Scenic Effect – Page 2 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 912 – “The Fall of Antwerp,” a 1915 Stage Spectacle with Scenery by Sosman & Landis

On September 1, 1915, Thomas G. Moses wrote, “I went to Pittsburg to set up ‘Fall of Antwerp.’ We were behind with our work and I had to allow them for two performances. I settled for $1,300.00.”

Advertisement for “The Fall of Antwerp” stage spectacle in the “Bridgeport Times” (Bridgeport, CT) 31 March 1915, page 9.

I have never understood the public’s fascination with horrific events. It is even difficult for me to read about natural or man-made disasters, because I feel as if my entire being absorbs the sorrow, and I feel utterly helpless. This post was especially difficult write, as we know the duration of WWI, and how long it took for the United States to help. America stood on the sidelines, watching in fascination. We even created a scenic spectacle about the Antwerp’s destruction. Only a few years prior to Antwerp’s fall, my grandfather left to city to sail to America, hoping to start a new life. The city streets that he walked would soon fall victim to heavy shellfire. He had left Europe trying to escape what many saw coming.

The final siege of Antwerp began on October 9, 1914, as German artillery weakened the city’s fortifications and the city fell. Here are two links for more information about the historical event for context of the stage spectacle: https://www.britannica.com/event/Siege-of-Antwerp-1914 and https://www.mentalfloss.com/article/59426/wwi-centennial-fall-antwerp

By Oct. 11, 1914, American newspapers reported, “Press Bureau issued the following at 12:10 p.m. yesterday: – The War Office announces that Antwerp was evacuated by the Belgian forces yesterday.” The London “Observer” stated, “Antwerp has fallen. The Belgian Army has succeeded in slipping out, and the town is now practically undefended. Great damage has been done to the city by shellfire and incendiary bombs. Many public buildings are badly injured, among them, is said, is the Cathedral. There is much rejoicing in Germany. German official news, received by wireless, states that many German vessels, including a number of large liners and some Rhine streamers, were blown up before the Belgians evacuated Antwerp. This followed the Dutch Governments refusal to allow the refugees to escape in them by Scheldt waters. We publish several stories told by refugees from Antwerp, including one by a lady doctor who had charge of a hospital there. On the battle line in France the Allies are holding their own, and north of the Oise they have gained considerable advantages” ” (11 October, 1914, page 7).

This historic event soon became a stage spectacle that toured American theatres. Unlike the WWII newsreels, this was more like the Johnstown Flood attraction at amusement parks across the country. Baltimore’s Garden Theatre advertisements announced “The Fall of Antwerp” as a new vaudeville spectacle. The production promised, “An unusually good vaudeville bill with a scenic production depicting ‘The Fall of Antwerp’ as the top liner and many other excellent numbers” (23 March 1915, page 4). Within six months of Antwerp’s devastation, Americans were watching a “realistic electrical reproduction of ‘The Fall of Antwerp’ (The Times-Tribune, Scranton, Pennsylvania, 20 April 1915, page 15). The vaudeville spectacle was advertised as “the greatest electrical scenic war spectacle of modern history” (Tribune, Scranton, Pennsylvania, 19 April 1915, page 14). The “Times-Tribune” described, “Raymond O’Malley and George M. Cohan, scored unusually big at the opening day performances. The act is staged in splendid style and is one of the season’s best. ‘The Fall of Antwerp’ is a marvelously well presented novelty. The scene represents the Belgian city by day. When night comes, the attack of the Germans is shown. Houses are fired and the town is soon reduced to smoldering piles of debris.”

Painting depicting the attack on Antwerp in 1914.

“The Bridgeport Times and Evening farmer” reported, “Realism in stagecraft attains its perfection in the mammoth production of the Fall of Antwerp which is featured in the big bill at Poli’s the first half of this week. Not a motion picture, but a most realistic spectacle requiring a carload of scenic and electrical effects, the Fall of Antwerp, is an absolute novelty in stagedom. The beautiful city is pictured in trueness of detail as it stood before the siege. Beautiful electrical effects show twilight fade into dusk as the moon and stars appear. There comes a roar of a distant cannon. A whirr of Zeppelins forewarns the aerial attack. The sky becomes afire and airships drop bombs and the aerial batteries answer the attack from above. A bomb hits the oil tanks and they blow up with a thunderous report, scattering fires to all parts of the neighborhood. The climax is reached as fire sweeps the city, razing the buildings left intact throughout the fusillade of shells. An interesting lecture by Miss Margaret May Lester, who recently returned from the stricken city, accompanies the spectacle and adds much to its interest. In addition, there is a big bill of vaudeville and photoplay features.”

From the “Wilkes-Barre Times Leader,” 28 April 1915, page 9.

While reading about this particular spectacle, I could not help thinking about other spectacles that depicted tragic events, such as the Flood of Jamestown and the Eruption of Mount Vesuvius. Both of these disasters had been popular attractions at Coney Island, as well as featuring the scenic art and illusion. For the Eruption of Mount Vesuvius, the audience was transported across the sea to the shores of the doomed town, as they waited at dawn for the destruction that would soon rain down on the sleepy town and into the sea. The Fall of Antwerp combined both water and fire effects for the war spectacle, using tried and true illusions. The scenic art and stage machinery was a fine-tuned product manufactured at the Sosman & Landis studio by this time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 886 – Al G. Field, Herr Kliegl, and “The Land of the Midnight Sun,” 1914

In 1914, Thomas G. Moses wrote, “Did a spectacle set for the Stanley, Philadelphia. I went with it, and spent a whole week with it. Got some good lighting effects. Kleigel [sic.] came on from New York to do it.”

In 1914, the “Kliegl Bros.” were advertised as “the greatest experts in their line in this country” (The Indiana Gazette, 1 Dec. 1914, page 1). The brothers had worked their way up from employees in a factory that manufactured electric arc lamps, to establishing their own company in 1896 – Universal Electric Stage Lighting Co. Much has been written about their early history, but here is a link to some of their patents: https://klieglbros.com/patents/default.htm

In addition to being marketed as the famous duo, “Herr Kleigl” was mentioned in newspapers for his design of special effects for stage spectacles. It remains uncertain whether “Herr Kliegl” was Anton T. or his brother Johann “John” H. My gut instinct says it was Anton.

