To fully appreciate life and career of Francis Edgar “Frank” Gates (1864-1952), one must understand the theatrical contributions of his father, Sigismund Iantis Gates (1826-1906). In addition to being an actor and musician, S. I. Gates was a stage mechanic/machinist/carpenter. The elder Gates worked in the St. Louis theatre community for over fifty years. I am briefly including his story, as it provides the best context for Frank E. Gates’ early training in scenic art and the theatre.
Born in 1826, Sigismund Gates started life as a carpenter. By the age of twenty-six, he was employed as a ship joiner in Buffalo, New York. In 1850, he was married to Jennet Eunice Brayman, and living with their infant daughter Mary Agnes Gates in New York. On March 15, 1851, their young daughter passed away and death continued to follow Gates over the next few years. By 1854, Gates not only suffered the loss of his daughter Mary, but also the loss of his wife and two young sons, Charlie and Horatio. Only his 3-yrs.-old daughter, Matilda J. Gates, survived. Father and Daughter moved west to start a new life. On July 21, 1855, Sigismund married Louisa Maddern (1832-1900), in Detroit, Michigan. Louisa was Frank and Richard Gate’s biological mom. After being married in Detroit, the young couple settled in Iowa. An Iowa State Census from 1856 listed Sigismund, Louisa, and Matilda J. living in Jackson, Iowa. Soon, the small family relocated to Illinois where Ernst and Grace Gates were born.
By 1860, the Gates moved again to St. Louis, Missouri, where Sigismund continued to work as a stage carpenter. At the time, the family was living on the same street as many other carpenters, machinists and architects. The 1860 US Federal Census listed the Gates household as including: Sigismund (34), Louisa (28), Matilda (9), Ernst (3) and Grace (1). Another daughter, Emily, was born shortly after the census, also in Missouri.
By 1861, the Gates were living in Keokuk, Iowa, where Sigismund enlisted in the Union Army on August 2. He enlisted as a musician, playing in the band of the Iowa 6th Infantry for just over a year. Sigismund completed his military service on August 16, 1862. In Keokuk, Francis Edgar Gates was born on July 12, 1864. After the Civil War, the Gates returned to St. Louis, and Sigismund to theatre work, both performing and building. Living on 20th street, between Market and Estelle, he became associated with the Varieties Theatre. He was soon listed as their official stage mechanic, working with scenic artist Thomas C. Noxon. On Dec. 30, 1866, the “Daily Missouri Republican (St. Louis, page 3), reported, “VARIETIES THEATRE- The great spectacle of Sadak and Kalasrade, produced in a scale of magnificence never before witnessed on any stage. The scenery by T. C. Noxon, machinery by S. I. Gates…” By 1867, Sigismund I. Gates was still listed as a stage carpenter at the Varieties Theatre.
The Olympic Theatre in St. Louis, Missouri, where Sigismund I. Gates worked as a stage mechanic.
Machinist S. I. Gates and scenic artist T. C. Noxon then became associated with the Olympic Theatre by 1868. The two remained there for the next three decades. On Sept. 7, 1873, the “Missouri Republican” listed Noxon and Gates as part of the Olympic Stock Company (page 6). They continued working together until Noxon’s passing in 1898, yet Sigismund remained as a stage carpenter at the venue, still listed as part of the staff from 1899 until 1903 in “Julius Cahn’s Official Theatrical Directory.”
The Gates and Noxon connection cannot be underestimated in terms of theatrical networks.
I have written quite a bit about Noxon (1829-1898) in the past. He was nationally recognized for his scenic artist and electric parade float designs, as well as establishing the scenic studios of Noxon & Strauss; Noxon, Halley & Toomey; Noxon, Albert & Toomey; and Noxon & Toomey. All the while, he worked with Sigismund Gates as his stage carpenter. Here is a past post that shares some of Noxon’s accomplishments: https://drypigment.net2018/07/28/tales-from-a-scenic-artist-and-scholar-part-462-thomas-c-noxon-of-noxon-toomey/ At the time of Noxon’s passing, the “St. Louis Post-Dispatch” reported, “Mr. Noxon for years had been considered one of the foremost scenic painters in the country and his work can be seen in almost every prominent theater in the United States” (21 June 1898, page 7).
In addition to his association with Noxon, Sigismund was also a leading member in the Theatrical Mechanical Association of the United States and Canada. On Jan. 13, 1889, the “St. Louis Post-Dispatch” announced the upcoming “Theatrical Mechanics Ball.” The article noted, “The ball is in the hands of a committee consisting of S. I. Gates, delegate to the Grand Lodge, Secretary Louis J. Horn and Treasurer Andrew Fueger.” The annual masquerade ball of the Theatrical Mechanical Association was held at the Masonic Hall, located at Seventh and Market Streets. Sigismund was still actively involved with the organization in the 1890s. By 1895 he was president of the St. Louis lodge for the organization. That year the Convention of the Grand Lodge of the Mechanicians was held at Havlin’s Theatre, St. Louis.
Sigismund continued to work backstage until his passing in 1906. His obituary was published in the “St. Louis Dispatch,” on Feb 9, 1906: “GATES – On Geb. 8, at 2 P.M. Sigismund I. Gates at the age of 80 years. Funeral will take place Saturday, Feb. 10, under auspices of Missouri Lodge No. 1 A.F.&A.M., at 3p.m. from the funeral parlors of Theodore W. Paschedag, 2816-2826 North Grand Avenue. Relatives and Friends invited to attend.”
In addition to a theatrically-connected father, Frank’s mother was also part of the American Theatre. As a member of the Maddern family, she was related to the musician, Richard Maddern (father), and performers: Amelia Maddern Hodges (sister), Elizabeth “Lizzie” Maddern (sister), Minnie Maddern Fiske (niece) and Emily Stevens (niece).
These theatrical connections and familial ties made Frank Gates an incredible asset at Sosman & Landis in 1885. The firm relied upon well connected artists to help secure contracts across the country, based on their individual reputations alone. Gates not only had the theatrical connections, but also the academic training in fine art. This would set him apart from many of the other scenic artists at Sosman & Landis at this time. Both he and his brother Richard attended the St. Louis School of Fine Arts at Washington University in St. Louis, both completing four years at the university.
The 1880 US Federal Census listed Frank as a University student, living with his parents at 1315 N. 7th St. At this time, the household consisted of S. I. Gates (55), Louise (47), Ernst (22, son), Grace (21, daughter), Emily (19, daughter), Frank (16, son), Richard (7, son), and Robert Essex (16, orphan). Years later, the childhood of Frank and Richard Gates was repeatedly recalled in various newspaper articles. In December 1927 an article published in “The Scenic Artist” commented, “they were practically brought up on theatre from almost infancy, being in a family of theatrical managers, musicians and actors, it was natural that the stage should appeal to them” (Vol. 1, No. 8, page 8).
