Production Cost – Page 5

Tales from a Scenic Artist and Scholar. Part 594 – David Higgins and “Captain Clay of Missouri”

Part 594: David Higgins and “Captain Clay of Missouri”

In 1908, Thomas G. Moses wrote, “Made such effective models for Dave Higgin’s show ‘Captain Clay of Missouri’ that we got a $3,200.00 contract, which I painted and went to Grand Rapids to put on. It was a success in every way.” “Captain Clay of Missouri” was first produced at McVickers Theatre in Chicago.

The four-act play was written by brothers David K. and Milton O. Higgins. The “Fort Wayne Daily News” reported, “David Higgins has provided himself with an ideally fitting role in his new play, ‘Captain Clay, of Missouri,’ in which he will be seen soon at the Majestic Theatre. He will play the title role, Captain Robert Claybourne, a southern gentleman of the old type; a man forty years old, perhaps, in whom reverence and love for women is inborn; who is as fearless and brave as he is chivalrous; who stands by a friend to the last ditch, and who fights his enemies with every power at his command” (10 Aug 1908, page 8).

David Higgins pictured as Captain Clay in the “New Castle Herald,” 1 Jan 1909, page

David Higgins in his role of Captain Clay, from the “Fort Wayne Sentinel,” 8 Aug 1908

David Higgins as “Captain Bob Clay,” pictured in the “Fort Wayne Daily News,” 13 Aug 1908, page 8

The play was set in a small town in southwestern part of Missouri. In the town of Cornville, Captain “Bob” Clay has control over of the political party in his district. The political intrigue, however, is a mere sub plot to the central love story.

The “Brazil Daily Times” described the production, “The new play, which had a run of several weeks at McVicker’s theatre, Chicago, deals with the men and women who people one of the small towns in Southwest Missouri – the land where Southern traditions and rules of conduct still hold sway. The chief citizen of the town is Captain Bob Clay, a genial, whole-souled man who loves Melissa Benton with his whole soul, but who has a strong liking for horse racing, mint juleps and gambling, and whose power in politics makes him the ruler of his party in the district. Melissa has held Captain Bob at arm’s length for ten years, and her gentle nature revolts at the sports and pastimes of her lover and it is not until accident reveals to her his magnanimous conduct in taking the guilt of her brother on his shoulders, that she yields her heart to him. With her love comes rehabilitation for Captain Bob and his nomination for a seat in congress. As Part of the story, and bearing strongly on some of its phases are an exciting base ball game in which are engaged the youths of two rival towns: a bit of political chicanery that threatens to defeat the dearest plans of the hero; a fiery combat on a banquet table, and the rescue of Captain Bob’s fine racing mare from the hands of a constable” (24 Oct 1908, page 7).

A scene from “Captain Clay of Missouri,” published in the “Brazil Daily Times,” 24 Oct 1908, page 7. The scenery for the production was by Thomas G. Moses.

The “Fort Wayne News” reported, “Captain Clay, the hero of the drama, is a very likeable character as Mr. Higgins portrayed him. Quietly, easily, and naturally the actor presented Captain Clay to his audience. Mr. Higgins was not lacking in the ability to strike the strongest notes surely and throughout the portrayal was consistent, Mary Servoss as Melissa Benton, the girl whom Captain Clay is endeavoring through his many and complicated difficulties to win, succeeding at last, was very good and she interpreted the role with charm and womanliness, Bliss Milford had the part of Charlotte Ross, a rather quaint and amusing girl of all work. Se played it capitally. Clare Armstrong as Leslie Benton creditably impersonated that character. Frederick E. Wright gave a good presentation of Charles Hadron, doing especially meritorious work in the third act where Hadron seeks to force Captain Clay to his side in the political contest. Mark Smith as Richard Hampton and John Webb Dillon as Smith Barnell enacted those roles capably. Good work was also done by Fred G. Hearn as Corporal Billy Cartmill, Bert S. Frank as Sergeant Orin Frye, Georgie Mack as the jockey and Margaret McDonald as Della Thurston. The baseball game scene with an umpire armed with sword cane was a good feature of the production (13 Aug 1908, page 8).

The show also played at the Majestic Theatre in Grand Rapids, Michigan, opening on August 10, 1908. The “New Castle Herald” reported, “The scenes of the play are laid in the mythical town of Cornville, Missouri and it has true Missouri flavor. There is love making, horse racing, mint juleps, political fights and other elements that go to make up life in a small town” (1 Jan 1909, page 4). The Star Tribune added that “An integral part of the story included a jockey, a horse, and a race upon which many important things hang” (Star Tribune, Minneapolis, 13 Sept. 1908, page 36). The company was composed of thirty-two people that traveled with the show. In regard to Moses’ scenery for the production, “Captain Clay of Missouri” was advertised as traveling with “Two carloads of beautiful scenery” (Fort Wayne News , 13 Aug 1908, page 8). The “Fort Wayne Journal” stated that the scenery was “magnificent” (13 Aug 1908, page 7).