Regardless, newspapers claimed that “Herr Kliegl” created a specific effect for Al G. Field’s Minstrel Show in 1914. That year Field’s touring production included “sumptuous stage pictures” and “mammoth pictorial presentations” featuring four unique spectacles (Pensacola News Journal, 18 Oct, 1914, page 12). The four spectacles were “The Birth of Minstrelsy,” “Minnie Ha Ha,” “The Land of the Midnight Sun” and the “Panama Pacific Exposition.” The lighting effects for “The Land of the Midnight Sun” were credited to Herr Kliegl and described in great detail.

“The Land of the Midnight Sun” featured lighting effects designed by Herr Kliegl in 1914. From the “Port Star,” (Glen Falls, NY,) 13 Feb 1915, page 8.

Advertisement noting the special effects designed by Kliegl for the 1914 show, from the “Jackson Daily News,” (Jackson, Mississippi) 26 Oct. 1914, page 80.

Alfred Griffin Hatfield was the namesake of the touring minstrel show, going by both Al G. Field and Al G. Fields by the early twentieth century. Hatfield was born in Leesburg, Virginia, between 1848 and 1850; surprisingly, the date varies in many historical records. The man led an exciting life and traveled extensively as he made a name for himself in the beginning. Hatfield first appeared on stage at Jeffries Hall in Brownsville, Pennsylvania. It was early in 1871, and his black-face portrayal of “Handy Andy” caught the attention of Sam Sharpley. Sharpley was a well-known member of Sharpley, Sheridan, Mack and Day’s Minstrels. Hatfield began performing with the group by the winter of 1871, and his career took off. Later shows included Bidwell and McDonough’s “Black Crook” Company, Tony Denier’s “Humpty Dumpty,” Haverly’s “Blackbird’s of a Nation,” the California Minstrels, and Simmon’s and Slocum’s Minstrels, Duprez and Benedict’s Minstrels.

By 1884, he organized his own show in Peru, Indiana; a popular company that became known as the Hagenbeck-Wallace Circus. He remained with the group until 1886 when he established the Al G. Field’s Minstrels. Later in life, Fields claimed that his minstrel show was the first to carry their entire stage setting and scenery, as well as being the first to operate their own special train of cars. For more information pertaining to Field, see “Monarch of Minstrelsy, from “Daddy” Rice to Date” by Edward Le Roy Rice (1911). Here is the link: https://play.google.com/books/reader?id=rRc5AAAAIAAJ&hl=en&pg=GBS.PP10

By 1910, the Al C. Field Minstrels company was incorporated and continued to expand their offerings, producing increasingly elaborate shows each year. In 1914, the “Jackson Daily News” advertised, “Al G. Field, the dean of minstrelsy, is the one minstrel manager who dares invited the public to accept the past as a criterion of the present, and hence the slogan of the Al G. Field Minstrels this season is ‘Twenty-ninth Successful Year.’ Likewise the annual guarantee is given ‘everything new this year.’(Jackson, Mississippi, 26 Oct, 1914, page 80).

The article continued to describe “The Land of the Midnight Sun” reporting, “it is conceded to be the most elaborate and impressive effort ever undertaken in a minstrel production. The spectator beholds the Arctic north, with its seemingly boundless reaches of ice, snow, and sea – all opalescent with every hue, color and tone from the reflection of the sun, moon and stars. This evolves into the transformation picture, ‘The Aurora Borealis,’ when this magnificent phenomenon of nature is shown so realistically as to transport the audience. These wonderful scenes accompany a travesty skit, which introduces old Doc Cook, the North Pole, a Polar bear, cleverly acted by Henry Neiser, the Esquimaux, the seals, ice floes, bottomless well, and other Arctic features that accentuate the comedy situation.”

In 1914, the “Charlotte News” further described the “Land of the Midnight Sun:” “The Arctic regions, with the sun sinking behind the polar mountains of ice and snow, and yet illuminating all by a reflected iridescence. Then is beheld the gorgeous phenomenon of the Aurora Borealis with its irradiation of dazzling contrasted colors. Never before has it been possible to project separate colors so as to give a representation of this magnificent rainbow-like phenomenon. The device by which it is accomplished is the invention of Herr Kliegl and he worked for over four years before perfecting it. The exclusive rights to the stage use have been secured by Al G. Field, and the spectacle can only be seen in connection with his minstrel show. The scenery and effects employed in displaying this novelty are of the most elaborate and expensive, and the combined results are among the sensational surprises of the year. In starting work, Herr Kliegl had no detailed scientific analysis of the real Aurora Borealis upon which to base his experiments. Even today, the scientists have not fathomed the actual richness by which the real Aurora Borealis is produced. They are all agreed that it is caused by some kind of an electrical discharge in the atmosphere. This in turn is brought about by a magnetic influence emanating from the sun. When the particles of the earth’s atmosphere are thus charged magnetically, the electrolyzation causes such an arrangement of the light rays that many of the spectrum colors are visible. Thus it is that the crimson and gold, apple green, sea blue, violet, purple haze, mellow yellow and azure blue, form magnificent color arch, or band, or corona, or curtain that is known as Aurora Borealis. This phenomenon is not visible to the people of this country very often. Here to see it accurately reproduced in the theatre is a rare opportunity for the present generation when it can acquaint itself with one of nature’s grandest and most imposing spectacles” (10 Sept, 1914, page 7).

I would give anything for a time machine right now and see the show.

The “Wilmington Morning Star” also reported, “No invention of a mechanical device for realistic, beautiful stage effects has aroused more interest and discussion than the one which creates the awesome gorgeousness of the Aurora Borealis, as pictured in the performance of The Al G. Field Minstrels. Just as the tread mill device by Neil Borgess for the horse race in ‘The Country Fair’ made possible the one employed in ‘Ben Hur,’ so this new lighting contrivance controlled exclusively by Al G. Filed, promises a revolution along lighting lines. This is true because it enables the projectment [sic.] of separate colors. The invention is the work of Herr Kliegl. Prior to his endeavor, little had been done in trying to produce artificially the color sheen of the Aurora Borealis. The most conspicuous experiment was that of German savant Kr Birkland. [Dr. Kr Birkland was from Christiana, Norway, and he wrote about the division of terrestrial magnetism, publishing his findings in 1911]. His apparatus consisted of a vacuum vessel containing a magnetic atmosphere. A partial Aurora Borealis effect was secured by sending electric currents through the glass vessel to the magnetic sphere. With this elemental knowledge Herr Kliegl evolved the present successful device. The Aurora Borealis is presented in the number, “The Land of the Midnight Sun,” which shows the Arctic North, with its sweep of ice and snow, indescribably brilliant from the reflection of sun, moon and stars. This spectacle is only one of four, which the unrivaled minstrel program of The Al G. Minstrels offers this season. The production is at the Academy of Music tonight and seats are now selling at Woodall & Sheppard’s” (28 Sept. 1914, page 6).