The Gates children were certainly familiar with the productions at the Olympic Theatre and the scenic art of Noxon. Early scenic art training was almost certainly under the tutelage of Noxon at the Olympic Theatre. After early work as an assistant scenic artist, Frank landed a position at Pope’s Theatre in St. Louis. Already by age of eighteen, Frank Gates was listed as an artist in the “St. Louis City Directory,” although still living at his parents’ home on 1315 N. 7th St. By 1883 Frank Gates, was living on his own at “ws. 7th, nr. Cass av.” Two years later, he was living at 414 Olive in St. Louis, consistently listed an artist in the city directory.
Frank was twenty-one years old when offered a position at Sosman & Landis Scene Painting Studio in Chicago in 1885. On July 12, 1885, the “St. Louis Globe” announced, “Mr. Frank Gates, who has been the scenic artist at Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself at Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). For a little theatrical context, Charles Pope (of Pope’s Theatre) worked as manager at the Metropolitan Theatre in Indianapolis (1868), Coates Opera House in Kansas City (1870-1871), the Olympic Theatre in St. Louis, Missouri (1870-1876), the Varieties Theatre in New Orleans (1876-1877), Pope’s Theatre in St. Louis (1879-1887), and the Oriental Theatre in St. Louis (1895). So, Pope worked with Sigismund Gates at the Olympic Theatre, where he would have first encountered Frank’s as a young paint boy and later scenic art assistant.
After Frank left Pope’s Theatre and moved to Chicago in 1885, he met and married Malinda Jane Neal (1866-1945). The couple was married in Milwaukee, Wisconsin, with the ceremony taking place on September 8, 1886. At the time, Frank’s residence was listed as Chicago and Malinda’s as Keokuk, Iowa. Frank continued to paint in the region, but was not always listed in the “Chicago Directory.” Interestingly, a regional branch of Noxon, Albert & Toomey was established in Chicago and also listed in the 1887 “Chicago Directory.” Frank’s future business partner Morange was consistently listed in the Chicago Directory during the 1880s and early 1890s.
In 1887, however, Frank Gates was painting in Kansas City, Missouri, for another former Sosman & Landis employee, Lemuel. L. Graham. Graham actually ran a regional branch for the Chicago-based firm. It is possible that Gates was still working for Sosman & Landis at the time, as part of the regional studio supervised by Graham. Gates continued to work for Graham in Kansas City throughout the duration of 1888.
By 1890, Frank returned to Chicago, and was listed as an artist, living at 334 W. Van Buren. This gets a little confusing, as there was also a Frank A. Gates working as a painter in Chicago, completely different person and address though. Supposedly, Gates met Morange in 1894, however, they likely met at Sosman & Landis long before that time; the scenic art world in Chicago was very small, especially for those employed at Sosman & Landis. Historical accounts suggest that they studied fine art during the day and painted scenery together at night. It is very likely that the two were still sporadically employed at Sosman & Landis.
In New York, Gates & Morange became a success, with the demand for their services and scope of their projects continuing to increase. The scenic studio of Gates & Morange became one of the premiere scenic studios in the United States by the early twentieth century, delivering stage settings for dozens of Broadway shows. Throughout the duration of Gates & Morange; Morange was the primary visionary and traveler, gathering source material for their designs. Gates managed the studio and the contracts. Scenic artists who worked for Gates at their firm included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri.
Design library at the studio of Gates & Morange.
On Feb. 7, 1907, the “New York Time” announced the incorporation of “Gates & Morange, Inc., North Pelham (stage settings) capital $100,000, Directors – F. E. Gates, Tuckahoe; E. A. Morange, Mount Vernon; R. N. Gates, Bronxville.” (page 13). Morange was also integral in establishing the eastern affiliate of Sosman & Landis, New York Studios shortly after incorporating Gates and Morange. This secured and unspoken jurisdictional agreement with both New York Studios and Sosman & Landis. In 1910, David H. Hunt, Secretary and treasurer of Sosman & Landis, established New York Studios. He was one of the initial stockholders; at the beginning the firm’s stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.
The New York Public Library also has a Gates & Morange Design Collection (c. 1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions. The Gates and Morange Designs Collection is part of the Billy Rose Theatre Division Repository, Archives & Manuscripts, New York Public library. The following excerpt is from the online descriptor of the collection – “[Gates & Morange] designed scenery for more than 50 productions over four decades, additionally painting and supplying countless others. Clients included Liebler Co., Florenz Ziegfeld and George C. Tyler. Designers included Thomas Benrimo, William E. Castle, Richard Gates (brother of Frank), Charles Graham, Alexander Grainger, Arne Lundborg, Orestes Raineiri, and Edward Morange… Original set designs, curtain designs, drops, and olio designs, mostly color, produced by the Gates and Morange studio over four decades for theatrical productions and for businesses, trade shows, and several exhibitions. Although most of the designs are undated, the bulk of the collection appears to date from the 1920s. Among the more than 75 productions included are The Daughter of Heaven by Pierre Loti (ca. 1912); Dolce Napoli (ca. 1913); Earl Carroll Vanities (1923); For Valor by Martha Hedman and H.A. House (1935); Gridiron Club productions (1935); An International Marriage by George Broadhurst (ca. 1909); The Lady of the Lamp by Earl Carroll (1920); Music in the Air (musical), music by Jerome Kern, with designs by Joseph Urban (1932); Nancy Brown (musical), music by Henry K. Hadley (ca. 1903); Song of the Flame (musical), music by Herbert Stothart and George Gershwin, with designs by Joseph Urban (1926), and a number of Ziegfeld productions. Of particular note is Rose-Marie (musical) by Otto Harbach and Oscar Hammerstein II (1924), which includes 3 photographs, showing the development from an initial photograph to the scenery in place on the stage (1924). There are also a few studio plans and research materials in the collection.” Here is the link to this Gates & Morange collection: https://archives.nypl.org/the/22927.
There is so much more, but I am going to stop here.
Frank Gates passed away on Dec. 18, 1952, in Bronxville, New York. He is buried at Ferncliff Cemetery and Mausoleum in Hartsdale, New York (Ferncliff Mausoleum, M06TN, D, A, 13).
Edward A. Morange worked with Thomas G. Moses at Sosman and Landis in the early 1880s. He eventually made quite a name for himself in New York and gained a national reputation as a scenic artist, designer and art director. I am going to start with Morange’s personal life before presenting his artistic accomplishments, as it helps provide context for his achievements amidst struggle.
