good oil painting.

About eight feet below the stage floor is another floor, which is in every particular an exact duplicate of the one above, each trap is raised on the stage floor to be used as an elevation of some sort, its place can be filled by the trap from the lower floor, s as to close up the stage floor. Beneath this lower floor is the basement, containing the hydraulic machinery, with a total pressure of six atmospheres. All scenery is operated from the stage floor.

Along the sides strong iron stairways lead to the top. An iron bridge extends across the proscenium just above the curtain, and along the background is the painter’s frame with two platforms, all suspended in steel wire cables. Near the top in the property room there is a force of artists at work now preparing the properties. Fawcett Robinson and his brother who used to be Henry Irving’s property artist are constructing the articles of papier-maché in such close resemblance of the genuine articles that at a distance of five feet one would take the tables and bookcases to be made of antique oak, and his copy of Thorwoldsen’s Venus looks at a distance of about ten feet like a perfect plaster cast. Mr. Robinson is an enthusiast in his work and his room alone is worth more than one visit to the Auditorium stage.

Not only is the apparatus for producing artistic effect so complete and varied that it will create an almost perfect illusion, but the convenience of the actors. Musicians, and workmen has been consulted to a hitherto unheard-of degree. The Diva need no longer receive callers on the stage.

MILWARD ADAMS’ NEAT IDEA.

A beautiful little reception-room has been provided-Milward Adams’ idea. The dressing rooms are comparatively large and commodious and provided with all conveniences. They are thirty in number, comparable of accommodating 300 people without crowding. The largest and best are on the stage floor, the others open off the landings along the iron stairways at the sides. The room where the musicians can be during the intervals of their work is as large as the orchestra pit, the prompter’s box commodious without being offensively conspicuous. A large covered court adjoins the rear of the stage for the reception of the actors and actresses in carriages or on foot. The stage manager has a convenient little room adjoining that of the electrician.

A magnificent plush curtain is covered by an iron curtain with a coat of plaster. The side borders are simply but tastefully decorated and display in letters of gold the names of a number of leading composers, classical and modern. The list comprises the names of Bach, Beethoven, Berlioz, Haydn, Schumann, Rossini, Mozart, Verdi, Gounod, and Glück.

Composers names are still visible at the Chicago Auditorium

FIGURES OF THE SCENIC APPARATUS

A few figures may assist in forming an estimate of the larger proportions and perfect construction of these scenic apparatus. The iron curtain weighs 9,000 pounds, exclusive of counter-weights; the reducing curtain, covered with plaster, weighs 23,000 pounds. The horizon is forty-eight feet high by 300 long. The contract for the iron work on the stage footed up $110,000, and the total equipment of the stage exceeds $200,000.”

[$200,000 in 1889 is equivalent in purchasing power to $7,388,771.25 in 2019. The cost of the entire building was $3,200,00.00]

The article concluded, “In the hall is to be used for other than theater purposes a level floor can easily be placed on the stage level, and the ceiling has a piece fastened by iron chains to windlasses which are hidden from view so that it can be lowered and shut the gallery out of sight.”

From the opening of the auditorium until after his partial retirement in 1905, John Bairstow would be in charge of raising the auditorium floor for special events. In 1910, the “Chicago Tribune” reported, “ John Bairstow is getting in trim for the one effort which claims his attention from year to year. Who is John Bairstow? Well, John Bairstow is the first stage carpenter, and from the beginning of the charity ball as an Auditorium function John Bairstow has laid the great dancing floor for the event. He has been doing this for twenty years and in the mind of John Bairstow no other carpenter, not even his own son William Bairstow, who has succeeded him as stage carpenter, may be entrusted with the duty. He retired from active work five years ago and this year he is far from the best of health, but already he is getting the numbered sections of the ballroom floor carefully arranged, mentally – as it will appear the night of Jan. 31 – for after every ball the floor – built originally at a cost of $10,000 – is taken up, its sections numbered carefully and stored away. This year thirty-seven boxes will be erected to add to the forty-five permanent stalls. The new boxes will be arranged four on either side beneath the organ grills, eight on each side of the stage proper, five around the rear wall of the stage, and eight at the west end of the ballroom. To get the theater in readiness a force of seventy-five carpenters and assistants will work two days and nights to complete the work” (22 Dec 1910, page 8).

I will continue with the life of stage carpenter John Bairstow tomorrow.

To be continued…