Theatrical Guides – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 898 – Gus Hill’s National Directory, 1914

Gus Hill’s National Theatrical Directory, 1914.

Theatrical guides provide a wealth of information about historic theatres, including the technical specifications and original scenery. I have continued to reference a variety of guides from the 1882 until 1913, with Julius Cahn’s Official Theatrical Guide being my favorite. In 1914 he did not publish a guide. For the 1914-1915 season, Gus Hill published his first theatrical guide. “Gus Hill’s National Theatrical Directory.” It was published by Hill’s National Theatrical Directory, Inc. in the Columbia Theatre Building, New York.

Initially, Hill (1858-1937) was a burlesque performer, wrestler and juggler. One of his acts was a series of cartoon theatricals, musical comedies based on cartoon strips. Hill later became a vaudeville manager and producer, founding the Columbia Amusement Company.

Gus Hill’s National Theatrical Directory advertised that it contained “The most complete list of Theatres yet compiled for the United States and Canada. It was arranged alphabetically according to the States and Cities, and promised, “condensed information as to Towns, Theatres, Billing, Hotels, Newspapers, Railroads, Express Companies, etc.” as well as:

It also included: a complete list of Theatrical Managers, Producers and Booking Agents; a list of plays, Musical and Dramatic; a list of the Vaudeville Theatre, Agencies, Acts and Performers; a list of the Moving Picture Houses and Film Exchanges; and a list of Representative Attorneys qualified to handle theatrical business.”

Hill’s also book included something new – “The Reporting System.” The Guide noted, “In conjunction with this Directory, the publishers will establish a Reporting System, which is intended to be to the theatrical business what Dunn and Bradstreet are to the commercial world.”

The Guide promised, “This book is now the ONLY authentic and complete Theatrical Directory in Existence, having just absorbed Julius Cahn’s Official Theatrical Guide. Apply Now for advertising space and rates in the 1915-1916 Edition.” Another page noted, “This is now the only official theatrical directory in Existence Having recently taken over the Cahn-Leighton Official Guide.”

In 1896 Julius Cahn published his first theatrical guide. By 1911, Julius Cahn and R. Victor Leighton created the successor to the Julius Cahn’s Official Theatrical Guide, the Cahn-Leighton Official Theatrical Guide. The 1912-1913 season publication noted it was “the first combined effort to give the theatrical public a guide with many radical changes and new ideas.” Cahn & Leighton wrote, “the object of this guide is to assist the producer and theatre manager to reach each other in a practical business-like manner with the least trouble. Among the new features in their guide was several tables of freight rates, party fares and the mileage to next point from each point in the guide.” It contained, “Authentic Information Regarding all Cities, Towns, and Villages wherein Theatrical Organizations may find a Theatre, Opera House or Hall to exhibit in as well as the Information pertaining to these places of Amusement, the Railroads, Express Companies, Newspapers, Billposters, Transfer Companies, Hotels, &c., throughout the United States, Canada, Mexico, Hawaii and Cuba.” The publication office was New Amsterdam Theatre Building, located at West 42^nd Street, New York, New York.

For their 1913 publication, Cahn & Leighton wrote, “Today we are offering our patrons the best and most complete edition ever published. The past year we made a number of changes in the construction of the guide, toward the betterment of the publication and the present issue offers not alone the oldest, but most reliable publication of its kind ever printed. It is the only recognized book of reference of the theatrical profession as well as those who come in contract or do business with this class of patronage. We bespeak from our friends an appreciation of the merits of the book and a frank and friendly criticism of what they consider its faults.” The Cahn-Leighton partnership was short lived and Gus Hill took over the theatre directory business.

Note the ad in the bottom right corner.
Gus Hill’s National Theatrical Directory, 1914.

From Julius Cahn’s premier issue in 1896 to the Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, one can explore a shift within the entertainment industry. There is an amazing amount of information waiting for someone to see how quickly the popularity of “Moving Pictures” swept the country. Many of the theatrical guides are available as free downloads. What makes this wonderful is that one can complete keyword searches and quickly access information.

Notice the ad on the left. Gus Hill’s National Theatrical Directory, 1914.

To be continued…

Travels of a Scenic Artist and Scholar. The Howell Opera House and the Donaldson Guide, 1894

In 1894, the “Donaldson Guide” listed that the Howell Opera house had a seating capacity of 750. This number was 100 seats less than those included in earlier directories, such as Harry Miner’s or Jno. B. Jeffery’s theatrical guides. It may simply suggest the purchase of new seats, or a clerical error, but the number varies from earlier seating capacities. The Donaldson Guide also listed that the theater was now under management of W. E. Beach, with ticket prices being 25, 35, and 50 cents. No rental information was provided.

The “Donaldson Guide” was published by W. H. Donaldson (1864-1925) in Cincinnati, Ohio. It is certainly a publication worth perusing.

Col. William H. Donaldson was born in Dayton, Kentucky, the son of William M. Donaldson. After High School, Donaldson worked for his father who ran an art store and picture-framing establishment in Cincinnati. His father then established a poster business at 127 West Eighth Street, Cincinnati, which later became Donaldson Lithographing Company. Donaldson worked for his father as a salesman and “proved to be remarkably capable, winning and acknowledged place as the best poster salesman in the country” The Cincinnati Enquirer, 2 Aug. 1925, page 5). Donaldson rose to nationwide prominence as a circus and theatrical publisher.

Advertisement in the Donaldson Guide, 1894

In 1894, Donaldson founded and published two new publications – “The Donaldson Guide” and “The Billboard.” That same year, he was appointed Secretary of the Protective League of American Showman (The Cincinnati Enquirer, 31 Dec. 1894, page 8). The first issue of the Billboard was published during November at 127 East Eighth Street, Cincinnati, containing only eight pages, with its contents being devoted solely and entirely to billposting, poster-printing and advertising agency interests. In 1899, the Donaldson plant moved to Newport, Kentucky. Donaldson remained with the business until 1904 when he resigned to devote his entire time the Billboard. He was the president of the Billboard Publishing Company.

The Donaldson Guide was published “for the use of showmen, theatrical managers, circus managers, managers of opera-houses, dramatic, musical, and variety agents, bill posters, show printers, costumers, and all Persons identified or connected with the show business in an manner whatever.”