Edward A. Morange was born on March 20, 1865, in Cold Springs, New York. He was the son of Edward B. Morange (1838-1904) and Ellen F. Morange (1838-1888). His father was a machinist who moved west shortly after Edwards birth, relocating the family to Davenport, Iowa. Edward was the third of five children born to the couple. His siblings were William, Emma, Justina and Agnes. By 1880, the Morange family was living in Chicago. This placed Edward in the right place at the right time to begin a scenic art career. The earliest mention of Edward in the newspaper dates from June 26, 1880. That year, the “Chicago Tribune” reported that he received a Foster Medal for his scholarship at the Dore School, one of the largest public schools in Chicago at the time.
After graduation, he soon started a career in scenic art, starting as an apprenticeship at Sosman & Landis and studying at the Art Institute of Chicago. Morange also started painting scenery at the Grand Opera House and going on sketching trips with his colleagues. In 1882, Morange primarily sketched with Moses, Hardesty Maratta and John H. Young. Of these sketching trips, Moses wrote, ““we certainly had some good trips…We were all working in watercolor. Most of our trips were along the river where we found good material and a lot of adventures – too numerous to mention. One Sunday we were sketching a grain schooner that was ready to leave at the Rock Island Elevator. A tug arrived to tow it from the lake. We objected as we had some work to finish on the sketch. The tug Captain was good-natured and invited us aboard the tug. We finished the sketch and rode out in the lake beyond the water crib some three miles. The Captain brought us back to Washington Street. We were profuse in our thanks and we were also satisfied. It gave the crew something to talk about.”
In 1883, Moses, Young, Morange and Maratta headed west to Breckenridge to see the mountains and gather source material. Moses catalogued the trip and also recorded Morange and Maratta’s early departure, writing, “Morange and Maratta were getting tired of the hard bed and indifferent food, so after a week of it they packed up and started east. The same day, Young and I started for Dillon by rail.” It is ironic that Morange departed early, as the remainder of his career would be highlighted by sketching trips throughout the world
By the late 1880, Morange met the love of his life, Julia Sowersby. The two were first mentioned in an “Inter Ocean” article on January 13, 1888 (page 8). Each participating in a Grand March at De Berg’s Hall in Chicago, an early Leap Year celebration. In 1890, the two married and began their adventure. Julia was born on Feb. 12, 1867, in Chicago. The daughter of Francis R. Sowersby and Eliza Jeffs Sowersby, her ancestors emigrated from England in 1800, initially settling at St. Catherines, Ontario, Canada, before moving to the United States. I doubt that she had any idea what being married to a scenic artist would mean over the years.
In 1893, the couple celebrated the birth of their first son in Chicago shortly after the opening of the Columbian Exposition. Morange had been hired to design some of the exhibits that year, as his career was starting to take off. By 1895, the couple was living in Washington, D.C. and soon celebrated the birth of their second child. In Washington D.C., Morange studied at the Corcoran School of Arts and Design. On May 18, 1896, their second son, Leonard Sowersby Morange, was born while the Morange’s were living in Washington, D.C. It is purported that Kern wrote “Smoke Gets in Your Eyes” in the Morange home and had hoped that Leonard would return home from the war and possibly join him in musical venues. There is some credence to this tale as on Sept. 21, 1920, the “Evening World” reported “As it Should Be.” Jerome Kern, composer, P. O. address Bronxville, has a big heart. One thing he hates to see is embarrassment on the part of a friend. The other evening, he had E. A. Morange, the scenery man, over for dinner. When the guest sat down at his table, he found eight spoons and forks at his place, all properly tagged. One bore a tag reading ‘Soup’, another ‘Coffee,’ a third ‘Ham,’ and so on. Guided by the tags Mr. Morange didn’t make a single faux pas” (New York, page 20). The two had remained especially close after the passing of Leonard two years earlier.
Leonard left his studies at Yale in 1917 to join the Canadian Flying Corps and was appointed as instructor in the Royal Flying Corps. After being sent to England, he died during a training incident when two student planes collided near Shotwick on 11 August 1918. After his passing, the Bronxville American Legion Post named after him. On March 3, 1928, the “Bronxville Review” remembered the history of Leonard S, Morange and the American Legions Lodge, stating, “It is a proud honor that this post has the heritage of the name of so gallant an officer who not only gave his all for a cause but for an Ally in order to gain that service earlier when it was so seriously needed before his own country had flyers on the front.”
His older brother Irving also served as a First Lieutenant the American Airforce on the western front. At the time of Leonard’s passing, Irving was already credited with shooting down three German airplanes. Sadly, Irving passed away from pneumonia in 1926. At the time he was working in Memphis.
By 1900, the Morange family moved to New York. On October 7, 1903, their younger sister Leila was born and baptized that fall. The family continued to thrive as Edward’s career appeared to be unstoppable, at least until the beginning of WWI. In regard to Leila, she eventually married Leland Hanson and celebrated the birth of two children, Joan (b. 1930) and Leland Jr. (b. 1931).
The births of the three Morange children in Chicago, Washington, D.C. and New York mark the family’s transition from the Midwest to the East Coast. Initially, Morange’s stage work in Chicago led him to work on outside projects with many other Sosman & Landis artist including, David A Strong and Ernest Albert. By 1889, Morange and Strong were working together. On March 8, 1889, the “Chicago Tribune” reported, “A bill for a partnership accounting was filed by Edward A. Morange and David A. Strong against James G. Jansen of Jansen, Morange & Co., dealers in materials for making blackboards” (page 10).
It was in Chicago during 1894 that Edward A. Morange would meet his eventual business partner, Francis “Frank” Edgar Gates. During the day, the two studied fine art and in the evenings, they painted scenery. Later, Frank’s brother, Richard Henry Gates, joined the team. Frank and Richard Gates received their academic training at the School of Fine Arts, Washington University, St. Louis. An article in “The Scenic Artist,” noted “they were practically brought up on theatre from almost infancy, being in a family of theatrical managers, musicians and actors, it was natural that the stage should appeal to them” (Vol. 1, No. 8, December 1927, page 8). The Gates were a family of theatrical managers, musicians, and actors. Frank and Richard eventually partnered with E. A. Morange to form the studio Gates & Morange by 1897 (see past posts from Tales of a Scenic Artist and Scholar, parts 149, 171, and 189-91).
Although Gates and Morange had worked on many projects together, their first Broadway credits date from 1897 – “Straight from the Heart” by Sutton Vane and Arthur Shirley. The scenic studio of Gates & Morange was to become one of the premiere scenic studios during the early twentieth century. Although starting in Chicago, they soon moved their company to New York to produce settings for dozens of Broadway shows. Their first Broadway credits date from 1897 – “Straight from the Heart” by Sutton Vane and Arthur Shirley. Artists that worked for their firm over the years included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri. The New York Public Library also holds the Gates & Morange Design Collection (1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions.