To be continued…

Tales from a Scenic Artist and Scholar. Part 582 – Advertising Curtains and the Kansas City Scenic Company

Part 582: Advertising Curtains and the Kansas City Scenic Company

I came across an interesting article when searching for information about advertising curtains during the early twentieth century. It presented some of the financial logistics and revenue generated by an ad spaces on a drop. The article concerned scenery for the new opera house in Perry, Iowa, located at 1314 Second St.

Fred R. Megan, representing the Kansas City Scenic Co., was negotiating the contract during August 1903. Kansas City Scenic was founded by former Sosman & Landis scenic artist, L. L. Graham.

Private collection of Christopher Steiner at Luminous-Link.

Here is the article published in the “Perry Daily” on 26 Aug 1903:

“Mr. F. R. Megan, of Kansas City, was in Perry this week representing the Kansas City Scenic Co., which concern will paint the scenery for the new opera house. The directors selected the richest design of drop curtain that he had to offer and it is indeed a beauty. They also selected about eleven hundred dollars’ worth of scenery all told, including interiors, woods, garden, landscape, street scenes, etc. When the choice of the scenery was made it was found that there was a deficit of four hundred dollars in the appropriation that had been set apart for the item of scenery, and in order to procure the full amount that had been chosen it was decided to put on an ad curtain and sell limited number of ads. The main house curtain will be raised when the orchestra begins its overture and display this curtain. In seven hours time $375 worth of space on the ad curtain was sold Monday. $25 worth have been sold since and there are yet three spaces which an be taken by any parties who have not been solicited. It is probable that there will be no space for sale in a day or two” (The Perry Daily, 26 Aug 1903, page 3).

The Perry Opera House stage stage included a proscenium that measured 31 feet wide by 26 ½ feet high. The height to the rigging loft was 47 feet, and the height to the fly gallery was 23 ½ feet. There were no grooves to accommodate painted wings, just fly scenery. It was a sizable space, standard in many aspects for the time. Although there is not measurement provided for the ad curtain, it likely measured approximately 32 feet wide by 24 feet high. The number of ad spaces possibly ranged from 10 to 14 surrounding a central landscape.

The company providing scenery for the venue was Kansas City Scenic Co., a studio that I have explored in “Travel of a Scenic Artists and Scholar” posts. Let me briefly put Kansas City Scenic Company and Fred R. Megan in relation to Thomas G. Moses and Sosman & Landis studio.

Kansas City Scenic Co. was a competitor of Sosman and Landis, formed by one of their studio artists – Lemuel L Graham. It was in 1882, Moses would partner with Graham, after leaving Sosman & Landis for the first time. After Graham left Chicago, he would later found the Kansas City Scenic Co. The company grew to be a prominent studio and major player in the midwestern and western regions of the country. Many well-known scenic artists would later become associated with Kansas City Scenic Co, such as scenic artists and salesman Fred R. Megan.

The earliest mention of Megan’s association with the Kansas City Scenic Company is in 1901. Earlier, Megan had toured with the Barrett & Barrett Company (The Leonardville Monitor, Leonardville, Kansas, 2 Dec. 1897, page 8). By the early twentieth century, Megan was on staff at the Kansa City Scenic Co. studio, negotiating contracts across the country.

Later, Moses would contact Megan during 1923; the two would work together, purchasing the Sosman & Landis name after Hoyland and Lemle purchased the company contents at that same time. While they were negotiating the purchase of the Sosman & Landis name, Moses and Megan continued to work under their own names – Moses & Megan. They needed to wait for Sosman & Landis to liquidate, get their own charter, and then work as “Sosman & Landis.” During this time, they leased the old Fabric Studio in Chicago (that was an interesting tidbit for me). By 1924, Megan was on the road most of the time, with Moses making models in his studio.This is how Sosman & Lanids had most successfully operated – with Landis on the road and Sosman in the 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 continued working together until 1931.

The was a special section in the Oakland Tribune concerning the new Scottish Rite (12 Dec 1927, page 17). Moses and Megan placed an advertisement in the center of the section.

To be continued…

Tales from a Scenic Artist and Scholar. Part 559 – Thomas G. Moses and Ansel Cook

Part 559: Thomas G. Moses and Ansel Cook

In 1907, Thomas G. Moses wrote, ““We opened our annex studio at 19 W. 20^th Street in July, and Ansel Cook went there as a manager.” Moses commented on Cook as a scenic artist, “He did some very good work but was a long time doing it, which, of course, didn’t pay us.” Moses divided his time between Sosman & Landis’ main and annex studios that year, in addition to being on the road a lot. After one extended absence from the annex studio, he wrote, “Took charge of the 20^th Street Studio on my return weeks. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” This is a pretty interesting observation made by Moses about Cook, as Moses was known for his speed. Anyone that dawdled or didn’t pull his weight was criticized by Moses.