The publication was advertised as, “containing a list of all opera-houses in the United States and Canada with description of their stages, their seating capacity, and the names of the managers of each; the populations of cities, and the names and population of adjacent towns to draw from; the names of city bill-posters, baggage express men, hotels, boarding-houses, newspapers, vaudeville resorts, museum, beer gardens, fairs, race meetings, circus licenses, and miscellaneous facts, dates, etc., of great value to managers.” Donaldson Guide also noted that it was published “in conjunction with the Showman’s Encyclopedia, “the International Professional Register,” and “the complete code of the Donaldson cipher.”

The “Showman’s Encyclopedia” portion of the “Donaldson Guide” was noted as “A compilation of information for showmen, performers, agents, and everyone identified with the theatrical, vaudeville, or circus business, such as ticket tables, internet tables, the address of show-painters, costumes, dramatic agents, theatrical architects, scenic artists, aeronauts, playwrights, etc…” and “the International Professional Register, a directory of the names and address of dramatic people, variety people, minstrel people, circus people, freaks, acrobats, operatic artists, musicians, and farce-comedy artists.

The “Donaldson Guide” also included a cipher and key that are quite intriguing. Here is what was offered at the time for telegrams:

TO CONSTRUCT a message use the Key to the Cipher. The phrases will be found arranged under convenient headings, with directions under each for finding readily any needed clause.

TO DECIPHER a message use the Index to the Cipher. The cipher words are all arranged alphabetically, and can be found as quickly as in a dictionary.

TELEGRAPH IN CIPHER TO the manager of any Opera House, Theatre, Museum, Music-Hall, or Vaudeville Resort; any Show-Printer, Costumer, Dramatic, Variety, or Vaudeville Agent, or “The Clipper,” “Mirror,” “Dramatic News,” “Dramatic Weekly, “Dramatic Journal,” “dramatic Star,” “Music and Drama,” or any theatrical paper whatever in the United States or Canada, whose name appears in the Guide or Encyclopædia. A copy of the index of the Donaldson Cipher has been sent to each and every one of then free of charge. Remember, if the names of any person engaged in any of the callings appear in either the GUIDE or ENCYCLOPÆDIA, you may telegraph to them in cipher with perfect impunity.

THE ADVANTAGES of the Cipher are many and varied. Foremost among them, of course, is the great savings which may be had in the matter of telegraph charges. A glance at the following pages can not fail to demonstrate the truth of this assertion to the entire satisfaction of even the most skeptical, for there are few messages indeed which can not be kept within the limit of ten words prescribed by telegraph companies. But economy is not the only advantage it has to recommend it. The mere fact that the message is unintelligible to anyone except the party for whom it is intended is often times a source of wonderful satisfaction, both to the sender and recipient; and this, added to the fact that experience has proven that there is less danger of errors, confusion, and mistakes in cipher message than those couched in ordinary language, renders it a most desirable medium of communication.”

The key to the “Donaldson Guide” cipher included phrases pertaining to actors, actresses, addresses, advertisements, aeronauts, agencies, agency business, agents, answers, attractions, billing, bill-boards, booking, burlesque people, business manager, calcium lights, calls, canvas-maker, circus manager, circus people, C.O.D. shipments, collections, concert, couriers, dates (printing house, calendar), deposits, dodgers, dramatic people-men, dramatic people-women, drunkenness, duns, engagements-artist to manager, engagements-manager to artist, expenses, financial straits, free list, hangers, heralds, hippodrome, house show, instructions-manager to agent, leaders, letter-style of, lithograph boards, lithographers, lithographs, local manager, mail, managers of combinations, managers of opera houses, managing editor, measurements, medicine show, minstrel people, money, musicians, no (street numbers, catalogue numbers, etc.), numerals (for quantities, amounts, etc., but not money), operatic people, opposition, orders, paper, partner, percentages, posters, printer, printing, programmes, property man, prospects, qualifications of people, receipts, remittances, repertoire people, reports, routes, salary, samples, sharing, shipping instructions, shows, side-show or museum, sizes, spaces, special delivery, specialties, stage carpenter, stands, streamers, terms, time of day, traveling managers, two weeks’ notice, Uncle Tom’s Cabin, Variety People, weather, and window work-lithographers.

The fact that any cipher was created to relay information about drunkenness says a lot. Here are a few examples for your amusement.

Unacted….I (we) understand my (or our) agent is drinking

Unactive…If this is the case wire me at once

Unapt….Let me know if he is in condition to transact business

Unarm….I understand that you are drinking

Unasked….Sober up at once

Unawed….And get down to business in dead earnest

Unbar….Or I shall discharge you forthwith

Unbed….I have no sympathy or patience with a drunkard

Unbend….Do not let him have any money

Unbit….Try and sober up

Charter….Any information you may see fit to let me (or us) have will be gratefully received and treated strictly confidential.

Hopefully the person operating the telegraph or delivering the telegram did not moonlight at the theatre. I wonder how often someone received:

Unarm. Unasked. Unawed. Unbar.

Donaldson passed away in 1925. That year, the “Cincinnati Enquirer” reported “Mr. Donaldson was a member of the Masonic Order and Odd Fellows, to which he devoted much attention” (2 Aug. 1925, page 5). Another article reported, “Colonel Donaldson founded the Billboard and published it until two years. Ago. He was interested in prison reform, employed many former convicts upon release from prison, and declared that he was never defrauded by any of them” (Cincinnati Inquirer, 4 Aug. 1925, page 2). He was survived by his widow Jennie (Hassan) and daughter Marjorie (Mrs. Roger S. Littleford), his father William H. and three brothers (Andrew, Lincoln and Archibald) and two sisters (Mrs. Charles Longley and Mrs. Dr. George W. Brown). Donaldson’s death in Sarasota Florida at the relatively young age of 61 came as a shock to his family. Having been in failing health for some time, he came to Sarasota at the suggestion of his friends, Charles and John Ringling (The Jacksonville Daily Journal, 2 Aug. 1925, page 3).