By 1907, their incorporated their partnership. On Feb. 7, 1907, the “New York Time” announced the incorporation of “Gates & Morange, Inc., North Pelham (stage settings) capital $100,000, Directors – F. E. Gates, Tucakahie; E. A. Morange, Mount Vernon; R. N. Gates, Bronxville.” (page 13). Morange was also integral in establishing the eastern affiliate of Sosman & Landis, New York Studios shortly after incorporating Gates and Morange. In 1910, David H. Hunt, Secretary and treasurer of Sosman & Landis, established New York Studios. He was one of the initial stockholders; at the beginning the firm’s stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.
It was during this time that Morange was gaining a national reputation, helping secure Gates and Morange an incredible amount of work. Throughout the duration of Gates & Morange; Morange was the primary visionary and traveler, gathering source material for their designs. Gates managed the studio and the contracts.
Edward A. Morange’s passport picture.
In 1908, the U. S., Government sent Morange to the Northwestern Territory to make sketches preparatory to painting a mammoth panorama for the Alaska-Yukon-Pacific exposition in Seattle, Washington. Morange also painted scenes for the government of Yosemite, Yellowstone National Park, Glacier National Park, the Grand Canyon, and many other areas. Morange constantly took advantage of painting from nature, keeping research files from trips throughout the World. However, his grandest adventures were with George C. Tyler, the head of Leibler & Co., and English Director Frederick Stanhope.
Their international adventures began in 1911, necessitating Morange applying for a passport on March 20, 1911. He was preparing to visit England and Havre, but ended up touring England, France, Germany, Algeria and Tunis for two months. His physical description at the time was listed as 5’-5”, high forehead, broad mouth, square chin, dark brown hair (with grey and parted in the middle), blue grey eyes, ruddy complexion and smooth shaven. In 1991, he was 46 yrs. old and living with his family in Mt Venon, New York. Richard H. Gates certified the information on Morange’s application was correct. The purpose for Morange’s trip was to gather information for the upcoming production, “The Garden of Allah.” Years later, a story from the trip was included in his obituary:
“Mr. Morange spent the summer of 1911 in Africa gathering material. While on this trip an attempt was made to affect the first crossing o the Sahara desert by automobile, and effort that failed eleven miles from the starting point when Mr. Morange’s car was buried in a sandstorm.” His experience was first shared in “Staging a Sandstorm” by Wendell Phillips Dodge in 1912 (The Theatre, Volume 15, 1912. Here is the article, as it is just wonderful:
“The busiest actor on the stage of the Century Theatre, where Robert Hichens’ drama, ”The Garden of Allah,” is still attracting large crowds, is the sand man. Though he occupies the centre of the stage only about one-fifth of the time that it takes Lewis Waller to give Boris Androvsky’s long soliloquy, he nevertheless grips the audience more than any other incident in the play.
While the sand man does not appear in the cast, still he is very much in evidence behind the scenes. For his one big scene he requires the entire stage from the foots to the backdrop, from wings to wings and from the boards to the flies; and for his quick-change dressing-room he must have the great thirty-foot deep pit, the breadth and depth of the stage itself, which extends under the stage. For his “make-up” he requires almost a ton of dry colors for the ground alone, and no less than three hundred pounds of powder for the high lights. In making up he has to use eight tables and is assisted by thirty dressers in putting on his costume. His “make-up” is put on with the aid of a dozen powerful electrical blowers, in order to give the right blend, and his costume is made to fly before the breeze by an electrically-driven stage gale that would make the winds of Chicago’s lake front seem like a gentle summer’s night air ripple. He makes his entrance at top speed and keeps on moving in a whirling-dervish sort of a way throughout the scene, occupying the centre and every other part of the stage at once and all the time until the close of his speech, which is the most heart-body and-soul-rending in the whole play, filling the minds and hearts of the audience with all the emotions that exist between earth and sky.
In order to stage the sandstorm in “The Garden of Allah.” in spirit and in truth, George C. Tyler, of the firm of Liebler and Company, went into the heart of the great Sahara Desert, accompanied by Hugh Ford, general stage director, and Edward A. Morange, of the firm of Gates and Morange, scenic artists, and laid siege to an actual and ferocious sandstorm which they captured and have transported in all its fiery temper to the Century Theatre, New York.
Mr. Tyler sent his automobile to Cherbourg, and from there the motor trip into the desert began. At Marseilles, they embarked on the Ville d Oran, a small boat, to the African coast. After a rough passage the party reached Philippeville, from which point they put out for the Sahara. On the road between El-Arrouch and Le Hamma the sight of the “devil wagon” spread consternation, once entirely demoralizing a caravan, causing a stampede of camels. After some hours of speeding over the sands of time, the party passed El Kantara. Another hour and they arrived at an oasis in the centre of which lies the city of Biskra. Here they met Mr. Hichens, and after a reading of the dramatization of his novel amid the true atmosphere suggested in the book, they started out to reach the heart of the desert. Theirs’ was the first automobile that had ever penetrated the sands of the Sahara, and this it did to such an extent that on one occasion it sank so deep it took six donkeys and a camel to pull it out of the hole it dug as it plowed through the sand, embedding itself deeper and deeper with each drive. They were no sooner out of this difficulty than they ran into a real sandstorm.
“We had been gone from Biskra a short three hours,” said Mr. Morange, “when we began to find it necessary to put on our goggles and raincoats to protect our bodies from the sand, lifted and swirled around by intermittent, playful gusts of wind. Looking at” a herd of camels, probably an eighth of a mile away, we noticed that different groups of them would suddenly be veiled to our view while others to both sides would be perfectly visible. Turning to look at the low hills that stand out dark against the sands in front of them and darker still against the sky beyond, we saw faintly what appeared to be steam, along the surface in various shapes, rising from the sands as they approached the dark hills, and veiling them until they, the sky above and the sands in front melted into one even tone of light, misty, yellowish gray. Around the veiled mass the sun was shining. A feeling of discomfort, not unmixed with anxiety, possessed our party as the bright sun, with which we started out, disappeared. To move our jaws but slightly found us grinding sand with our teeth, and we instinctively tied our handkerchiefs around our heads, covering our nostrils and securing some protection for the mouth. We could no longer pick out the road that but a few moments before was well defined by the ruts made by the mail diligence that regularly struggles between Biskra and Touggourt. The shifting sand had been blown over the road as snow might obscure a highway. We had gone to the desert for ‘atmosphere’ and we were getting it with a vengeance.