I have found no information about Ansel Cook beyond his scenic art. Moses records that he was primarily a drapery painter who began working at Sosman & Landis studio during 1904. Prior to his time at Sosman & Landis, Cook worked as a scenic artist with stage mechanic Ben W. Craig for the Castle Square Theatre Company. Together they designed and built many shows from 1896 to 1902. Some of their projects included “The Ensign,” “Captain Swift,” “Rosedale,” “The Heart of Maryland,” “The New South,” “The Prisoner of Zenda,” “Caste,” “Men and Women,” “Mignon,” “Tannhäuser,” “The Prodigal Daughter,” “Darkest Russia,” “A Social Highwayman,” Cumberland 61,” “Col George of Mt. Vernon,” “Nell Gwyn,” “Cyrano de Bergerac,” “The Little Minister,” “Jim the Penman,” and “Quo Vadis.”

Castle Square Theatre production of Erminie with scenery by Ansel Cook. From the “Boston Post,” 6 Sept 1896, page 10

By 1905, Cook was working in Chicago, establishing Ansel Cook studios. In addition to painting under his own name, he was also working in the Sosman & Landis studio. This is similar to what Moses did at Sosman & Landis, taking many projects after hours. It also explains his advertisement in White City Magazine where he includes, “All the scenery in beautiful Canals of Venice at White City painted my me.”

Ansel Cook advertisement in White City Magazine, 1905

The Ansel Cook studio was mentioned in “Minneapolis Journal” as producing the accompanying painted backings for the first formal American production of Lorenzo Perosi’s La Risurrezione di Cristo, the Resurrection of Christ, at the Minneapolis Auditorium in 1905 (2 Sept. 1905, page 14). Perosi’s oratorio was part of the Banda Rossa program performed at the Auditorium during State Fair week, and included Gina Ciaparelli (soprano), Bessie Bonsall (contralto), Albert Quesnel (tenor) and Salvatore Nunziato (baritone) for the solo parts.

30×40 paintings for the American premiere of Pelosi’s oratorio were created by Ansel Cook. From the “Star Tribune,” 3 Sept 1905, page 31

Cook’s compositions included “Mary at the Tomb, the meeting between the Savior and Mary Magdalene, the meeting of the Saviour and the Disciples on the Road to Emmaus, the Savior in the Multitude and the Ascension Scene” (Minneapolis Journal, 2 Sept. 1905, page 14). The “Minneapolis Journal” article described, “As the music progresses, these views, each 30×40 feet, with the wonderful electric lighting effects, are dissolved one into another. The effect is intensely interesting, and the mind, acted upon alike by the music and the pictures, is almost overwhelmed by the reality, the beauty and the solemnity of the scenes thus depicted by tone and brush.” The “Star Tribune” added, “These are exquisite works of art and when lighted by the different electrical devices used in their presentation are wonderful, beautiful, and fantastic, illuminating the music as it progresses” (Star Tribune, 3 Sept 1905, page 31). In 1905 Cook’s office was in room 60 of the Grand Opera House Building in Chicago. He was listed as a scenic artist, designer, originator and constructor in The White City Magazine. The Banda Rossa had also performed for four weeks at White City Amusement Park where Cook had painted the scenery for the attraction, “Venice.” The water ride included 90,000 square feet of painted panoramas depicting the sites of the city.

Banda Rossa featured as entertainment for four weeks at White City Amusement park, 1905

There is little mention of Cook again until 1908 when he is working in California. The “Los Angeles Times” reported, “Ansel Cook, late scenic artist for Henry Miller, has just been engaged for the same position at the Belasco Theatre here. ‘The Great Divide’ settings were made by Mr. Cook. He was for six years with the Castle Square company of Boston” (27 July 1908, page 7). Also that summer, Cook was mentioned as providing new scenery for the Weyerson & Clifford’s Southern Thorne and Orange Blossoms Company (Billboard, Vol. 20, 8 August 1908, page 25).

By fall 1908, the “Los Angeles Times” announced, “Belasco Theatre has a new scene painter, Ansel Cook. He has the reputation of being one of the country. His “Exterior of the Black Snake Ranch,” in Acts II and III, is a Texas landscape, beautiful in color, and one of the most effective backgrounds ever seen on the Belasco stage” (Los Angeles Times, 30 Sept. 1908, page 17). By winter, Cook was also credited with also decorating the green room of Belasco Theatre in Los Angeles (Los Angeles Herald, 13 Dec. 1908, page 32).

I have been unable to locate any information of Ansel Cook beyond 1908, only brief mention of Mrs. Ansel Cook’s attendance at social gatherings. Interestingly, however, a Vaudeville palace drop sketch by Cook sketch was donated to the Morgan Library & Museum by Mr. and Mrs. Donald M. Oenslager in 1982. As with many designs, notes were scribbled all over the back of this painting the Scollay Square Theatre in Boston in 1900. There is a New York Studios stamp on the back: “THE NEW YORK STUDIOS / 1004 TIMES B’LDG, – NEW YORK.” New York Studios was the eastern affiliate of Sosman & Landis managed by David Hunt. This would have been the initial connection between Cook and Sosman & Landis. Moses was also working in New York from 1900-1904. The design also includes a note in pencil, along top edge: “Palace Drop Ansel Cook, Scollay Squ. Theater. Died aft 1915.”