To be continued…

Travels of a Scenic Artist and Scholar. The Howell Opera House as Listed in Theatrical Guides, 1882-1884

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, staff and local network of support for touring groups. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters,” however, there were other theatrical guides too, including: Harry Miner’s American Dramatic Directory; The Donaldson Guide; Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America; and Henry’s Official Western Theatrical Guide. Each provides a unique snapshot of theatrical activity and stage houses in North America. From small rural towns to large metropolitan areas during the 1880s through 1920s, one understands the scope of American theater construction, as well as the daily operation. These guides are a wonderful resource for historians, historic theatre enthusiasts and theatre technicians.

In 1884, the Howell Opera House was listed in “Harry Miner’s American Dramatic Directory.” Published by the Wolf & Palmer Dramatic Publishing Company, in New York, the publication was advertised as “a complete Directory of the Dramatic and Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls of America together with much other Information of Value to the Amusement Profession.”

The Howell Opera House entry listed a seating capacity of 825, with a stage measuring 26×44. Both Donaldson and Jeffrey confirm this size stage in their respective publications. It was only Harry’s Miner’s Directory that provided additional measurements and other technical specifications. The Howell’s proscenium opening was 19 feet high by 20 feet wide. This opening suggests that many of the roll drops were approximately that size, give or take a foot, depending on the painted side tormentors and other wings. The height from the stage to the top grooves measured 13 feet with 22 feet from the stage to the rigging loft. The groove height was to accommodate the painted side wings to mask the sides of the stage. The depth under the stage was 5 ½ feet with one trap in the stage floor. Traps allowed action to either emerge from, or disappear into, the stage floor, such as an apparition.

Harry Miner’s Directory also listed eight sets of scenery that were created by Sosman & Landis, with R. T. Holmes was listed as the stage carpenter. This was a standard delivery that would contain eight backdrops. The subject mater would range from landscapes, seascapes, woods and garden scenes to city scenes, fancy interiors, plain interiors and prisons. Each scene would utilize at least one pair of wings to conceal backstage activities. These wings were likely 4 to 6 feet wide by 13 feet high. It remains unclear how many sets of grooves were installed during the original installation of stage machinery and scenery. Additionally the original scenery installation would have included painted flats and profile pieces, such as garden balustrades, statuary, or rocks.

Some of the of the most exciting backstage elements that I noticed at the Howell were the extant border lights. A wooden base held the sockets; this same type of system was originally installed at the Scottish rite Theater in Guthrie, Oklahoma, only to be removed and replaced with a metal version less than a decade later. This was the first example that I have encountered since reading a description written by M. C. Lilley western sales manager, Bestor G. Brown.

Wooden border lights at the Howell Opera House.

Another exciting artifact was an original windlass, still positioned in the stage left wings, waiting to raise and lower the front curtain. There were so many other historically significant artifacts littering the old stage, that it blurred my focus; too much information to take in at once. I could have stayed for hours, but my guide had an impending dinner appointment.

From an administrative perspective, Harry Miner listed the Howell’s rental rates as $25 for one night and $50 for three nights. This number varies a bit from Jeffrey’s 1882 guide that reported rental rates were one night, $30; two nights, $50; three nights, $70, and one week, $125. Both publications noted that the preferred “to play on shares with good attractions.” The equivalent purchasing power of $100 in 1882 is around $2500 today. Between 1882 and 1884, the management of the venue went from Hunter & Holmes to just T. B. Hunter.

In addition to the above information, Miner’s noted the advertising protocol and local marketing expenses for touring production advertising. The local newspaper was the “Republican,” with advertising rates being $3 per column. Touring companies received a special rate at the hotels of $1.25.

Initially the Howell was illuminated by gas, with the gas jet holes for footlights, still being visible on the edge of the stage’s apron. As with many theaters during the turn of the twentieth century, gas jets were replaced with electrical fixtures. At the Howell, original gas fixtures were simply converted to electric. What is exciting about this aspect is that almost all of the original fixtures still exit, preserving the historical aesthetic throughout much if the building. The auditorium’s chandelier is a treasure to behold, instantaneously transporting any visitor to the 1880s.

Gas chandelier at the Howell Opera House that was later converted to electricity.

Later electric footlights installed at the Howell Opera House to replace original gas lights with reflectors.

Original holes for gas jest and reflectors for footlights at the Howell Opera House.

During my tour of the Howell, my guide discussed many of the original artifacts that still exist. For example, poster bills and the signatures of famous personalities still grace the walls backstage. The amount of information contained in a relatively small area upstage of the proscenium wall, would cause any theatre historian’s heart to rapidly flutter. Each pasted piece of paper represents a production, providing a sneak peak into the performers and technical crews of the past. Most recently, piles of peanut shells were found under the balcony’s floorboards, left from patrons munching during a show over a century ago.

A small sampling of poster bills pasted to backstage walls at the Howell Opera House

Although some physical alterations have occurred over the decades, most instigated by well-meaning architects and structural engineers, much remains preserved. For example, even though the original grand staircase that led from the street to the second floor theater was removed, the original front doors were carefully sets aside. One of two original box offices, located at the top of the grand staircase, also remains as a window into the past. Although some of the dressing rooms were walled off when I new backstage staircase was constructed, they were not gutted, just entombed for another generation.

This theater is silently waiting for the renovation to continue.

To be continued…

Tales from a Scenic Artist and Scholar. Part 705 – Masonic Temple Fire in Louisville, 1903

Part 705: Masonic Temple Fire in Louisville, 1903

In 1903, there was a fire that destroyed the Masonic Temple in Louisville, Kentucky; this was not the Scottish Rite Cathedral, but it had a theater. The Weber Bros. managed Louisville’s Masonic Theatre and the house had a seating capacity of 1,743 (Orchestra, 674, Balcony, 478 and gallery, 571). The width of the proscenium was 36 feet wide by 36 feet high. The depth from the footlights to the back wall as 43 feet and the height to the rigging loft was 72 feet. The depth under the stage was 10 feet and the height to the fly gallery was 25 feet. It was certainly a sizable space for productions, and not some little hole-in-the-wall space.