Other than one advertisement, I have been unsuccessful in locating an image of the spectacle. However, the Kliegl Bros. electrical effects called the “Aurora Borealis” in Julius Cahn’s Official Theatrical Guide, 1912-1913 (page 38).

Note the “Aurora Borealis” effect offered in the ad.
A year later, Kliegl designed an “Aurora Borealis” effect for Al G. Field’s Minstrel spectacle “The Land of the Midnight Sun.” Universal Electric Stage Lighting Co. advertisement in Cahn-Leighton’s Official Theatrical Guide, 1912-1913.

As for Field, he passed away in 1921, a victim of Bright’s disease. He bequeathed his show and a substantial estate to brother Joseph E. Hatfield and relative Edward Conrad. Field was a member of the Elks. Tomorrow I look at Kliegl’s Masonic affiliations.

To be continued…

Tales from a Scenic Artist and Scholar. Part 878 – The Edelweiss Girl, 1914

“The Edelweiss Girl and Co.” advertisement. From “The Times” (Streaton, IL) 26 Dec. 1914, page 8.

In 1914, Thomas G. Moses wrote, “Did a Vaudeville act for the Edelweiss Company.” Moses was referring to the “The Edelweiss Girl and Co.,” also billed as the “Edelweiss Trio” and simply “Edelweiss Girl.”

The vaudeville act opened with a musical number, quickly changing to a sharpshooting exposition that featured marvelous marksmanship skills (Des Moines Tribune, 12 Dec. 1914, page 3). The Edelweiss girl and her two countrymen were all accomplished vocalists and the three sung native yodeling songs of the Tyrol region.

The Edelweiss Girl pictured in the “Des Moines Tribune,” 12 Dec. 1914, page 3.

The “Rock Island Argus” reported, “’The Edelweiss Girl’ is an Alpine sketch of a novel kind, with a beautiful mountain setting. The girl yodels and does some remarkable rifle shooting, in which she is assisted by a young man. One of the prettiest exhibitions is when the girl, while playing a number on the organ, is accompanied with chimes effect produced by rifle shots fired by her assistant” (16 Oct. 1914, page 13).

From the “Joliet News,” 24 Sept. 1914, page 6.

Of the scenery, the “Omaha Daily Bee,” commented, “Special Alpine scenery and effects are a feature of the act” (23 August 1914, page 17). An entire carload of special scenery accompanied the act to provide the Alpine setting and lighting effects. “The Times” described, “The scenic setting is arresting beauty, the sunrise in the Alps invariably getting a round of delighted applause” (Streator, Illinois, 26 Dec., 1914, page 5). The show was billed as a “Spectacular Scenic Sharpshooter” (The Gazette, Cedar Rapids, Iowa, 23 Oct. 1914, page 3).

“The Edelweiss Girl. A Spectacular Scenic Sharpshooter” advertisement from the “Gazette,” (Cedar Rapids) 23 Oct. 1914, page 3.

Sosman & Landis delivered a similar scene and effect during the 1893 World Fair and later at the Temple Roof Garden. The earliest mention was the scenery for “A Day in the Alps” at the Columbian Exposition’s Electric Scenic Theatre. Located in the Midway Plaissance of the World Fair, the electric theater displayed a picturesque Alpine setting that transitioned from day to night for each performance.

World Fair guidebooks noted, “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights…Tyrolean warblers perform on their various instruments, and sing their tuneful lays. Their renowned ‘yodels,’ as sung at each performance, are applicable to the scenery.” Sosman & Landis later replicated this scenic who as a main attraction for the Masonic Temple roof garden in 1894.

To be continued…

Tales from a Scenic Artist and Scholar. Part 875 – The Death of Walter W. Burridge

Walter W. Burridge. Undated newspaper clipping from the scrapbook of Thomas G. Moses.

Walter W. Burridge was a good friend and colleague of Thomas G. Moses. In 1887, they established the scenic art firm Burridge, Moses and Louderback, with well-known art dealer Walter Louderback. In 1914, Burridge died after sketching scenes of the Grand Canyon for two months. His work was part of the Santa Fe Railroad’s $300,000 exhibit for the Panama-Pacific Exposition in San Francisco. Many newspapers covered Burridge’s death and burial, but it was the “Brooklyn Daily Eagle” that provided a wonderful recount of his achievements (Brooklyn, NY, 26 June 1913, page 20). Although I have written extensively about Burridge in the past, this is a lovely summery of his life:

“WALTER W. BURRIDGE SCENIC ARTIST DIES.

Brooklyn Man Succumbs to Heart Disease at Albuquerque, New Mexico.

STOOD AT TOP OF PROFESSION.

Was Engaged on Big Contract for Panama Exposition When End Came.

Word was received in Brooklyn today, that Walter W. Burridge, one of the foremost scene painter of his time, has been found dead in a hotel in the little city of Albuquerque, N.M., yesterday. Death was attributed to heart disease super induced by acute indigestion. Mr. Burridge had just arrived in Albuquerque from the Grand Canyon, where he had been painting pictures for two months. He was 56 years old.

Walter Burridge was a Brookylnite, born and bred, and very well known as a painter of theatrical scenery. In 1903, he executed at the Academy of Music the largest scenery contract ever awarded to a scenic artist. $200,000 worth of scenery, including eighty complete sets and 300 hanging pieces, was turned out under his supervision. The work was done for Henry W. Savage, manager of the Castle Square Opera Company. Its most important feature was the preparation of special sets of scenery for each one of the operas in the Castle Square Opera Company repertoire. One of the pieces he completed was the magnificent storm scene in the first act of Verdi’s ‘Othello.” It was considered the piece de resistance of all the scenic effects ever produced at the Academy.