We stopped the car, as we all agreed that it would be dangerous to proceed. From the direction from which we had noticed many little whirling steam-like gusts appear, we were now startled by the appearance of a huge irregular cloud, probably a hundred feet in width, moving rapidly toward us. A curious feature of it was that the bottom of it seemed to clear the ground, often rising and sinking alternatively. The color of the cloud was much darker than that of the sands around it. It was of a rather dirty yellowish red, but very luminous in quality. A half dozen camels that we could dimly distinguish, crouched or knelt, huddled together, stretching their necks close to the ground, their heads turned toward the approaching cloud. “The edge of this cloud, nearest to us, seemed entirely independent of the surrounding atmosphere, but as we were directly in its path, we instinctively closed our eyes, crouched in the automobile and turned our backs on it, as one would a blinding onslaught of snow and sleet. We were conscious of a hot, stinging sensation in the parts of our flesh exposed and a peculiar whistling, swirling rush of something passing over us for a few seconds. When I partially opened my eyes. I realized that it was almost as dark as night. When it grew lighter, we found ourselves in a yellowish, smoky fog of fine sand. We had to wait for probably fifteen minutes before the air cleared sufficiently for us to distinguish objects fifty feet away. Protected in the car as well as we were, we were still half-choked with sand. Little piles of sand were heaped up in front of the wheels and in all places that would allow them to form, as drifts of snow might pile. At this moment, we fully realized the oppressiveness of this dreary waste, this awful ocean of seemingly boundless sand.”
The question now was how to transfer the real, living sandstorm to the stage of the Century Theatre. Stage sandstorms date back more than twenty years, when one was introduced in Fanny Davenport’s production of “Gismonda.” This sandstorm, naturally, was very crude, since in those days there was no such thing as light effects nor stage mechanism. The players themselves created the sandstorm by tossing handfuls of Fuller’s earth over their heads to the accompaniment of the rubbing of sandpaper in the wings to give the suggestion of wind blowing. Belasco put over the first realistic sandstorm in “Under Two Flags,” causing Fuller’s earth to be blown through funnel-like machines from the wings, while at the same time stereopticon cloud storm effects were played on gauze drops. Mr. Belasco also introduced the now famous bending palm to stage sandstorms, to convey the idea of motion. Once when “Under Two Flags” was produced in San Francisco the local stage manager told the property man to get something that could be blown across the stage, to be used in the sandstorm scene. There was not time for a scene rehearsal, but the property man connected a “blower” made out of a soap box with the ventilating system, and as the cue was given, tossed heaps of flour into the box to be blown over the stage. The play ended right there, with scenery and everything covered as if a blizzard had struck the place! It required weeks to get the flour off of the scenery, to which it stuck and hardened. Last year Frederic Thompson introduced a sandstorm in a scene showing the Western Bad Lands, sawdust being blown from the wings. But the sawdust scattered everywhere, even into the orchestra.
Messrs. Tyler and Ford found no bending palms in the storm they witnessed and encountered on the Sahara, so no bending palms appear in “The Garden of Allah” sandstorm. Yet motion is suggested by other means—the robes of an Arab going across the stage waving, the sides of the Arab tent flapping in the wind, the garment of Batouch, Domini’s servant, fluttering when he emerges from the tent to tighten the anchorage rope to the windward. Besides these things, there is the whirling swirling sand forming real sandspouts, such as have never before found their way on the stage.
To create the actual whirlwind that blows the sand at the Century Mr. Ford installed under the stage a series of powerful electric blowers, and connected these with pipes leading up through the stage flooring at carefully planned points of vantage. One set of pipes is located by the left-stage tormentor near the front of the tent, and another on the other side of the proscenium by the right-stage tormentor. There is another set of these pipes hidden behind the tent towards the centre of the stage, and still another set backstage. The pipe sets consist of four pipes such as are used for drain-pipes on houses, of different heights and with the openings placed at slightly different angles. Under the stage alongside of the electric blowers are two rows of troughs, one on either side of the stage, into which a dozen men feed the “sand,” which is forced up the pipes and blown at a rate far exceeding that of any windstorm ever experienced on land or sea! In all there are twenty blowers, arranged in four series of five each. Another single blower is placed in the left-stage tormentor and blows only air, to dispel the continuous streams of sand blown through the pipes by the other blowers. The pipes are so placed and arranged on the stage as to provide a continuous whirling swirl of sand, never ending, never-ceasing, ever increasing in its fiery fury, until the storm quiets down and the light of day brightens the scene.
Mr. Ford placed the pipes at different angles so that each one would send a stream of sand that would cut and dispel the stream from another pipe, thus obtaining a continuous spiral sandspout instead of a streak of sand like the tail of a comet from each pipe. Also, the three sets of pipes used for creating the sandstorm are started and worked alternately, beginning with the set in front of the tent, then the set at the right side of the proscenium, and finally the set beside the tent, towards the centre of the stage. This alternate movement gives the swirling effect that makes the storm real. The one set of pipes placed back stage behind the tent, however, shoots straight across the stage in order to give a cloud of mystery and add density to the scene.
About three hundred pounds of sand is blown through the four sets of pipes at each performance. This is kept from blowing into the auditorium by means of an “air curtain” at the foot lights and at the first entrances, enough pressure of compressed air to keep the “sand” back. The sand used is nothing more nor less than good old cornmeal! Three hundred pounds is wasted at each performance—enough to feed a whole ranch!
Cornmeal was resorted to after everything else, including sand itself, had failed to blow and act like sand on the stage. Real sand from Fire Island beach was first tried, but besides being too heavy to be kept swirling in the air, it did not look like sand when the lights were thrown on it. Real sand on the stage when the lights were thrown on it as it was blown across the stage looked like so much soft coal soot.
The heaps of sand on the stage, forming the minor sand dunes, and also the ground of the desert, are composed of ground cork, painted an orange yellow. Cork is used because it is clean and dustless and easily handled.
To light the sandstorm, Mr. Ford uses only the footlights, the central portion being a deep orange with a deep blue on either side. This keeps the heart of the storm, so to speak, in the light, and the edges are blended away into the darkness at the sides of the stage, providing not only absolute realism, but shadings that suggest the most delicate of pastels. The wonderful lighting of this scene shows the varying color emotions of the desert, with its sand dunes of the palest primrose, and the purple fury of the desert storm.
Stereopticon storm cloud effects are thrown on the sand curtain formed by the cornmeal slung across the back of the stage by the pipes put there for that purpose, and on a gauze curtain just behind, from arc-lights placed on two lighting tops built on either side of the proscenium.