At the time, a theatre in a Masonic building was not unusual. Many nineteenth-century Masonic buildings relied on the rent collected from retail tenants who leased the first few floors of the building, with lodge rooms in the upper levels. For Masonic opera houses they used the performance space for the income, with lodge rooms tucked away in upper levels. Examples were found all over the country, including in Duluth, Minnesota. The building used by the Duluth Scottish Rite before its current home was also a Masonic Temple with public theatre. The Masons only started to encounter major after the constructed huge edifices that were only used and rented by the Fraternity. If the Masonic orders stopped renting or ceased to exist, it was almost impossible to find a new tenant and recoup the lost income. Furthermore, if the building was only occupied by only one Masonic group, it would only take a decline in membership to start the ball rolling in regard to financial problems pertaining to standard building maintenance costs or repairs.

Now, let’s look at the landscape of Masonic opera houses, theaters and halls that were listed in Julius Cahn’s Official Theatrical Guide for the 1903-1904 Season. Seventeen Masonic stages were listed as an option for touring companies. These were not the only ones, just those listed as an option by Julius Cahn.

Advertisement in Julius Cahn’s Official Theatrical Guide for the 1903-1904 Season.

They included:

Masonic Temple Theatre in Fort Wayne, Indiana

Masonic Temple Theatre in Wallace, Idaho

Masonic Hall in Sumner, Illinois

Masonic Opera House in Oskaloosa, Iowa

New Masonic Opera House in What Cheer, Iowa

Masonic Temple in Louisville, Kentucky

Masonic Opera House in Bel Air, Maryland

Masonic Theatre in Ellenville, New York

Masonic Opera House in Forestport, New York

Masonic Hall in Sag Harbor, New York

Masonic Opera House in New Bern, North Carolina

Masonic Opera House in Chillicothe, Ohio

Masonic Opera House in Ironton, Ohio

Masonic Hall in Jenkintown, Pennsylvania

New Masonic Theatre in Nashville, Tennessee

Masonic Opera House in Orange, Virginia

Masonic Temple Opera House in Charlottetown, Prince Edward Island

The earliest mentions of Masonic stages that I have encountered to date were constructed during the 1820s. When you think about it, the idea was brilliant. Lodge rooms were similar as in other Masonic lodges, but it allowed a larger space for events. It is also not hard to make a leap from lodge room floor to elevated stage, especially if there is already a theater in the building complete with stock scenery. How hard would it be to recognize that an existing cave setting, palatial setting, or seascape would enhance a dramatic presentation during degree work?

Back to the Louisville Masonic Theatre fire. One account was published in the “Statesman Journal” 21 Nov. 1903, page 1. Here is the article:

“Masons Lose By Fire.

Old Temple at Louisville Totally Destroyed – Tenants Lose Heavily.

Louisville, Ky., Nov. 20. – Fire early today destroyed the old Masonic Temple, occupying half a block in the heart of the retail business district. The loss is about a quarter of a million dollars, among the largest losers being the Masonic Temple building, $125,000; Insurance, $65,000; Hopkins Theatre, $20,000; J. W. Fowler Drug, $36,000; Rodgers & Krull, jewelers, $40,000.

The fire is supposed to have started in the scenery o the stage of the theatre. The losses to the tenants will be heavier than ordinarily owning to the high insurance rate due to the construction of the building, and because it contained a theatre. There were seven acts on at the theatre this week, and the people presenting them lost their effects. The theatre is owned by Colonel John D. Hopkins, of St. Louis. The building, which was erected in 1864, is a total loss. At one time it was the principal theatre of Louisville.”

Upon a little more digging, I discovered that the building occupied half the block bounded by Fourth, Fifth, Green and Jefferson Streets. The theatre was located on the third floor. Among the losses listed above were Byck Brothers shoes, $15,000; Boston Shoe Co., $15,000; and Charles H. Smith’s Son, hatter, $15,000. From the touring production standpoint, several trained dogs and monkeys lost their lives in the fire. The estimation of totals losses ranged from $200,000 to $300,000.

The loss of the Masons remained relatively low, as they had recently dedicated a new temple at Fourth and Chestnut Streets and removed all their effects to their new home. Hmm. This article completely intrigues me on several fronts, and I am curious to look for a few answers in the Scottish Rite library next week. But there is one more thing…

The big scandal that surrounded the 1903 Masonic Temple Theatre fire was that at least five members of the Louisville fire department were engaged in looting the stores that were being burned. Among the items stolen were meerschaum pipes, shoes, theatre trunks, opera glasses, and jewelry. The box office was ransacked and the dressing rooms behind the stage were rifled through. In other areas, locked desks were broken into with axes, as firemen searched for cash and other valuable artifacts. The corrupt men belonged to two fire companies. The stolen objects were later discovered in their lockers and under their mattresses in the engine house. The search was made after witnesses who came forward made accusations and five were later charged with the actual crime. Nineteen others were charged with being complicit for refusing to give information and/or assisting the men hide the stolen items. An additional six men were dismissed, totaling eleven firemen that were let go. Unreal.

To be continued…

Tales from a Scenic Artist and Scholar. Part 619 – Theatrical Guides –Western and Canadian Theatrical Guides

Part 619: Theatrical Guides –Western and Canadian Theatrical Guides

In 1907 two new theatrical guides were published, one focusing on the western United States and the other focusing on Canada.

Henry’s Official Western Theatrical Guide for the 1907-1908 season

HENRY’S Official Western Theatrical Guide focused on theaters in Arizona, British Columbia, California, Colorado, Hawaii, Montana, Nevada, New Mexico, Oregon, Utah and Washington. The guide advertised that it contained “Authentic information of theatre and attractions in the territory from Denver west to the Coast, and a list of reliable hotels, transfer companies and bill posters.” It was compiled and edited by W. R. Dailey, published at 289 Thirteenth Street in San Francisco, California. The price for Henry’s Guide was only $1,00, a third of what was charged by some of the other Theatrical Guide publishers. However it contained far less information, solely focusing on a particular region and not the whole of North America.

From Henry’s Official Western Theatrical Guide for the 1907-1908 season

Henry’s Guide also included the addresses of “Prominent Western Theatrical Managers,” as well as “Some Out-of-the-Way Routes That Mean Money for Small Shows, and included the Marshfield Circuit, the Wagon Circuit, The Southern Oregon Circuit, The Picture Show Route, the ‘Kite’ Circuit, the South San Joaquin Valley Route, and the North San Joaquin Valley Route.