This notation suggests that Cook passed away by 1915, however, I have been unsuccessful in locating any obituary for him during that year.

To be continued…

Here is the link to the Cook design at the Morgan Library & Museum: https://www.themorgan.org/drawings/item/187745

Tales from a Scenic Artist and Scholar. Part 521: Palette & Chisel, November – The Changing Times of Scenic Art

Part 521: Palette & Chisel, November – The Changing Times of Scenic Art

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series “Stage Scenery” was first published during September 1927. The article, however, was written by Moses during the spring of 1918.

Palette & Chisel newslsetter from November 1927 with Thomas G. Moses’ article “Stage Scenery”

Here is Moses’ final November installment during 1927:

“Advertising in theatrical papers and magazines is quite necessary for this line of scenic painting. Illustrated catalogues are gotten up with a good deal of care and half-tones of the actual painted scenes are used. As stages differ in many ways, especially in size, from nine to forty feet in depth, it is quite essential that accurate dimensions be obtained. A card is sent to the prospective buyers which they fill out, giving all the required measurements. The scenes needed are listed, estimates made, the order is received, and each scene is given to the artist who is the most competent to execute that especial scene.

Advertisement for P. Dodd Ackerman & Co. scenic artists and constructors, 1905

Sosman and Landis shipping Label attached to a wooden arbor

On completion the drop and borders are rolled up the short way and boxed, the frame-work is crated and shipped by express or freight. Instructions are sent for the hanging and setting of all scenes; on many stages it requires the supervision of an expert who is sent to do the work. Models and sketches are made and a miniature stage with all lines and lights, is used to set up the different scenes. The customer can see exactly what he is going to receive. As the average small theatre does not change the scenery within a period of ten years or more it has to be very neutral in design and color so it will not tire the audience in the ten years of wear.

Scenic artists working on a paint bridge, high above the stage

For many years the larger theatres in many parts of the country put in a paint frame and bridge. The scenery was then built and painted in the local theatre, which necessitated the artist and assistant, with a good mechanic, to travel about the country. The writer did this for twenty years, from Maine to California, back and forth, some theatres taking as long as ten months to stock while others were finished in two months. In those days the scenic artist and his work were looked upon in an entirely different light than they are today. Possibly it is the fault of the artists; an indifference as to the real worth of their work has caused the managers to look to others for suggestions, making a simple workman of the artist, one who only follows their instructions, allowing the stage manager to receive all of the credit for the stage settings, while the artist labors on the paint frame all through the hot and sultry night to produce something artistic.

The scenic art has been the starting point for a great many of the well-known picture painters. Among the English painters are Clarkson, Stanfield and David Roberts. All were prominent scenic artists and became as great in picture painting. Some of the leading American artists were scenic artists. J. Francis Murphy was an assistant to Mr. Strauss, who was the artist at Hooley’s Theatre in 1874. The well-known illustrator and water colorist, Charles Graham, was also an assistant to Mr. Strauss at this same time.”

The article continued, “W. C. Fitler was another scenic artist who made good pictures. Jules Guerin, the noted illustrator, started his art career as a scenic artist. I might name several dozen artists who owe their early training to scenic art.

There are a dozen Chicago scenic artists who have forsaken the paint frame pictures for the easel pictures. In a way I do not blame them, for scenic painting is made up of ling hours and hard manual labor. The bigness of the work appalls many who venture into the game, and, with its dirt, soon discourages them and they looker for a cleaner vocation. The close confinement of the old theatre days was another disagreeable feature of the work that never appealed to anyone; no daylight, always long hours and foul air.

The studio of today is an entirely different proposition; a large airy room, plenty of space in which to work, regular hours, all new work, and with very few exceptions, congenial companions; each artist specializing in one line of work, plenty to learn each day and good salaries paid to all, is a big inducement to forsake the stock painting in the theatre and accept the studio work.

The establishment of the scenic studios has created a great deal of competition and sometimes it is very keen, for there are quite a number of assistants who do not know the business thoroughly, yet can convince a certain type of theatre managers who, very often are managers of a very good theatres, that their painting is just as good as that of a man of more than thirty years’ experience and a national reputation.

The raw material has advanced at such a rate that it is impossible to keep pace with it. At this writing (spring of 1918) with the great world’s war going on, common cotton has advanced to thirty-four cents a yard when two years ago it was only eleven cents, and the quality has dropped one hundred percent.

It is impossible to get the rich color we had two years ago. The color question is one of great importance. To begin with, one of the first important features of scene painting is the ground coating or “priming,” whiting and glue size. It must be very carefully mixed and “just so.” T takes several buckets to prime and ordinary drop; the edge must be kept wet so the color will be even all over. If the color edge is dry it will become too thick and will crack when rolled up. In many cases a strong tint in the priming is used for a tonal feeding, especially in landscape. It gives a certain amount of looseness when plenty of tonal color is left in the painting.