Mr. Burridge had, at one time or another, been associated with all the prominent actors and actresses in the country, among them Otis Skinner, Julia Arthur and Margaret Miller.

Mr. Burridge’s father, Henry, was the proprietor of the old Mason’s Arms Inn, on Myrtle Avenue, which was noted in its time as a resort for artists and actors. The leading lights of both professions met there frequently and the boy learned to know them well.

Young Burridge had a magnificent soprano voice and sang as a choir boy in St. Anne’s Church, the Church of the Redeemer, and St. John’s Church, where he was solo singer. His voice bade fair to connect him with the stage in another capacity than that of a scenic painter.

As a boy, Mr. Burridge helped produce the scenic waves at the old Park Theatre, by doing stunts on his hands and knees under a layer of canvas, The old theater carried with it many pleasing reminiscences for him. There he met Fred Chippendale and his wife. Later, at the Brooklyn Theater, which stood on the site of the present Eagle building, he was fortunate enough to attract the attention of Harley Merry, who was a great scenic artist of his day, He was apprenticed to Merry at the age of 13 and scored his first success by painting a water fall that had to be gotten out during his master’s absence.

Mr. Burridge did most of his work in the West. Thirty-five years ago, he painted many cycloramas. For the Philadelphia Centennial he painted the ‘Siege of Paris,’ and supervised the reproduction of the well-known ‘Battle of Gettysburg.’ He also executed a Government commission in Hawaii. He was sent there to paint a cycloramic picture of the great volcano, Kilauea, which was part of the Government exhibit at the Chicago World’s Fair.

Hugo Gerber, manager of the Lee Lash Studios at 1476 Broadway, Manhattan, who knew Mr. Burridge well, said today that he received a telegram from the West confirming the news of the death of Mr. Burridge. ‘His wife was with him at the time,’ he said. ‘Mr. Burridge had been working for us lately and had been sketching in the Grand Canyon. He was preparing some very important work there for the Panama Exposition, but I don’t know the details of it.

‘We expected Mr. Burridge to return East in a short time. The telegram we received was from his wife. It did not state the cause of death.

‘Mr. Burridge had done much big work for Klaw & Erlanger, but principally for Henry W. Savage. One of the last pieces of work he did was painting the scenery for ‘The Trail of Lonesome Pine.’ He was one of the most prominent scenic painter in the country.”

Burridge was survived by his wife, son Walter, two brothers, Cyril and Harry Burridge (New York and Marblehead, Mass.), and a sister, Miss Sarah Burridge (of Brooklyn). The loss of this artist in the prime of his career was immeasurable, a shock to the fine art and theatre worlds. He had so much potential and the Grand Canyon exhibit was to be one of the pinnacles of his career.

There is so much more to Burridge’s story and his accomplishments that I could not include in today’s post. However, I will end with a quote from Burridge in 1902:

“Did you ever stop to think,” said Walter Burridge, one of the best-known scenic artists in the country, “how the public says all kinds of nice things about some popular theatrical production and throws bouquets at everyone connected with it, except the man who painted the scenery? Of course the man doesn’t care a rap for fame. His soul is wrapped up in his work; he never comes before the gaze of the public, and never wants to. But at the same time, it is a curious fact that the scenic artist is an individual whose personality never becomes known to the public. If he paints a particularly beautiful scene it never fails to elicit round after round of applause. The people who are applauding, however, do not know who executed the painting, and they don’t care. It is pretty and that is enough for them.” When Burridge was interviewed by Chicago’s “Inter Ocean” on June 8, 1902, he was putting the finishing touches on the scenes that were to be used in the production “The Wonderful Wizard of Oz” that was opening at the Grand Opera House the next week (page 42).

Walter W. Burridge with model of a theater design. Undated newspaper clipping from the scrapbook of Thomas G. Moses.

To be continued…

Tales from a Scenic Artist and Scholar. Part 832 – “The Seven Aviator Girls,” 1912

From “The Evening Review,” 2 Dec. 1912, page 6

There were many projects completed by Sosman & Landis during 1912 that were not mentioned by Thomas G. Moses in his memoirs. Sosman & Landis provided the scenery and stage effects for a touring production called “The Seven Aviator Girls.” The “Quad-City Times” reported that Sosman & Landis provided scenery for “The Aviator Girls,” a musical act composed of “seven winsome women” (17 March 1912, page 12).

Scenic embellishments accompanied each song, to “make them all the more delightful.” The production was produced by Virgil Bennett and headed by Miss Carlie Lowe, who was accompanied by the seven aviator girls in what was billed as “a spectacular scenic and singing novelty.” The four scenes for the show included “Owl Land, “ “On the Beach,” “In the Surf,” and a Japanese Palm Garden.” Musical interludes (olios) between scenes included “The Boogie Boo Owls,” “Serenade Me Sadie,” “Spooning in My Aeroplane,” and other catchy numbers” (Los Angeles Times, 4 Aug. 1912, page 26).

“The Daily Gate” reported that the show was “a spectacular musical and scenic singing act that has been the sensation in all the big houses in the country where they have played. A carload of special scenery is carried with the act and is said to be one of the most beautiful stage settings found in vaudeville. A special property man and electrician are carried with the company, which numbers seven principles and two mechanics” (Keokuk, Iowa, 17 Oct, 1912, page 5). The “Davenport Times” described, “They have five different song numbers and each means a change of costumes and ‘back drops.’ As a result their tuneful efforts are accompanies by a spectacular display that induces the natives to applaud vigorously. The big number, ‘Spooning in My Aeroplane,’ presents Miss Carlie Lowe soaring up to the roof in a miniature machine, while her feminine mechanicians cut fancy ‘diddoes’ with their feet and join the chorus in song. It is a prettily staged and engaging act all the way” (Davenport, Iowa, 19 March 1912, page 8).

From “The Province,” 25 July 1912, page 16

To be continued…

Tales from a Scenic Artist and Scholar. Part 764 – The Light Eternal, 1911

In 1911, Thomas G. Moses wrote, “Some hangovers from last year started the New Year in good order, including some Los Angeles and Majestic work. A large cyclorama for ‘Light Eternal.’ A view of Ancient Rome came out very good.”