Another guided appeared at the same time, focusing on Canadian theaters – Quintus Brooks’ ‘Canadian Theatrical Guide.” “The Gazette” reported “ The first volume of a new handbook which will prove of increasing value to all interested either directly of indirectly in affairs theatrical, has just been issued. This is Mr. H. Quintus Brooks’ ‘Canadian Theatrical Guide,’ which is planned to be annual publication, appearing about July 15” (Montreal, 24 Oct., 1907, page 5). The article continued, “The extra labor made necessary by the preliminary compilation, delayed the publication of the first volume, which now goes before the public. The guide follows the lines laid down by similar publications in the United States, containing in brief form information relating to Canadian theatres from the Atlantic to the Pacific Coast, this information including statistics with regard to the population of the cities and towns, the seating capacity of the playhouses and music halls, the newspapers, the hotels and the railway communications. Mr. Brooks in his position as representative of the J. B. Sparrow Theatrical and Amusement Company, Ltd., at His Majesty’s, is well suited to the work of editing the volume which now appears. The office of publication is 448 Guy street, Montreal, and the price is 25 cents.” By 1914, the publication was called “H. Quintus Brooks’ Canadian Theatrical Guide and Moving Picture Directory.”

Henry’s and Brooks’ theatrical guides, when added to the list of Cahn’s, Donaldson’s and Jeffery’s, provide insight into the complex network of performance venues. Time and time again, I am blown away by the sheer number of theaters throughout North America. So many of this venues still existing awaiting their still undecided fate of demolition or renovation. This was such a massive industry, providing an amazing range of employment possibilities, especially when considering those who were theatrical suppliers. Tomorrow, I return to the projects of Thomas G. Moses during the theatrical season of 1908-1909.

To be continued…

Tales from a Scenic Artist and Scholar. Part 618 – Theatrical Guides – Jno. B. Jeffery

Part 618: Theatrical Guides – Jno. B. Jeffery

Jno. B. Jeffery was a printer and engraver. He was listed as the sole proprietor and manager of the Jno. B. Jeffery’s Show Printing and Engraving House of Chicago.

Jno. B. Jeffery, nineteenth-century engraver and printer.

The first edition of “Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America” was published in Chicago during 1878. The title page noted that the publication was “Intended for the use of amusement managers and their agents, lecturers and proprietors of public halls, theatres and concert rooms, bill posters, hotel proprietors, and the traveling public generally.”

The Preface to the Fifth Edition commented, “Long before the first edition was compiled, we realized that the days of ‘stock companies’ were past, and that a new era was dawning upon the amusement world. As we then predicted, traveling organizations are now almost the sole reliance of the amusement loving public. We also realized the necessity for a book which would, at the same time, be a guide to agents and managers of all amusement enterprises, and a medium through which owners and managers of houses of amusement could make full and fair report of their respective towns and houses – one that could be relied upon by the traveling organizations as being correct. That our GUIDE meets these requirements, the success of the first four editions is sufficient proof.”

The original introduction in 1878 provides some wonderful insight into the theatre industry:

“Since Eighteen Hundred and Sixty, the Amusement Professions have shared in the extraordinary developments visible in every material interest which had aided to convert an almost limitless and thinly populated territory into an empire which already excites the wonder and admiration of older and less vigorous civilizations.

The American Stage ranks in importance with that of England and France, and its personnel, in either quality or number, has attained a recognized position as first among the first of any country in the world. Intellectual foreigners have been astounded at the rapidity with which a vast wilderness has been transformed into a Nation thickly dotted with centres of industry, commerce and art; and all the refinements pertaining to the most exalted state of modern culture. Where only a few years ago the red man reigned supreme, stately edifices, superior in many instances to those which are the pride of the chief capitals of Europe, are now occupied by the servants of Art, and are nightly thronged with her ardent votaries.

The full extent of this marvelous progress has not been recognized generally as it deserved. Earnest reflections upon the subject of the advancement of American amusement interests incited the author to attempt the task of placing before the members of the profession what may be figuratively called a panoramic view of the showable towns and villages of this vast country – thus facilitating the business interests of the entire amusement guild of the United States.

This comprehensive Guide, as will be evident, is the result of years of labor, enterprise, study and personal experience – it is hoped that its contents will not fail to prove both correct and useful. Its compilation has been in the nature of work of love, and it is now offered to the entire amusement profession of this country as the humble tribute of its most devoted servant,

Jno. B. Jeffery.

Chicago, 1878”

The Jeffrey Directory and Guide promised to his first edition subscribers that the second edition would be made available to them free of charge. Of this choice, the third edition preface noted, “although the experiment was an expensive one, the compiler is fully remunerated in the evidences he has received of the value set upon it by its possessors.” The third edition was sold for three dollars per copy (today’s monetary equivalent of approximately $75.00). By the eleventh edition, Jeffery promised, “The Guide is strictly a business book, for business men, all extraneous matter has been excluded, and the space thus gained is utilized for information absolutely necessary.” But here was an interesting addition – “A Brief Sketch of the Early History of the Benevolent and Protective Order of Elks,” as well as the Elk’s Lodge Directory.

Jeffery’s Guide also included a Circus Directory, a listing of Circus Organizations (1879-1882), Dramatic and Musical Critics (listed by city), “Jeffery’s Hints,” and the standard Theatre Directory for the United States, its Territories, Canada, and the Australasian Colonies.

“Jeffery’s Hints” are pretty hysterical and specified for managers, agents, bill posters, hall owners, hotel proprietors and to members of the company. My favorite advice from Jeffery is “The management of a Theatre, or any amusement organization requires integrity, capital, enterprise, industry, perseverance, patience, urbanity and experience, in order to secure permanent success. Unfortunately, an almost universal belief pervades the community that any person can run a show, hotel, or a newspaper; a brief practical experience utterly demolishes this Jack-o’-lantern theory, In addition to the qualifications already mentioned, the manager of any amusement enterprise must possess superior executive ability together with a thorough knowledge of human nature.”