The end.”

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”

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. 6^th, 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 467- Curtain and Scene Painting

Part 467: Curtain and Scene Painting

Painted drop curtain by the Twin City Scenic Co. of Minneapolis, Minnesota. Here is the link to the University fo Minnesota Performing Arts Archives scenery collection database: https://umedia.lib.umn.edu/scenicsearch

While researching scenic art projects by Thomas C. Noxon and Patrick J. Toomey, I came across an interesting article about curtain and scene painting from 1884. It was published in the “St. Louis Post-Dispatch” (21 Jan. 1884, page 8). Here it is in its entirety as there is a wealth of information about the scenic artists of the time who specialized in drop curtains:

“Curtain and Scene Painting

The Leading Artists of the Country and the Prices Paid for Their Work.

“The return to drapery in drop curtains,” said Mr. Thomas C. Noxon of the art firm of Noxon, Albert and Toomey, employed at the Grand Opera House and Olympic, is a return to the old style. Drapery was very common twenty-five or thirty years ago. Now very few curtains are painting any other way; and while some artists adhere to simple combinations of rich materials, without any suggestion of life in the composition, the most popular and the prettiest curtains are those which present views or figures in which there is a suggestion of animation.

The new curtain at the Grand Opera House which was painted by Messrs. Noxon, Albert & Toomey is an example of the latter work. It is a composition presenting a profusion of rich drapery, warm in color, and minutely perfect in technique, drawn back and looped at the side, so as to reveal a bright Florentine picture with a pair of lovers in the foreground, moving toward the polished marble steps that fill the lower portion of the view. No handsomer curtain hangs in any theater in this country.

“What does a new drop curtain cost?” the Post-Dispatch reporter asked.

“About $500 or $600,” was Mr. Noxon’s reply. [The equivalent purchasing power in 2018 is approximately $12,000-$15,000]

“And how long does it take to paint one?”

“All the way from two to three days to five to six weeks. I painted a drop for Tootle’s Opera House, Sedallia, some years ago, in one-half days and got $500 for it, but an artist now seldom turns out a piece of work of this kind in less than three weeks. He can put that much time on it with a great deal of profit.”

“What will it cost to stock a new theatre with scenery?”

“From $2,000-$3,500.”

“And that will include how many sets?”

“Thirty-five. Enough for putting on any legitimate piece.”

“How long does it take to get up special scenery, say for a play like ‘The Silver King’?”

“That piece could be gotten up in two weeks. A fortnight’s notice is all we require to paint the scenery for any piece requiring sets that the theater has not in stock. In all such cases small models are complete reproductions in miniature of the original scenes.”

“There isn’t much work of this kind required of the artist nowadays?”

“No, not much; because many companies are now carrying their own scenery. Those playing melodrama invariably bring their own scenes with them.”

Mr. Noxon stands in front rank of curtain and scene painters, and for special features like Mardi Gras and Veiled Prophet pageants, is recognized throughout the Mississippi Valley as the most competent man in the profession.

Mr. Ernest Albert is a finished artist in the painting of interiors, and has displayed great originality in designing and executing curtains. He is particularly happy in reproducing draperies with a faultlessness of technique that challenges wonder and admiriation.

The other first-class curtain painters of the country do not number more than half-dozen. All enjoy national reputations, and their services are in demand to the other.

Russell Smith, formerly of the Academy of Music, Philadelphia, makes a specialty of landscapes.

Voegtlin, who went from New York to California where he was recently located, also takes to landscapes, but is an admirable figure painter, and will be at the top of the heap again should there be a revival of this style of curtains.

Phil Goatcher, formerly of Cincinnati, but now in New York, paints very pretty satin drops with medallion centers.

Henry E. Hoyt of Colvill’es, Fourteenth street, New York City, has lately started a boom in the direction of drapery without either figures or landscape views. His last curtain, which was of this character, was painted for the Euclid Avenue Opera House, Cleveland. He finished it is three weeks, and got $600.

Messrs. Noxon, Albert & Toomey painted a beautiful curtain and an entire stock of scenery for the new Park Theatre, in the same city, which was destroyed by fire a few weeks ago.

Last but not least is the prominent curtain and scene painters is Richard H. Halley, who came here at the opening of Pope’s Theater, then went to the Grand, and at the beginning of the present season began work at McKee Rankin’s Third Avenue Theater, New York. His silk curtain at Pope’s obtained instant recognition for its artistic abilities, and his later work, although lacking strength and color, has been marked by unusual merit. The curtain in the new Olympic is from his brush. As a painter of exteriors he holds high rank in the profession, and he is acknowledged to be without a peer in the reproduction of foliage.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 426 – Thomas G. Moses and William A. Brady

Part 426: Thomas G. Moses and William A. Brady

In 1901, Thomas G. Moses wrote, “We did two acts of “Under the Southern Skies” for Wm. A Brady. He wanted everything of the best. I spent $1000.00 for furniture and draperies for the two scenes. He thought me awfully extravagant.”