To obtain the delicate pastel light effects of the sandstorm and of the other desert scenes in “The Garden of Allah,” Mr. Ford first painted the scenes with stage lights using the remarkable switchboard of the former New Theatre for his palette, and the clouds of cornmeal as his canvas. In that way, having the true picture of the sandstorm, which he had himself seen in the Sahara in his mind, he achieved what no one else ever has done before—he has, “in spirit and in truth,” transported the sandstorm of the desert, with all its multitudinous shades and shadows, feelings and emotions, to the stage.
On Jan. 6, 1913, the “St. Louis Star and Times” published an article written by Morange, entitled “A Visit to the Wonderful Home of Wonderful Loti.” After designing and painting scenery for “The Garden of the Gods,” Morange was involved with “The Daughter of Heaven,” a play of Chinese life by Pierre Loti and Judith Gautler, produced by Liebler & Co.
Morange received a noted form G. C. Tyler of the Leibler Co. on Jan. 2, 1912, that stated, “Tomorrow, at 11, if convenient, we’ll take up the matter of a successor to ‘The Garden of Allah’ at the Century. Prepare to put your summer at my disposal.” The summer before, Tyler, Hugh Ford, the stage director and Morang traveled to “the heart of the desert of Sahara, one of the most interesting trips ever taken, in order that we might absorb Algerian atmosphere preparatory to staging Hichens play.” Morange explained that he reported promptly at 11. “Well,” said I, ‘where do we go this summer? To India?” “No,.” said Tyler, “next year’s spectacle at the Century will be a drama of modern China.” “Then we go to China,” I suggested. “Better than that,” said Tyler, “I am going to take you to the wonderspot of the world. We go to Rochefort.” I need no further. Explanation. Since my early youth I had been an enthusiast over modern French literature. And of its motley crew of masters, one figure stood forth in highlight. “We go to see Pierre Loti?” I gasped. “Right,” replied Tyler. “Loti has written for us a Chinese play entitled ‘The Daughter of Heaven”…”No Americans have ever visited Loti at his home before.” Tyler went on. “We sail early in March. My automobile will meet us at Cherbourg and after a few days in Paris, we proceed directly to Loti’s home.” The program was carried out to the letter.” There is much more to the article, but I am stopping here.1912 was also the year that the Morange Family moved to Bronxville, New York. Edward and Julia would remain in Bronxville for the remainder of their lives.
In 1914 Morange was listed as the art director for a silent movie, “The Great Diamond Robbery.” This six-reel film was assembled by the Playgoer’s Film Company of New York City, shown in five acts, 6 parts, 250 scenes. Listings advertised, “It is indeed a masterpiece of photoplay productions” (“Altoona Tribune,” 8 May 1914, page 3). The film was based on the play by Edward M. Alfriend and A. C. Wheeler. On March 20, 1914, the New York Tribune published, “At last a theatrical manager has put on a legitimate drama, with a cast composed entirely of screen novices, but stage veterans. The resulting motion picture more than justifies the effort…‘The Great Diamond Robbery’ is a melodrama which was produced in New York about twenty years ago, when it ran for about a year in the American Theatre. It is adorned with regular melodrama features, such as a beautiful villainess, a working girl heroine and gallant detective, who foils assorted criminals and marries the working girl. But the story is nevertheless one that holds attention.” Wallace Eddinger starred as detective Dick Brummage in a case involving a Brazilian adventurous (Gail Kane) and the theft of the fabulous Romanoff diamonds. When Detective Brummage proved Kane’s guilt, she took poison.
It is right around this time that life began to change for the Morange. The war began, his sons enlisted to serve, and Leonard perished. He continued to succeed in business, but some of the spark left him. On May 8, 1920, he applied for a passport to visit Leonard’s grave in England. In regard to his reason for travel on his passport application, he initially wrote, “To visit my son’s grave,” but then crossed it out and wrote, “to tour and visit friends.” Morange’s application at the time listed that he lived outside of the United States for the following periods:
England/France/Germany/Algeria/Tunis April 1911-June 1911
England/France May 1912-June 1912
England/France March 1914-June 1914.
Further information on his application noted that That he was currently living in Bronxville, NY and worked as a scenic artist. His last passport was from March 1911. He was planning travel to England and Havre and initially wrote (visiting my son’s grave, then crossed that out and wrote touring and visiting friends.
Throughout the 1920s, the reputation of Gates & Morange continued to grow. In 1927. The “Scenic Artist” featured an article about the firm, concluding, “It is refreshing to know that here is one studio housing a large staff of academically trained artists that has kept pace with the insurgent movement with its radical and liberal tendencies, which has been at work in recent years in the theatres of Europe and America. That Gates & Morange have accepted what is sane and beneficial of this movement is readily seen by the numerous beautiful compositions covering the walls of their design rooms and bulging out their portfolios. Through them all is seen the sureness and artistic simplicity that only an artist of thorough and correct draughtsmanship, with a fine decorative feeling, a profound knowledge and delicate sense of color and imagination could create. The present possibilities of producing pleasing or bizarre effects with the highly perfected and easily operated electric equipment of the modern stage, has opened the theatre to the many experiments and faddist illusions that none but an experienced scenic artist could endow with poetical beauty and mystery they exhibit. With all these the stage has not lost its glamour for these artists as the many new ideas and effects around which authors and composers may write plays or revues, upon the initiative of these creators of things novel and beautifully interesting.”
Gates & Morange Design Library. Undated clipping in the scrapbook of Thomas G. Moses (1856-1934).1903-1904 advertisement for Gates & Morange.
Although Morange continued to design and paint, he became involved with Gates on other business endeavors, such as real estate development. On June 30, 1938, the “Bronxville Review” announced, “Edward A. Morange of Sagamore Rd, is a member of the six-man fact finding committee headed by the village trustee Joseph T. Creamer, of Tuckahoe, appointed by Mayor Walter D. Crouch of that village on Tuesday as the initial step by officials to establish a housing authority to eliminate slums” Gates and Morange were heavily invested in the development of Sagamore; they bought multiple lots and developed them, each working with their own architect.