To be continued…

An advertisement for Andrew’s Grand Opera Chairs in Jeffery’s Directory and Guide

An advertisement for scenic artist Frank D. Skiff in Jeffery’s Directory and Guide

Tales from a Scenic Artist and Scholar. Part 617 – Theatrical Guides – Harry Miner

Part 617: Theatrical Guides – Harry Miner

Before “Julius Cahn’s Official Theatrical Guide” or the “Donaldson Guide,” there was “Harry Miner’s American Dramatic Director, a complete Directory of the Dramatic and Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls of America together with much other Information of Value to the Amusement Profession.”

Harry Miner’s American Dramatic Directory,1884-1885

The Theatre Directory by Harry Miner. A page with some Alabama theaters

Harry Minor was the editor and the guide was published by the Wolf & Palmer Dramatic Publishing Company, No.s 81 and 83 Elm Street in New York. The Preface for the 1884-1885 season states:

“In compiling and presenting this work to the public I have endeavored to fill a hitherto vacant place in the useful department of American libraries.

The growing popularity of the Stage, and almost universal desire to become better acquainted with things theatrical, convinced me several years since that a Directory would be not only eagerly sought after, but, if accurate, greatly simplify the labors of both managers and agents. I accordingly instructed the agents and managers of my various combinations to forward from time to time correct information regarding theatres, halls, hotels, railways and steamers to the office of the Pope’s Theatre, where I carefully revised and arranged the volumes of matter thus collected; and I take this opportunity to furnish them for the use of the public in general, and the theatrical profession in particular.

Having a regularly organized staff of traveling managers and agents constantly employed in the working of my amusement enterprises, and being in communication with the leading representatives of the Theatrical World, I enjoy advantages that enable me to make the work I have undertaken more thorough and complete than any Guide or Directory ever published in America.

The routed around the world, capacity of public buildings, distance and census tables have been gathered from reliable sources, and if they prove as useful to my readers as they have been difficult to obtain, I shall be amply repaid for my time and labor.

Very truly yours,

HARRY MINER.

People’s Theatre, October, 1884.”

The Guide began with a “Route Around the World,” noting “The following route around the world has been taken from the private diary of MR. J. CHARLES DAVIS, who compiled it from his actual experience in the different localities – Mr. Davis having spent seven years abroad with amusement enterprises, leaving San Francisco in June, 1877, and returning in June, 1884.” The route included cities in Japan, China, Philippine Islands, Malaya, Ceylon, British Burmah, India, South Africa, Mauritius (or Isle of France), Java, Australia, New Zealand, Tasmania, and Queensland.

A Professional Directory was divided by: Actors and Actresses; Managers, Agents, Etc.; Dramatic Authors, Adapters, Etc.; Musical Directors, Composers, Etc.; Dramatic Agents; and Scenic Artists. The final portion of the publication was a “Theatre Directory.” Miner wrote, “The ‘Theatre Directory’ has been prepared with the view of serving the interests of both the combination and theatre manager. Its design is to give the manager of the combination every fact about a town or theatre which he must know, or which it is desirable he should know before booking his attraction.”

In addition to the United States (39), the Directory included US Territories (Arizona, Dakota, Idaho, Montana, New Mexico, Utah, Washington and Wyoming), Canada, and Mexico. After the Theatre Directory, there was also a listing of Dramatic and Musical Editors and Critics, Combinations Upon the Road, Nov. 1, 1884, and the Routes of Harry Miner’s Specialty Company. The Specialty Company Routes started with the season of 1879-1880.

There was also a section on the Time Differences, Population, Air-line and Railroad Distances from New York to Fifty Cities, and distances around the world too. This section is absolutely fascinating.

To be continued…

Tales from a Scenic Artist and Scholar. Part 615 – Theatrical Guides – W. H. Donaldson and His Cipher for Drunkeness

Part 616: Theatrical Guides – W. H. Donaldson and His Cipher for Drunkenness

“The Donaldson Guide” was published by W. H. Donaldson (1864-1925) in Cincinnati, Ohio.

Col. William H. Donaldson was born in Dayton, Kentucky, the son of William M. Donaldson. After High School, Donaldson worked for his father who ran an art store and picture framing establishment in Cincinnati. His father then established a poster business at 127 West Eighth street, Cincinnati, which later became Donaldson Lithographing Company. Donaldson worked for his father as a salesman and “proved to be remarkably capable, winning and acknowledged place as the best poster salesman in the country” The Cincinnati Enquirer, 2 Aug. 1925, page 5). Donaldson rose to nationwide prominence as a circus and theatrical publisher.

The Donaldson Lithographing Company of Cincinnati, Ohio

In 1894, Donaldson founded and published two new publications – “The Donaldson Guide” and “The Billboard.” That same year, he was appointed Secretary of the Protective League of American Showman (The Cincinnati Enquirer, 31 Dec. 1894, page 8). The first issue of the Billboard was published during November at 127 East Eighth Street, Cincinnati, containing only eight pages, with its contents being devoted solely and entirely to bill-posting, poster-printing and advertising agency interests. In 1899, the Donaldson plant moved to Newport, Kentucky. Donaldson remained with the business until 1904 when he resigned to devote his entire time the Billboard. He was the president of the Billboard Publishing Company.

The Donaldson Guide included a Showman’s Encyclopædia in 1894

The Showman’s Encyclopedia was noted as “A compilation of information for showmen, performers, agents, and everyone identified with the theatrical, vaudeville, or circus business, such as ticket tables, internet tables, the address of show-painters, costumes, dramatic agents, theatrical architects, scenic artists, aeronauts, playwrights, etc…” and “the International Professional Register, a directory of the names and address of dramatic people, variety people, minstrel people, circus people, freaks, acrobats, operatic artists, musicians, and farce-comedy artists.

The Donaldson Guide also included a Cipher Key and Index to be used to telegraph information and messages. This cipher is from 1894

The Donaldson cipher and key are absolutely intriguing. Here is what was offered:

TO CONSTRUCT a message use the Key to the Cipher. The phrases will be found arranged under convenient headings, with directions under each for finding readily any needed clause.

TO DECIPHER a message use the Index to the Cipher. The cipher words are all arranged alphabetically, and can be found as quickly as in a dictionary.