“Under the Southern Skies” was a comedy drama in four acts by Lottie Blair Parker and produced by Brady. It ran for a total of 71 performances at the Theatre Republic in New York, opening on November 12, 1901, and closing in January 1902. The scenery produced for the show was by Moses & Hamilton, along with John H. Young.

The obituary of William Aloysius Brady (1863-1950) reported that he was “a candy butcher, an actor, dramatist, producer and manager of prize fighters, including two world champions, James J. Corbett and Jim Jeffries” (Billboard, 21 Jan. 1950, page 53). Born in San Francisco, he learned many aspects of the theatrical business while touring western theatres during the 1880s. Brady later joined with George Webster to form the Webster-Brady Company, securing the stage rights to Dion Boucicault’s melodrama “After Dark,” proving to be quite lucrative. Brady came to New York as a producer in 1896, featuring James J. “Gentleman Jim” Corbett in several shows, even featuring him as a heavyweight prizefighter. Among the stars whom he managed were Grace George (his wife), Wilton Lackaye, Helen Hayes, Henry E. Dixey, Mary Nash, and Alice Brady (his daughter) At the age of 75, Brady estimated that he had produced over 260 shows, also having built two New York theatres – the Playhouse and 48th Street Theatre. His offices were located in the Playhouse.

“Pretty Peggy” with scenery by Moses & Hamilton, 1901.

Moses & Hamilton also produced the scenery for Brady’s “Pretty Peggy.” Moses recalled the production as “a good opportunity for scenic splendor.” “Pretty Peggy” was written by Frances Aymar Mathews and founded on the life of the famous Irish actress Peg Woffington. It depicted the “charmingly sympathetic story of the love of David Garrick for Peg Woffington, and the tragic ending of that historical romance” (Tammany Times, Vol. 20, No. 26, April 1903, page 6). Mathews included the British Theatre riot in the play that had erupted when the Woffington, attempted to perform at Covent Garden with her French dancers, inciting the English audience’s anti-French sentiment and anger.

The riot scene for “Pretty Peggy,” with scenery by Moses & Hamilton, 1901.

For “Pretty Peggy” the Tammany Times reported that “Some 250 people are used in the presentation, and a large number of these are continually before the audience, first as acrobats in a circus tent, next as diners in the picturesque Covent Garden, and finally as rioters in the remarkable mob scene” (Vol. 20, No. 26, April 1903, page 6).

The play opened with trapeze performers, jugglers, dancers and strong men rehearsing their respective feats inside a circus booth at Dublin. It is here that Woffington meets the London actor Garrick. In the next act, Peggy is already the leading woman of the Covent Garden Theatre, and the actress celebrates her birthday by a great feast set out in the green room.

Of this scene, the “Theatre Magazine” reported, “The beautiful eighteenth century costumes are all of extreme riches and the furnishings elaborate to the verge of extravagance, while a veritable army of supernumeraries are employed to add to the animation of this picturesque tableau (Theatre Magazine Vol. 3, page 110).

The riot scene involved 180 men, with the rioters divided into three squads. They rehearsed with Brady and his assistant Frank Hatch, who instructed them in their emotional and vocal responses. Brady invited reporters to attend the rehearsal sessions, thus guaranteeing free advertising for the upcoming production.

It was produced by William A. Brady (1863-1950) and starred his wife Grace George (1879-1961). It opened at the Herald Square Theatre and ran for 48 performances from March until May 1903. There was a return engagement of “Pretty Peggy” at Hoyt’s Theatre with 32 shows from October until November 1903.

1905, Moses again worked for Brady, recording, “Early in May I did a Wm. A. Brady’s “All Around Chicago,” a big show at McVickers. Another $3,600.00 contract.”

To be continued…

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

For additional installments, go to www.drypigment.net

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 344 – Forest Seabury, Scenic Artist

Part 344: Forest Seabury, Scenic Artist

There were a few newspaper articles from 1895 that caught my attention, as they concerned scenic artists. The scenic artist S. Forest Seabury (Sr.) died at the Grand Opera House on July 17, 1895, in Oakland, California. Newspapers reported that the celebrated artist fell dead after expressing to the stage manager, “You drop is finished, and it’s a wonder” (The San Francisco Call, 18 July, 1895, page 4). Seabury had just placed his brush in a pot of water before he uttered his final words, having just completed the drop curtain for Morosco’s Opera house. He then turned to speak to the manager, Tom Andrews. It was 4:35 PM when Seabury took a few steps toward the washstand, staggered and fell, before taking his last breath. Only a few minutes earlier, Seabury’s son had shouted up from the stage floor, inquiring about his father’s health. After hearing a positive response from the flies, his son left.