Morange’s roots remained tied to Bronxville, and a lovely obituary was published upon his passing on May 26, 1955. Here is a portion of it, as it sums up a lovely and ambitious life:
“Both a scenic artist and stage set designer, Mr. Morange was a member of Gates & Morange in New York and was active until the start of his illness in 1951. When he joined Frank and Richard Gates, the first firm assignment was painting a curtain for Springfield, Mass., the theaters which helped establish the reputation of the concern. The work was soon in demand and among the scenery Mr. Morange and the firm designed were sets for Florenz Ziegfeld, George C. Tyler, Harrison Grey Fiske, and Leibler & Co. Some of the firm’s settings for Charles Couglan’s ‘Citizen Pierre,’ [or the operetta ‘Off the Earth’] and for ‘The Garden of Allah’ which was not done until Mr. Morange spent the summer of 1911 in Africa gathering material. While on this trip an attempt was made to effect the first crossing o the Sahara desert by automobile, and effort that failed eleven miles from the starting point when Mr. Morange’s car was buried in a sandstorm. He also went to Alaska to prepare a panorama of the region for the U. S. Government. On this trip he developed the idea for the famous totem pole dance which was later incorporated into the musical ‘Rose Marie.” Most of the hits of the day bore the setting credit to Gates and Morange, and included ‘Daughter of Heaven,” and ‘Joseph and his Brethren.’ The Brander Matthews Museum at Columbia University uses some of the company’s models, and in 1949 Mr. Morange’s work was featured in the exhibit “Behind American Footlights” at the Metropolitan Museum. Settings for ‘Promander Walk’ are said to have inspired architectural projects in the Eat, and the apple orchard scene in ‘Leah Kleschna’ and the London Bridge scene in ‘Oliver Twist’ brought special praise form the critics.” His illness started with “a cerebral hemorrhage in a New York motion picture theater. He was brought to Lawrence Hospital by ambulance and later was taken to Connecticut.”
There is so much more that could be written about Morange in terms of his scenic contributions, but that would be a book in itself.
Thomas G. Moses first encountered the scenic art of Charles S. Graham (1852-1911) and J. Francis Murphy (1853-1921) while working for the P. J. Almini decorating firm in 1874 Moses wrote, “In June I was sent to Hooleys Theatre to work. On the scenery [were] employed J. Francis Murphy and Chas. Graham. I was put in charge of the proscenium boxes, mostly gilding. I could see the work being done on the paint frame. I was more convinced that scenery was what I wanted to do; more opportunity to do landscapes.”
Hooley’s Theatre in Chicago, Illinois
Interior of Hooley’s Theatre
Charles S. Graham (1852-1911) was born in Rock Island, Illinois. He became a topographer for the Northern Pacific Railroad in 1873. It was while working for the railroad that he received his initial artistic training as an artist and draftsman. He soon sought other artistic opportunities, such as scenic art and illustration. Graham was present when the transcontinental railroad was completed in 1883, covering the event for Harper’s Weekly
Watercolor by Charles S. Graham
Watercolor by Charles S. Graham
By 1874, Graham was painting theatrical scenery in both Chicago and New York. He would primarily work as a scenic artist until 1877. It was on one of his early scenic art projects at Hooleys Theatre that Moses encountered him in 1874.
While in New York, Graham continued to work as a scenic artist for a variety of theatrical venues, including the Standard Theatre at Broadway and 33rd Street. For one production, he provided “new and elaborate scenery” for the premiere production of “Mignon” in New York,” with mechanical effects by W. Gifford (New York Daily Herald, 17 March 1878, page 4). That same year, he also created an large backdrop for the Order of Elks annual ball (The Brooklyn Eagle, 27 Jan. 1878, page 3). The newspaper reported, “The ball will be held this year at the Academy of Music, which is to be very handsomely decorated, the back of the Academy stage to be occupied by an immense canvas representing the ‘Gathering of the Elks,’ now in course of preparation by a young scenic artist, Mr. Charles Graham.”
Graham continued to be employed as a scenic artist; he worked for Gates & Morange, a leading scenic studio of the time. Graham painted alongside other well-known scenic artists who also worked for the firm, such as Thomas Benrimo, William E. Castle, Alexander Grainger, Arne Lundberg, and Orestes Raineiri. Gates and Morange’s scenic studio was one of the premiere scenic studios during the early twentieth century. It was located in Chicago during 1894 after Edward A. Morange met Francis “Frank” Edgar Gates. During the day, the two scenic studio founded studied fine art, while at night the painted settings for stage shows. Although starting their company in Chicago, Gates and Morange soon moved to New York to produce settings for dozens of Broadway shows. Their first Broadway work occurred in 1897 – “Straight from the Heart” by Sutton Vane and Arthur Shirley.
Design library at the studio of Gates & Morange
Graham was also mentioned as a scenic artist that appeared in a “Chicago Sunday Tribune” article, “Paint Mimic Scenes, Men Who Have Found Fame in (entire article in past installment #245):
“Scenic art of high grade is, however, regarded today as only different from other studio art in its breadth – a mere question of scale. As to the quality of finish it may be remarked that when scenery is lacking in detail it is due to lack of knowledge in the painter, lack of time, certainly not in accord with any principle of stage painting. Formerly the theatrical painter was expected to be truly catholic in his accomplishments, and was called to attempt any subject that the playwright might designate. Now this work, as in other lines of art, is falling more to specialists, and with far better results in figure, drapery, landscape, or architectural design. In spite of many drawbacks in the past, scene painting as a school has been an excellent one. Witness many good men who have left it to win distinction in the galleries of Europe and America: De Loutherbourg, Porter, Boulet, Jacquet, Lavignoc, Leitch, Stanfield, Roberts, Allen, Cole, Detaille, Kingsbury, Potast, Rymnosky, Wets, Guetherz, Peigelheim, H. Fillaratta, Homer Emmons, Charles Graham, and J. Francis Murphy. It will be observed that this list has members of the English Royal Academy, some famous Germans and Frenchmen, and, too, America is ably represented.”
In addition to scenic art, Graham became well-known as an illustrator. By 1878, Graham was hired as a staff artist at Harper’s Weekly; he remained there until 1892. During this time, he contributed illustrations for a variety of other publications, including the New York Herald, the Chicago Tribune, the American Lithograph Company, and Collier’s. It was one of Graham’s first illustrations for Harper’s during 1878 that he depicted scenic artists working on a paint bridge high above the stage. Graham’s best-known work was for the publication “Peristyle and Plasaisance.” For this publication, he created a series of watercolors depicting scenes from the 1893 Chicago World’s Fair, the Columbian Exposition. These colorful plates remain as one of the best sources, offering insight into the event. Advertisements stated that Graham’s paintings illustrated “nooks and corners of the Fair as no photograph could do.”
Advertisement for series illustrated by Charles S. Graham for the Columbian Exposition. From the Chicago Tribune, 8 July 1894.
Illustration of the Columbian Exposition by Charles S. Graham.
Illustration of the Columbian Exposition by Charles S. Graham.
Illustration of the Columbian Exposition by Charles S. Graham.