The key to the Donaldson cipher included phrases pertaining to actors, actresses, addresses, advertisements, aeronauts, agencies, agency business, agents, answers, attractions, billing, bill-boards, booking, burlesque people, business manager, calcium lights, calls, canvas-maker, circus manager, circus people, C.O.D. shipments, collections, concert, couriers, dates (printing house, calendar), deposits, dodgers, dramatic people-men, dramatic people-women, drunkenness, duns, engagements-artist to manager, engagements-manager to artist, expenses, financial straits, free list, hangers, heralds, hippodrome, house show, instructions-manager to agent, leaders, letter-style of, lithograph boards, lithographers, lithographs, local manager, mail, managers of combinations, managers of opera houses, managing editor, measurements, medicine show, minstrel people, money, musicians, no (street numbers, catalogue numbers, etc.), numerals (for quantities, amounts, etc., but not money), operatic people, opposition, orders, paper, partner, percentages, posters, printer, printing, programmes, property man, prospects, qualifications of people, receipts, remittances, repertoire people, reports, routes, salary, samples, sharing, shipping instructions, shows, side-show or museum, sizes, spaces, special delivery, specialties, stage carpenter, stands, streamers, terms, time of day, traveling managers, two weeks’ notice, Uncle Tom’s Cabin, Variety People, weather, and window work-lithographers.

The phrases to convey messages pertaining to drunkenness published in the Donaldson Guide, 1894

The fact that any cipher was created to relay information about drunkenness says a lot. Here are a few examples for your amusement.

Unacted….I (we) understand my (or our) agent is drinking

Unactive…If this is the case wire me at once

Unapt….Let me know if he is in condition to transact business

Unarm….I understand that you are drinking

Unasked….Sober up at once

Unawed….And get down to business in dead earnest

Unbar….Or I shall discharge you forthwith

Unbed….I have no sympathy or patience with a drunkard

Unbend….Do not let him have any money

Unbit….Try and sober up

Charter….Any information you may see fit to let me (or us) have will be gratefully received and treated strictly confidential.

Hopefully the person operating the telegraph or delivering the telegram did not moonlight at the theatre. I wonder how often someone received:

Unarm. Unasked. Unawed. Unbar.

Advertisement for scenic artist John Rettig from the 1894 Donaldson Guide

The Cincinnati Enquirer reported “Mr. Donaldson was a member of the Masonic Order and Odd Fellows, to which he devoted much attention” (2 Aug. 1925, page 5). Donaldson passed away in 1925. An article in the “Cincinnati Enquirer” reported that “Colonel Donaldson founded the Billboard and published it until two years. Ago. He was interested in prison reform, employed many former convicts upon release from prison, and declared that he was never defrauded by any of them” (4 Aug. 1925, page 2). He was survived by his widow Jennie (Hassan) and daughter Marjorie (Mrs. Roger S. Littleford), his father William H. and three brothers (Andrew, Lincoln and Archibald) and two sisters (Mrs. Charles Longley and Mrs. Dr. George W. Brown). Donaldson’s death in Sarasota Florida at the relatively young age of 61 came as a shock to his family. Having been in failing health for some time, he came to Sarasota at the suggestion of his friends, Charles and John Ringling (The Jacksonville Daily Journal, 2 Aug. 1925, page 3).

Advertisements in the 1894 Donaldson Guide

To be continued…

Tales from a Scenic Artist and Scholar. Part 615 – Theatrical Guides – Cahn-Leighton Theatrical Guide

Part 615: Theatrical Guides – Cahn-Leighton and Julius Cahn-Gus Hill

In 1911, Julius Cahn and R. Victor Leighton created the successor to the Julius Cahn’s Official Theatrical Guide. It was the Cahn-Leighton Official Theatrical Guide. The 1912-1913 season publication noted it was “the first combined effort to give the theatrical public a guide with many radical changes and new ideas.” Cahn & Leighton wrote, “the object of this guide is to assist the producer and theatre manager to reach each other in a practical business-like manner with the least trouble. Among the new features in their guide was several tables of freight rates, party fares and the mileage to next point from each point in the guide.”

The Cahn-Leighton Official Theatrical Guide

It contained, “Authentic Information Regarding all Cities, Towns, and Villages wherein Theatrical Organizations may find a Theatre, Opera House or Hall to exhibit in as well as the Information pertaining to these places of Amusement, the Railroads, Express Companies, Newspapers, Billposters, Transfer Companies, Hotels, &c., throughout the United States, Canada, Mexico, Hawaii and Cuba.” The publication office was New Amsterdam Theatre Building, located at West 42^nd Street, New York, New York.

For the second publication, Cahn & Leighton wrote, “Today we are offering our patrons the best and most complete edition ever published. The past year we made a number of changes in the construction of the guide, toward the betterment of the publication and the present issue offers not alone the oldest, but most reliable publication of its kind ever printed. It is the only recognized book of reference of the theatrical profession as well as those who come in contract or do business with this class of patronage. We bespeak from our friends an appreciation of the merits of the book and a frank and friendly criticism of what they consider its faults.”

The Cahn-Leighton partnership was short lived as Cahn then partnered with Gus Hill and the guide became known as the “Julius Cahn-Gus Hill Official Theatrical Guide and Moving Picture Directory.” Times were changing and many theaters began featuring films for entertainment.

Gus Hill’s Enterprises advertised in the Cahn-Leighton Guide

Before partnering with Cahn, Hill published his own guide. His first publication for the 1914-1915 Season was “Gus Hill’s National Theatrical Directory,” published by Hill’s National Theatrical Directory, Inc. in the Columbia Theatre Building, New York. Hill (1858-1937) was a performer turned burlesque and vaudeville entrepreneur, becoming one of the Columbia Amusement Company founders. Once a wrestler and juggler, he later became a manager and producer. One of his popular entertainments was a series of cartoon theatricals. These were musical comedies based on cartoon strips.

Gus Hill was once a wrestler and juggler, before becoming a manager and producer

According to Hill, his Guide contained “The most complete list of Theatres yet compiled for the United States and Canada, arranged alphabetically according to the States and Cities in which they are located.” It promised, “condensed information as to Towns, Theatres, Billing, Hotels, Newspapers, Railroads, Express Companies, etc.” as well as:

“A complete list of Theatrical Managers, Producers and Booking Agents

A list of plays, Musical and Dramatic.