An illustration of Forest Seabury accompanied his death notice in the San Francisco Call (18 July 1895, page 4)

Seabury was a busy man and had completed another drop curtain for the Grand Opera House the previous week. For the opera, his 38’-0” x 40’-0” painting depicted a colossal American flag against a cloudy sky; it was received with applause (San Francisco Call, 5 July 1895, page 7). Dr. Barrett conducted an autopsy on the body and determined that the cause of death was heart disease. Seabury was only forty-four years old. His young age reminded of another scenic artist from Chicago – Lou Malmsha. Malmsha has passed away at the age of 35. A talented scenic artist, he was at the top of his career when he suffered a similar fate after work.

Seabury’s obituary reported that his funeral was attended by many members from both the Actor’s Association of America and the Theatrical Mechanic’s Association of Oakland. Like many other scenic artists, Seabury was also a stage mechanic, having the ability to engineer and create all of the scenic effects for a production. At Seabury’s funeral, floral arrangements sent from his fellow artists included banners stating, “The Drop is Done,” “The Gates Ajar,” and “The Last Scene of All.”

Another obituary for Forest Seabury reporting the presence of “many prominent theatrical” people form the Oakland area.

Seabury was a Pacific Coast artist and decorator whose work was known throughout the region. He had painted drop curtains and decorated prosceniums in all of the principal playhouses in California, Oregon, Washington and Nevada. However he primarily worked in the Oakland area. In 1892 he created a drop curtain, “The Dawn of Spring” for Stockwell’s Theatre in Oakland that the newspaper reported was “a beautiful work of art” (Oakland Tribune 2 July 1892, page 7). During the 1880s, he had been the scenic artist for the Baldwin Theatre in San Francisco. However, he also painted scenery for other venues, such as the Pasadena Opera House (Los Angeles Herald, 28, Oct, 1887, page 12). His obituary commented that one of his best works was a scene of the Golden Gate on a drop curtain in the opera-house in Sonora, Tuolumne country.

Seabury was also a member of the Republican Alliance and presented a decorative banner (12×12) of Harrison and Morton and an artisan at work. “Around the boarder are pictures of flags and other ornamentations. A shield bears the name of the club” (Oakland Tribune, 2 Oct 1888, page 1).

One of Seabury’s major accomplishments was his work for the Kiralfy Bros. He was listed as one of the scenic artists for the 1887 production of “The Black Crook” (Chicago Tribune, 13 March 1887, page 6). The others were Harley Merry, Geo. Bell, Porter Robecchi of Paris, and Magnani. This interesting group of artists was credited with creating “all new scenery” for a production that was “exactly as reproduced in January at Niblo’s Garden.” The show opened at McVicker’s Theatre in Chicago. The scenery for the production was estimated at $15,000. (The Times, Philadelphia, 19 Nov 1887, page 3). Advertisements reported that there were two entire carloads of scenery for the production “with all its glittering grandeur” (The Ottawa Journal, 21 May 1887, page 1).

Poster for the Kiralfy Bros. production of “The Black Crook,” painted by Forest Seabury and other well-known scenic artists.

Poster for the Kiralfy Bros. production of the “The Black Crook,” painted by Forest Seabury and other well-known scenic artists.

One of the sets for the Kilrafy’s production. Posted at https://actonbooks.com/2016/12/13/kiralfy-brothers/

Advertisement listing the scenic artists for the 1887 production of “The Black Crook.” 2 (Chicago Tribune, 13 March 1887, page 6).

Not everything was perfect in Seabury’s world. Two months before his death, Seabury’s second wife committed suicide by taking carbolic acid. The San Francisco Chronicle reported, “She was found dead in her room by her husband. A photograph of him was clasped to her breast” (18 July 1895, page 8). There had been trouble in the Seabury family and for some time the wife and husband had been separated. Mrs. Mary Jane Seabury of Massachusetts (second wife) was found dead in her bed at 917 Larkin Street. The autopsy by Dr. J. S. Barrett showed that her death resulted from carbolic-acid poisoning. The article noted that a dose of carbolic acid causes great pain and those who swallow it involuntarily will groan in their agony or scream, but no sound was heard from her room; her husband did not occupy the same apartment, yet he was the one first one on the scene.

When discovered, she was clutching a photograph of her husband, a letter written to him from another woman (from 1891) and a suicide note. Her written request stated, “Make sure that I am dead before burying me, as I do not want to be buried alive.” She was 24 years old and had only been married to Seabury for three years.

Seabury had two sons, Arthur and Forest Jr., from his first marriage. Both sons also worked at Morosco’s Grand Opera House as scenic artists and actors at the time of his death. There is more to the Seabury story as newspapers covered the continued troubles of the Seabury family. His second son Arthur was found in a mentally unhealthy state and returned to his mother in 1907. His mother’s concern increased as she observed Arthur did not sleep well. Then he started to explain that he had visited hell, frequently accosting people and stating, “How do you do. I’ve seen you in hell.” His mother eventually bought her son brought before Judge Hall to determine his sanity. The physicians decided he was on the verge of insanity and he was sent to the Stockton.