From the “Englewood Economist,” Chicago, 30 Oct. 1911, page 3

“The Light Eternal” was a dramatization of Cardinal Wiseman’s historical novel “Fabiola,” written by Martin V. Merle in 1905. Classified as a “devotional drama,” it was advertised as an “inspiring romance on Christian Martyrdom” (Fort Wayne News, 11 Jan. 1911, page 4). During this time, other popular Biblically-themes productions were “The Sign of the Cross,” “Ben Hur,” “Quo Vadis,” and “The Rosary.”

Martin penned the script during his senior year at Santa Clara College. It was solely intended for college theatre, until San Francisco’s Majestic Theatre manager decided to professionally produce the show (Sunset Magazine, Vol XVI, Dec. 1905, No.2 page 191). Merle later wrote “The Vagabond Prince” and “Lady O’ Dreams.” As an interesting aside, Merle is credited with providing American soldiers on the fighting lines with cigarettes during WWI (Los Angeles Herald, Vol. XLIV, No. 12, 15 Nov. 1918). He had “a score of aviators drop thousands of cigarettes as they flew over American lines. Each pack was labeled “Compliments of the Knights of Columbus.” Pretty fascinating story, here is the digital article: https://cdnc.ucr.edu/?a=d&d=LAH19181115.2.327&e=——-en–20–1–txt-txIN——–1 His fraternal connection was as a Knights of Columbus secretary.

From the “Fort Wayne News,” 11 Jan 1911, page 4

The 1907 touring production of “The Light Eternal” starred husband and wife team, James Neill and Edythe Chapman. It was advertised as “A powerful story of early Rome” with “gorgeous scenic investiture and a “superb dramatic company,” that was better play than “Ben Hur” or “Quo Vadis” (The Index, Pittsburgh, PA, Vol. 16, No. 9, March 2, 1907, page 18).

Of the 1907 scenic effects, “The Index” reported, “…the stage settings are unusually handsome, the garden scene in the second act, bring forth bursts of applause. The climax of the third act, when the image of Jupiter, before which Diocletian forces Marco to pay homage, is struck by lighting, and a cross of fire appears, is a particularly fine mechanical effect, and is reached by a cleverly contrived electric storm” (The Index, Vol. 16, No.11, March 16, 1907, page 232). The script provided ample opportunities for miraculous events to be stage with cutting edge theatrical technology.

In regard to the scenery that Moses produced for the 1911 production, it was possibly for the version featuring Eugenie Blair and thirty-five member cast. “Light Eternal” initially appeared at Fort Wayne’s Majestic Theatre on January 14, matching Moses’ diary entry. “The Light Eternal” then toured to Chicago where it was featured at the Crown Theatre before continuing the tour (Chicago Tribune, 18 Jan. 1911, page 11). The show eventually returned to Chicago that fall, playing at the National Theatre the week of October 29. Advertisements reported “massive scenic equipment,” yet failed to credit any individual or scenic studio (Englewood Economist, 30 Oct. 1911, page 3).

From the “Decatur Herald,” 2 Sept 2 1911 page 3

From the “Fort Wayne News,” 14 Jan 1911, page 6

As I explored the various “Light Eternal” productions that appeared during 1911 and 1912, one particular event caught my eye. It is unlikely that Moses worked on this production due to the timing, but the theatre is quite interesting.

“The Light Eternal” was the featured production at the newly opened Parish Theater in Fort Wayne. With a cast of thirty people, the Parish Theatre production in the Athenaeum building included the talents of Maud Schillo, Margartet Schumaker, and Louise Charbonier. Advertisements for the production were published in the “Fort Wayne News” reporting “The stage settings for the play are massive and the costumes gorgeous” (14 Dec. 1912, page 3). The theater was erected by the Redemtorist priests in charge of St. Alphonsus church on Lincoln and Southport avenues, for the exclusive use of the members of the congregation. The space was intended “to be used by the young people of the congregation for operettas and entertainments by the children of the parish schools and for moving pictures illustrating historical lectures, comedies and refined sketches, all given under the direct management of Redemptorist fathers in charge of the parish.”

From the “Fort Wayne News,” Dec. 14, 1912. page 3

The “Fort Wayne News” described the new building on Dec. 14, 1912:

“The theatre which forms the rear section of the great parish athenaeum is complete in every detail. It has a seating capacity of 1,000, one of the largest stages in the city, steel curtain and fireproof scenery. The drop curtain has a painting of a rural scene in France and the feature of the gold, cream, and blue decorations of the playhouse is the large circular painting of Dante’s meeting with Beatrice. Boxes and balconies are arranged close to the stage. In the main lobby are wardrobe rooms, reception rooms and men’s smoking room. The orchestra pit, ten dressing rooms, lavatories, wardrobe and rest rooms beneath the stage. The main section of the Athenaeum, which fronts on Southport avenue, has on the lower floor a gymnasium 80×100 feet, bowling alleys with four alleys, pool and billiard rooms with four tables each, library, reading and music rooms for young men, also bath rooms, lockers, lavatories and three shower baths. The young ladies are provided for on the main floor with library and reading rooms, assembly halls seating 500, reception rooms, tea room, music room, bath and shower baths. On the second floor there are five spacious society halls, with seating capacity from two to four hundred. The top floor will be occupied by the superintendent of the building and his family.”

It is unclear who provided the stock scenery or the production’s settings, but the scope of the project was quite elaborate overall.

To be continued…

Travels of a Scenic Artists and Scholar: W. F. Hamilton, inventor

William F. Hamilton was not only a well-known scenic artist, but also an inventor of stage effects. Manager Charles H. Yale purchased Hamilton’s “The Dance of the Elements” in 1900. Hamilton’s attraction was added to Yale’s annual production of “The Everlasting Devils Auction.” Yale created a new edition of the production each season, advertising, “New and timely matter, clever novelties, original ideas in scenery and costumes, imported and native artists in all branches of the profession, sumptuous ballets and features that were exclusive to this attraction” (“The Montgomery Advertiser, Montgomery,” Alabama, 14 Sept. 1902, page 11). By 1902, the “Everlasting Devil’s Auction” announced it’s twenty-first edition. Each year, announcements advertised that existing acts were replaced with “new ideas, features, scenery, costumes, and mechanical effects.”