A list of the Vaudeville Theatre, Agencies, Acts and Performers.

A list of the Moving Picture Houses and Film Exchanges.

A list of Representative Attorneys qualified to handle theatrical business.”

Hill’s book included something new – “The Reporting System.” The publication noted, “In conjunction with this Directory, the publishers will establish a Reporting System, which is intended to be to the theatrical business what Dunn and Bradstreet are to the commercial world.”

Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory

To be continued…

Tales from a Scenic Artist and Scholar. Part 614 – Theatrical Guides – Julius Cahn

Part 614: Theatrical Guides – Julius Cahn

While looking for information about the theatre architect J. M. Wood’s first theatre deign in Cedar Rapids, Iowa, I came across a new theatre guide published in the 1880s. This was the fifth late-nineteenth-century theatrical guide that I have encountered over the past five years.

In 2014 I was sitting at Anoka-Ramsey Community College waiting for my daughter to finish her SAT testing. While connected to the college’s guest Wi-Fi, I was searching for information about Sosman & Landis installations. After clicking several newspaper article links, I came across an interesting pdf for an entire book with multiple mentions of Sosman & Landis- “Julius Cahn’s Official Theatrical Guide Containing Information of the Leading Theatres and Attractions in America.”

Julius Cahn’s Official Theatrical Guide was first published in 1896

It was the fifth edition for the 1901-1902 theatre season. Sosman & Landis were listed as the scenic artists for several venues across the country, and I began scanning the publication for the mention of other studios and scenic artists. As I examined each entry, I was flabbergasted to see the technical information for a variety of venues, ranging from small town theaters and opera houses to massive metropolitan theaters. Stage measurements included more than I could take in at first glance – the proscenium opening, width of the stage area, depth of the stage, distance between side walls, the distance from the footlights to the curtain line, height to the rigging loft, number of grooves (and if they could be removed), distance between fly girders, depth under the stage, number of traps, number of sets, and if there was a scene room.

An entry in Julius Cahn’s Official Theatrical Guide

There was also information about the illumination, seating capacity, standard ticket pricing, names of managers, stage carpenters, scenic artists, electricians, orchestra leaders, attorneys, and many other professionals or service providers. And there was more…local hotels, newspapers, program publishers, who provided bill posters, recommended railways, transfer companies, and marketing information. The guide included transportation maps, timetables, recognized holidays, populations and drawing communities. There were advertisements for a variety of theatrical manufacturers, professionals, performers, touring companies, opera houses, theaters, music academies, auditoriums, decorators, architects, lighting suppliers, theatrical lumber companies, costume suppliers, tailors, theatrical fire insurance companies, wig makers, theatrical flower decorating companies, theatrical companies, scenic studios, scenic artists, hotels, railroads, transfer companies, and a variety of other business, too numerous to list. All told, there were 148 advertisers in the first 1896 publication, complete with pictures of painted scenery!

Ad advertisement in Julius Cahn’s Official Theatrical Guide

There is an amazing wealth of information pertaining to our theatre heritage, painting a very clear picture of the intricate network of performance venues for touring companies in the United States, Canada, Mexico, and Cuba. The first publication by Julius Cahn came out for the 1896 season. He registered a copyright in 1895. In his first theatrical guide, the “Greeting,” Chan stated his desire to present “those associated in a general way with the theatrical business… a compendium of information more thorough in its general details and more accurate in its various topics than any work of the kind that has ever before been issued.”

There were other theatrical guides that predated Cahn’s – Harry Miner’s, W. H. Donaldson’s, and Jno. B. Jeffery’s. Each provides a unique snapshot of theatrical activity in North America, from small rural towns to large metropolitan areas from the 1880s to the 1920s. This is a HUGE resource for theatre historians, technicians, and historic theatre owners.

The entries about scenic artists, however, can be a little confusing as the individual listed for a the theater could mean two things. It may suggest the individual or studio responsible for the stock scenery when the theater was built, or it could also pertain to the current artist responsible for scene painting at the venue. There is no clarification, and in some cases, it could mean both, if the scenic artist created the stock scenery for the venue and also worked on site to add new pieces for touring shows.

The publication office for “Julius Cahn’s Official Theatrical Guide” was located in New York’s Empire Theatre Building. The Guide’s greeting stated, “Mr. Cahn’s long and active experience in the theatrical business as the Manager of Charles Frohman’s Booking Department, impressed upon him the need of a complete and official Theatrical Guide that would give the managers of theatres throughout the country, the managers of traveling attractions, and other closely interested in their affairs, a complete and exhaustive volume pertaining to the various branches of the business, arranged in a concise and clear manner, so as to make it both valuable and available as a book reference.”

Julius Cahn was the manager for Charles Frohman’s Booking Department in New York

So who was Cahn? He the manager of the Charles Frohman’s Booking Department at the Empire Theatre. Advertisements reported, “Representing all the leading Theatre in America, and always on tour from 20 to 30 of the Leading Attractions of America and England.” In 1896, the same year that Cahn’s first theatrical guide came out, Charles Frohman (1856-1915) co-founded the Theatrical Syndicate with Al Hayman, A. L. Erlanger, Marc Klaw, Samuel F. Nirdlinger, and Frederick Zimmerman, all theatrical managers and/or booking agents. The Syndicate was an organization that controlled the booking of the top theatrical attractions in the United States. The six founders had great influence over theatre throughout the country. Frohman’s chain of theaters crossed the entire country. Frohman and Hayman owned theaters in New York and the surrounding areas. Klaw and Erlanger were booking agents for the majority of major theaters in the southern United States, Nirdlinger and Zimmerman controlled most of the theaters in the Ohio region. In order for the Syndicate to succeed, it needed to form a monopoly, and the six men’s theaters were organized into a national chain. You may understand how Julius Cahn’s Theatrical Guide would have greatly benefited the Theatrical Syndicate, as it was controlled by the head of Frohman’s booking department.

The first issue admitted to “errors,” explaining “Sources of information are sometimes at fault, for which [Cahn] feels confident that due allowances will be made. In some instances towns have been omitted, due to the fact that managers of the theatres in those places did not feel sufficient interest to send the desired information.” I wonder if any omissions may have occurred on purpose.

To be continued…