Of Arthur the paper reported ,“Young Seabury was with his father most of the time and was considerable as an artist himself. He worked on the paint-frames and filled in many a fine piece of artistic work from his father’s brush” (Oakland Tribune 19 April 1897, page 2). But the story is a little more complicated as some articles suggested that Seabury never remarried and only had one wife.

Throughout all, his second son and namesake, Forest Jr., continued to paint and act, doing fairly well in the theatre profession.

Forest Seabury, Jr. with the Allen Stock Co. This image was taken the same year that his brother went insane and was committed to the Stockton sanitorium. Morning Register (Eugene, Oregon), 22 Sept 1907.

To be continued…

Tales from a Scenic Artist and Scholar. Part 341 – Green Room Gossip From 1895, the Scenic Artist

Part 341: Green Room Gossip From 1895, the Scenic Artist

Thomas G. Moses worked as the scenic artist at Chicago’s Schiller Theatre during 1895. He painted the settings for all of the productions on their paint frames. He also rented the old Waverly Theatre space as he had more work than could be completed at the Schiller.

I understand that it is hard to appreciate the complexity and demands of the painting process at the time that Moses was working, especially as I discuss the many projects that Moses’ was simultaneously completely during the late-nineteenth century.

Below is an informative article about the artistic process and the role of the scenic artist, published in the Times-Picayune (New Orleans, Louisiana) on February 10, 1895 (page 22). Here is a portion of the article from the “Green Room Gossip” section of the Times-Picayune. It provides additional context for Moses’ story as we move forward:

Heading from the Times-Picayune (New Orleans, Louisiana, February 10, 1895, page 22) that details activities related to the theatre.

“When a manager has finally decided to produce a new play, his troubles have just begun. One of the first things to demand is the proper pictorial equipment. Just as the editors of illustrated periodicals of to-day send their accepted articles to the artist for illustration, so the theatrical manager puts his play in the hands of the scenic artist. Sometimes periodical illustrations cause the reader to wonder whether the illustrator read the story before he made the drawing or whether the cuts got mixed in the composing-room. The play illustrator is too important a factor in the box-office success to admit of similar mistakes.

[The manager] sometimes employs a scenic artist by contract, but usually the necessary assistant rents the space he needs in the theatre and charges the manager for work done for him, just as he charges outside managers for work done for them. The scenic artist, then, receives the manuscript from the manager, reads it carefully, notes from the authors description of scenes whether the locality is special or general, and where the scenery must be “practical” – with real doors to open, trees which may be climbed, fences that may be jumped- and where it is possible to make it purely representative.

The locality is the first point, naturally. Even if none be mentioned, in these days of photography, it is far more satisfactory to find a real locality which would fit the play, and which would, therefore, be more likely to differ from a thousand and one other scenes which have already been used as backgrounds for other general plays. From photographs or sketches of real bits of scenery, the artist most often draws his ground plans for what he considers a good stage picture suited to the action of the play.

These models are then placed convenient to the eye and hand in his studio, the main feature of which is really the back wall of the theatre, with a great paint bridge running about 25 feet above the stage floor. There is a space about a foot wide between the bridge and the wall, and in the space hangs the paint frame. When the stage carpenter has built the scenes according to the artist’s model, the paint frame is lowered to the stage floor, a piece of scenery is attached to it by means of a narrow ledge at the bottom, drops are tacked on and set pieces fastened at convenient points, then the frame is raised until it is where the artist wants it as he stands upon the bridge. The frame can, or course, be moved up and down, at the painter’s need.

The prime coating of the canvas is made of a mixture composed of whiting, glue and water. The artist has several assistants, many of whom are virtually learning the trade, but in exterior scenes the scenic artist himself usually does all of the painting; in the interiors he makes the finishing touches. Of course the work is done by daylight, and it takes a very skillful worker in colors to know just what the effects the various kinds and degrees of artificial light will have upon the painted scenery.

And yet the scenic artist is not too highly valued from a financial point of view. It takes, usually, six or eight years to attain the necessary skill and an average income of $80 a week is considered very good. From the manager’s point of view there is a difference. The necessary scenery for a play will frequently cost $1500 for the carpenter work and twenty-five hundred dollars for the coloring, without taking into account the sums paid for costumes, properties and the innumerable other accessories to proper play-producing.

Until applause greets him on the momentous “first night” and large audiences greet him for many nights thereafter, the manager, be ever hardened, endures endless anxiety from the minute the new play is chosen. If one proves a failure, he will be out a considerable sum at the best, for critics will know if he attempts to use the same costumes and special properties later on, or if he saves the scenery until it can be worked in other plays, a piece at a time; and critics seldom keep anything to themselves. He may have a new scene painted on the back of the old and save a part of the carpenter’s bill, but this is frequently the best that can be done. With all his risks and frequent failures, the theatrical manager is usually the last one to complain. When a play does not go, he simply pays the piper and tries again.”

To be continued…