Poster advertising Chas. H. Yale’s Everlasting “Devil’s Auction.”

The “Indianapolis Journal” reported, “Mr. Yale has bought outright from the Inventor, W. F. Hamilton, for presentation solely with this attraction, a new electrical sensation entitled ‘The Dance of the Elements.’ The paraphernalia employed in this scene are elaborate and intricate, and is developed by two clever dancers, who, costumed as the Elements Pirouette among real rain, snow, gold storms and cyclones, these effects being aided by the introduction of a number of new ideas in electric lighting and a multiplicity of harmonious coloring, abetted by special scenic investiture, forms one of the most beautiful light and color ideas that has yet been discovered for theatrical use” (The Dayton Herald, 28 Nov. 1900, page 7).

The sale of this invention occurred the same year that Moses partnered with Thomas G. Moses to establish a scenic studio. From 1900 to 1904, the two ran a very successful studio in New York, creating stage shows and amusement park attractions. The partnership ended when Joseph S. Sosman and David H. Hunt lured Moses back to Sosman & Landis’ Chicago studio. When Moses returned to Sosman & Landis, he was promised complete control over design, construction, and delivery of all projects, plus a share in the company. Moses recorded that Hamilton was devastated with the closing of their business, writing, “When I had to tell Hamilton, I almost gave in to stay with him, for he was awfully broken up over it, as he saw his meal ticket slipping away.” In addition to numerous theatre installations, Moses & Hamilton had created several outdoor attractions to Coney Island, including “Trip to the Moon,” “20,000 Leagues Under the Sea,” “Fire and Flames,” “The War of Worlds,” and many others. They also designed and ran the own Coney Island attraction, “The Devil, the Man and the Maid.” As with “The Dance of the Elements,” this successful design was purchased by another manager to run.

Hamilton continued in the amusement park business after Moses headed back to Chicago. In 1904, “The Courier” reported, “W. F. Hamilton, the well-known scenic artist has secured a large tract of land in Winthrop, Mass., facing on the water, where another Luna Park will be created on a more extensive and elaborate scale. A syndicate of capitalists is going to assist Mr. Hamilton in promoting the affair, and by next May, Boston will have a summer place of amusement larger and finer than anything on exhibition at Coney Island. Architects are now busy completing the plans, and the work is expected to begin within a week. The eccentric character Verno, says we are to have Luna Park, a ‘Pike’ or something of the kind on Island Park next summer. The only evidence of it is the stone ‘pier’” (Harrisburg, PA, 13 Nov. 1904, page 9).

Two years later Hamilton was establishing another amusement park in Pittsburgh. In 1906, the “Pittsburgh Press” reported, “W. F. Hamilton of New York, who has built a number of such great playgrounds, and who is a scenic artist of national reputation, has charge of the latest Pittsburgh Park project” (18 Feb, 1906, page 22). The new pleasure land being laid out on Jacob Weinman’s property was called “Dream City (4 Feb 1906, page 2). “Dream City” was to be a “veritable fairyland of color light and architecture.” Weinman, of Pilkinsburg, was the president of the Dreamland Amusement Co. of Pittsburgh and W. F. Hamilton, the manager. Articles noted that Hamilton had “a force of men busily preparing the foundation and sewering the tract of twenty acres for the new amusement park that spring.” The article continued that Hamilton promised he would give the people of Greater Pittsburgh “an amusement park not excelled in completeness and quality of attractions this side of the Metropolis.” Besides the standard amusement park attractions at Dream City, a picnic ground was planned, with rustic bridges, pavilions, and benches, to “bring delight to the seeker after pleasure and nature alike.”

When Hamilton took the position of manager of Pittsburgh’s Dream City, the newspaper commented, “In W. F. Hamilton, the projectors of the new park have a man who is note excelled in his line of any amusement park promoter in the country. He is not only a practical contractor but he is a finished scenic artist and constructor, and in addition has some expert knowledge of the laying out of landscape gardens. He was associated with Thompson & Dundy in the first production of their spectacle and show, ‘A Trip to the Moon” as designer and constructor.

After spending approximately three decades in the East, however, Hamilton moved to San Francisco. He followed the work, as many other theatre professionals. In California, all of Hamilton’s creativity was focused on a new type of production – the Shrine Circus.

To be continued…

Tales from a Scenic Artist and Scholar. Part 588 – “A Day in Japan” for the Pittsburg Exposition

Part 588: “A Day in Japan” for the Pittsburg Exposition

In 1908, Thomas G. Moses wrote, “Built a fine little show for Pittsburg Exposition “A Day in Japan.” I went down and put it on and started it off to good business. It was a little too classy.”

Advertisement for attractions and amusements at the Pittsburgh Exposition in 1908. From the “Pittsburgh Press,” 27 Sept 1908, page 34

A Day in Japan advertised as an amusement at the Pittsburgh Exposition, from the “New Castle Herald,” 8 Sept 1908, page 8

Moses was referring to one of the amusements at the Pittsburgh Sesqui-Centennial Exposition tha ran from July 4, 1908 to November 26, 1908. On June 21, 1908, the Honorable George W. Guthrie, mayor of Pittsburgh had issued the following proclamation that described the 150^th birthday celebration for the city of Pittsburgh:

“To the citizens of Pittsburgh: On November 25, 1758, the British and Colonial troops under the command of General John Forbes, took possession of the smoking ruins of Fort Duquesne, which had been abandoned the day before by the French and Indians. As the sun was setting, the British flag was raised by the brave Pennsylvanian, Colonel John Armstrong, in the presence of Washington, Forbes, Bouquet, Mercer, and other noted American and British soldiers, and the name of the great Pitt, whose genius had conceived the expedition, thus signally crowned with success, was conferred most appropriately upon the site between the Forks of the Ohio, which was long thereafter known as the Gateway of the West. On November 25th of the present year will occur the 150th anniversary of the permanent founding and naming of Pittsburgh, and it is most fitting that the event be celebrated in a manner appropriate to the city’s important history and its great growth and achievements in many lines.”

The planning for the celebration began during the fall of 1906. By spring of 1908, the plan was presented to Mayor Guthrie and the City Councils. After approval, twenty-eight committees, involving almost 600 individuals, made it possible for Pittsburgh’s celebration.

The Daily Republican reported “Among the amusements is the military spectacle of the Spanish-American war, which is a vivid reproduction of the blowing up of the ‘Maine’ and the historic battles; the scenic cyclorama, ‘A Day in Japan’: the Theatorium, and many other entertainments” (Monongahela, Pennsylvania, 6 Oct 1908, page 4). The “Sedalia Democrat” commented, “Among the new attractions in the main building are an electrical scenic cyclorama, ‘A Day in Japan’”, while he “Pittsburgh Press” advertised that it was “an electric novelty” (Sedalia Democrat, 2 Sept 1908, page 7, and Pittsburgh Press, 9 August 1908, page 6).

Postcard depicting exposition buildings in Pittsburg during 1908. Notice roller coaster by the bridge.

There is a lovely article about this project and Moses’ involvement that was posted in the “Pittsburgh Daily Post” on September 2, 1908 (page 8):

“Visitors Taken to Japan.

“A Day in Japan,” one of the most enjoyable entertainments of the Exposition, will transport spectators in an instant to the “Flowery Kingdom,” the realm of the Mikado. The wonders of electric lighting and manipulation are carried to a height rarely attained. A picturesque Japanese mountain village is shown nestling at the base of the historic, snow covered mountain, Fujiyama.

With scarcely conceivable realism, the soft radiance of moonlight, bathes the quiet scene, then the break of day, the white light of noonday, the yellow of late afternoon, the gradual coming of dusk and darkness, and the lighting of lamps within the dwellings, are portrayed with extraordinary faithfulness to detail.

A storm gathers, trees are tossed by the wind, lightning flashes and thunder of the preceding calm, is welcomed with relief.

The entertainment is not a moving picture show, nor an acted play. A model of a village taken from active life has been built on the stage, representing the minutest details of Japanese home life, in a style never before attempted. A pagoda, rising high in the foreground, occupied a skilled artisan many days in making it, so delicate is the workmanship.

No details of instructive value are omitted. The beauty of the production is extraordinary. The scheme of decoration in the Oriental style is carried into every detail. Even the ticket office is a structure quaintly built on lines of Oriental architecture. Its position in the gallery, midway down the main hall, on the Allegheny side, makes the entertainment a prominent feature of the Exposition.

A carefully prepared lecture accompanies the entertainment, as the scene shifts from night to day and back to night again. It has been the aim of the acting manager, Thomas G. Moses, vice-president of Sosman & Landis Company, of Chicago, to afford the maximum of both instructive and entertainment values.”

This was the first mention that I have discovered about Moses being vice-president of the company. He returned to Sosman & Landis in 1904 to manage the main studio, but his becoming vice-president is not mentioned in his memoirs. Perry Landis left the company in 1902 due to poor health. By 1904 Sosman was desperate for help in the studio, as he had assumed all of the sales responisbilities; those duties previously handled by Landis.

By 1915, immediately after Sosman’s death, Moses became the president of the Sosman & Landis. For me, this transition now makes sense in regard to the board of director’s decision to elect Moses president.

To be continued…

Tales from a Scenic Artist and Scholar. Part 561 – Sosman & Landis and Jamestown Flood for the White City

Part 561: Sosman & Landis and Jamestown Flood for the White City

I continue with the amusement park attractions described in White City Magazine. One article included information pertaining to the Johnstown Flood attraction with scenic contributions by Sosman & Landis studio.

The Johnstown Flood attraction entrance at White City Amusement Park in Chicago. The scenic spectacle was created by Sosman & Landis

The Johnstown Flood show initially appeared at the Pan-American Exposition in 1901. An article from “Snap Shots on the Midway” for the Buffalo Exposition advertised the Johnstown Flood attraction as “a scenograph, the logical evolution of the cyclorama, the diorama and the scenic theater, accomplishes the illusion, which is set on an ordinary stage and is in reality a performance in pantomime, where all the actors are what would be called in stage parlance, “properties.” It was transported to Luna Park at Coney Island where it was featured from 1902-1905. When White City was planned, key figures visited Coney Island during the planning phase to identify specific attractions that they would replicate for their own amusement park. One was the Jamestown flood, initially designed by Harley Merry. Other amusements parks also featured the Johnstown, such as White City in Louisville, Kentucky and Electric Park in Baltimore.

Johnstown Flood attraction in Baltimore, Maryland

The Johnstown flood attraction at White City in Louisville, Kentucky

Many amusement park attractions were based on staged versions of disasters. On May 31, 1889, a dam near Jamestown, collapsed and flooded the valley with twenty million tons of water. There was virtually no escape as everything was destroyed in the water’s path. Prior to destruction, Jamestown was one of the most prosperous manufacturing towns in Pennsylvania. Including its suburbs, the city had a population of 35,000 persons. Situated at the convergence of the Conemaugh Rover and Stony Creek, the reservoir was approximately fifteen miles northeast from Johnstown. After many days of heavy rain, the dam burst, spilling the entire contents of the reservoir and annihilating the entire town; thousands of lived were lost.

The entrance to Johnstown flood at White City, Chicago. The entrance is arch on the right.

For the White City Amusement Park, Sosman & Moses provided the scenery and effects for the simulated disaster. The White City Magazine included an article on the Johnstown Flood, advertised as “a special feature of the White City, “the most impressive and realistic of all scenic productions and constructed on a gigantic scale. A triumph of scenic art and startling realism.”

Here is the article in its entirety:

“Johnstown Flood. Grandest and Most Spectacular Scenic Production Ever Shown.

The Johnstown Flood, pronounced to be the greatest scenic production ever offered to the public, will be seen at White City.

It was first shown at the Pan-American Exposition at Buffalo, and it proved to the greatest success of many attractions of this great Fair. It is pronounced by experts to be far superior to the Galveston Flood shown at St. Louis.

The Johnstown Flood, which will be located in White City is a new one, with the scenic work by Sosman & Landis, and will be an improvement over the one at Buffalo. The entire city of Johnstown is shown, with the hills and great reservoir in the distance. This is not a painting, but each of the buildings of the city of Johnstown is truthfully reproduced in miniature. The production opens with the peaceful city of Johnstown with its citizens, commerce, and industry. Men and women are seen going about their pursuits, trains pass through the city, and teamsters are seen transferring freight, while pleasures vehicles drive through the streets. Then comes a storm, and the flood.

Small at first is the stream of water which trickles down the mountains in the distance; the alarm is given, and those who are fortunate enough to apprehend their danger are seen rushing for the hilltops. With a rumble that forebodes the death for hundreds of souls, the walls of the great reservoir give way and down into the valley rushes the tremendous volume of water which submerges the city and crushes great buildings like egg shells. Hundreds of persons are caught in the tremendous torrent and within a few minutes the city is devastated.

The production is correct in all details, the buildings being actual reproductions of those which crumbled beneath the great tidal wave.

The scenic effects are excellent and may be said to be a triumph of stage craft.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 554 – Black and White Backdrops

Part 554: Black and White Backdrops

In 1906 Thomas G. Moses wrote that he “did some designs for a Park in Pittsburg.” The project was with his old partner Will F. Hamilton. Moses & Hamilton had operated in New York from 1900-1904.

In regard to Moses’ Pittsburg project, he was referring to Luna Park in Pittsburg created by Frederick Ingersoll. Ingersoll of Ingersoll Construction Company constructed Luna Park in Cleveland, Ohio, and then a second park in Pittsburgh, Pennsylvania; no official relation to the famous Luna Park on Coney Island, just the same name. For Pittsburg and Cleveland, Moses created scenery for old mill attractions and scenery for two small stages. The Ingersoll Construction Company got its start by building roller coasters and other amusement park rides. At one time, Ingersoll owned and operated over forty amusement parks in the United States, Berlin and Mexico City.

What is interesting about the Pittsburg Park design, however, is that Moses recorded it being a monochromatic scene. He wrote, “I did them in black and white, rather effective.”

I have encountered only a few mentions of “the black and white art” in the past, stumbling across buts of information while researching scenic artists who worked in early film and photographic backings.

One example was Harley Merry (see past installments #138-142). Merry’s name was actually Ebenezer J. Britton; he used his birth name as an actor. “Harley Merry” was his scenic artist name. Merry was well-known for a variety of skills, including his talent for painting monochromatic backdrops. An article from 1892 noted this skill: “Harley Merry is another master in the same school in perpetuating the English ideas of water-color. Merry is the greatest painter of monochromes and photographic backgrounds in the country” (“Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Dec, 18, 1892, page 41). As an aside, Merry was the first President of the Protective Alliance of Scenic Painters of America, organized in 1895 – he was a major contributor to the industry in New York.

Merry also specialized in spectacles with scenic realism, which made his transition to producing settings for early film a natural shift. He actually partnered with the Edison Manufacturing Company and was involved in creating scenery for many early film productions, including “Parsifal,” a short film was based on the New York Metropolitan’s Opera that ran for approximately one half hour.

An earlier scenic artist known for his black and white art was William Telbin. In 1902, “The Magazine of Art” commented that Telbin was “a master in black and white art.” The article continued, “We desire now to call to attention to a branch of Mr. Telbin’s work which is not generally known to the public, but which, to our mind, is in its way as important and as beautiful as any of his stage productions. With tempera as his medium he has produced a series of black and white drawings which proclaim him a master in black and white art. For brilliancy of execution, for certainty of effect, sparkle of the touch, and beauty of presentation, these drawings are not easily surpassed. Some of them were reproduced in this magazine in two articles on “Scene Painters and their Work,” published in 1889, and others in a paper on “Iceland,” in 1893. Another series of views in the Mediterranean, more of which are to be published later, are admirable representations of the scenes to be witnessed during the season of the “bora” on the Mediterranean shores. They show Mr. Telbin was a careful and accurate student of nature, with an instinctive feeling for the picturesque allied to an inimitable power and facility of presentation and suggestion.” (Magazine of Art, January 1, 1902, page 371-376).

I have only encountered one black and white backdrop; it was at the St. Louis Scottish Rite. A design for the 10^th degree of the Ancient & Accepted Scottish Rite, it was rendered in ivory black and white dry pigment. The backdrop has the same consistent studio labels and marking as the remainder of the collection. At the time of installation, the 1923 scenery has stencils on both stage right and stage left sides of each drop, noting the degree and the line. For example, the Quarry leg drop shows 10 and 59 for 10^th degree on line 59. The backdrop shows 10 and 87 for 10^th degree on line 87. It was not added later, but with the other Toomey & Volland scenery. There was other scenery installed by Volland Studios over the years, in 1945, 1949 and 1954.

Quarry scene produced by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The scene was painted with ivory black and white pigment in 1923.

Painted detail of Quarry scene at the Scottish Rte in St. Louis, Missouri, 1923.

Brocken netting detail from Quarry scene at the Scottish Rite in St.. Louis, Missouri.

The original backdrop design is also monochromatic, and is now part of the Volland Studio collection in the St. Louis Scottish Rite library. The collection was gifted to the St. Louis Scottish Rite Valley by Volland Studio some years back. Although I photographically documented the entire Volland collection during my visit, it will take years to fully process and decipher the information that I gathered there.

Design for quarry scene by Toomey & Volland, 1923.

Charcoal markings on the backside of the Quarry leg drop note that the size is 25 feet high by 51 feet wide. Additional masking likely accompanied the scene technical specifications provided by the Valley comment that the proscenium opening is 98 feet wide. There are 164 lines, placed on 2-inch centers. We cold not lower many of the lines during my visit due to tags with warning for specific lines and jammed cables. Sadly, the current drop inventory that the Masons reference also has missing information for many lines.

Quarry scene by Toomey & Volland for the Scottish Rite in St. Louis, Missouri. The charcoal writing notes the project number 4933, the Quarry Leg and size of 25 x 51. 59 is the line number.

Standard Toomey & Volland studio stencil noting degree (10) and line number of 1923 scenery by Toomey & Volland. Leg drop is on line 59 and backdrop is on line 87.

This collection will not last for long and is already a threat to those below. Pipe pockets replaced wooden battens and they are all failing, with many pipes tenuously hanging by shreds of fabric; yes, the stage is rented out for many events. If anyone from the St. Louis area can begin a very detailed documentation of the stage scenery and rigging now is the time. It will take days if not weeks to do. For a stage that boasted to be 4 feet bigger than the Hippodrome stage, this is one that definitely needs to be recorded.

To be continued…