Near the end of his life, Graham was employed by a lithographer. In 1909, Graham suffered a stroke while working in Davenport, Iowa. He was forced by failing health to give up active work and return to New York as soon as he had recovered sufficiently to permit travel back east (The Rock Island Argus, 12 August 1911, page 5). By 1911, he passed away at the Metropolitan Hospital in Manhattan, after a prolonged illness of a nervous disorder (The Brooklyn Daily Eagle, 10 August 1911, page 3). He was fifty-nine years old at the time. Graham was survived by his daughter Bessie Graham.
Next to photo in article: “The illustrations accompanying this show Mr. McGreer and his assistants at work on the paint bridge as well as several other phases of the work incidental to making the scenic productions for the famous play.” Cincinnati Enquirer 15 April 1900, page 12.
In 1900, Fred McGreer described his artistic process to the Cincinnati Enquirer (15 April 1900, page 12). Here is the second half of the article:
“I am able to outline the scenes after they have been coated with glue priming, for which a particular glue is used that will not crack. After the priming had dried I sketch the outlines with charcoal, and meanwhile the assistants are mixing their paints in buckets, and when I have concluded they set to work painting the scenery. In this process, first the broad colors are laid in and then comes the ornamentation, such as the figures on the walls of interiors, or colors for the moldings to get the lights and shadows. This is ended with the detail work of what we call bringing the scene together. It is like the finishing touches you see the rapid-fire artists put on their pictures in the vaudeville theaters when a form emerges out of what is apparently a chaos of conflicting colors. At this period I may discover too much red at the base of a scene, or not enough red beneath the cornice of an exterior, and these must be toned down.
With the scene painted it is again hustled off the paint frame to make room for another act. The painted set goes back to the carpenter to be cut out and attached to the lines running to the rigging loft, there being three lines to each drop. The columns and solid sections which will be noticeable in “Quo Vadis” are made of what we call profile board. It is a wooden veneer and is pre-hinged to a stand shipping. These columns also stand by themselves as though apparently part of the setting.
Cincinnati Enquirer article on Fred McGreer (15 April 1900, page 12).
Cincinnati Enquirer article on Fred McGreer (15 April 1900, page 12).
In the first scene for “Quo Vadis” the case is different. The entire scene was originally painted on one big drop and then after it was completed I ‘red lined’ the whole scene. This is to outline the columns and vases with a delicate red line, which the carpenter follows in sawing out these separate sections. They are then all placed in position on the stage and the stuff that has been cut out is fastened together with a delicate netting which is invisible to the audience. The perspective created the impression that they are standing alone though really the entire set is one big drop. Some idea of the work required can be gained from the explanation that a single drop of this description generally requires the efforts of the carpenter and four assistants an entire evening to fix up. On the drop for this garden scene we used 1080 feet of cloth and about 75 pounds of paint. In order to attach them to the rigging loft about 300 feet of rope is also used. Now another heavy scene is in the arena setting for the last act, in which over 700 feet of platform space is required, built up to a height running from two feet and reaching the topmost platform 15 feet above the stage. These platforms are all hinged and made so they will fold for shipment as the piece goes on the road after it is used here.
In ‘Quo Vadis’ every scene is numbered and arranged so that it can be put together hurriedly and when brought into a theater is very much like the animal puzzles that are so popular with the Children at Christmas. Only the stagehands will just know where every piece goes without being puzzled.
Mr. McGreer in conclusion estimates that he has painted over 30,000 feet of canvas for the big production this week and used about 2,000 pounds of paint in doing it, in addition to five barrels of whiting alone was used, while the paint was distributed among 20 or more colors. For ‘Quo Vadis’ everything had to be made new as nothing like it had been produced at the Pike.
Cincinnati Enquirer article on Fred McGreer (15 April 1900, page 12).
Mr. McGreer during his two seasons at the local theater has mapped out and painted over 220 stage settings, and of these the ratio ran about three interiors to one exterior. The mere mechanical work of making the scenes is antedated by studies of the costumes as the ladies dresses and the scene colors must harmonize, and historical research as historical accuracy is demanded in these times. In all his stay, nothing has been used over much, excepting the solid doors that figure in Pike productions. These doors have been doing service for three seasons. They have been slammed by the impetuous Nigel or gently brought to by the careful Todman, but in all that time the same old doors groaned under the weight of added paint until now they are so heavy it takes a firm grasp and a long pull to draw them open.
But this is digressing from Mr. McGreer. Next week this popular artist will bid adieu for the summer, at least to his den back of the big white lady. He goes to New York, having been engaged by Gates and Morange, the scenic artist there. If long and varied experience will count for aught, Mr. McGreer is sure to make his mark there for few visiting attractions as the first class houses have exhibited scenery which compares to that which has been in evidence so frequently at the Pike.”
Cincinnati Enquirer article on Fred McGreer (15 April 1900, page 12).
During the summer of 1900, McGreer left for New York to work for Gates & Morange. This was the same year that both Thomas G. Moses and Grace N. Wishaar were painting scenery in New York City too. It was the place to be that later led to many other projects across the country for inspiring young artists. By 1901 McGreer was listed as creating the scenery for Morosco’s Grand Opera House in San Francisco. It doesn’t appear that Fred McGreer ever returned to Cincinnati.
I encountered a wonderful historical article while researching Edward A. Morange. It was posted in a blog about costumes, history, and social ephemera, called “Miss Daffodil Digresses.”
“Staging a Sandstorm” by Wendell Phillips Dodge (1912) explores onsite research for Gates & Morange’s “The Garden of Allah” designs. The stage version of Robert Hichens’ drama, “The Garden of Allah,” opened at the Century Theatre in 1912. To stage the sandstorm in “spirit and in truth,” George C. Tyler, of the firm of Liebler and Company, went into the heart of the great Sahara Desert, accompanied by Hugh Ford, general stage director, and Edward A. Morange, of the firm of Gates and Morange, scenic artists. The article provides some interesting descriptions for nineteenth-century sandstorm effects on stage.
The Century Theatre.
Here is a small excerpt as it is just delightful to read. I will post the full article in its entirety at www.drypigment.net
The Theatre, Volume 15, 1912
“The question now was how to transfer the real, living sandstorm to the stage of the Century Theatre. Stage sandstorms date back more than twenty years, when one was introduced in Fanny Davenport’s production of “Gismonda.” This sandstorm, naturally, was very crude, since in those days there was no such thing as light effects nor stage mechanism. The players themselves created the sandstorm by tossing handfuls of Fuller’s earth over their heads to the accompaniment of the rubbing of sandpaper in the wings to give the suggestion of wind blowing. Belasco put over the first realistic sandstorm in “Under Two Flags,” causing Fuller’s earth to be blown through funnel-like machines from the wings, while at the same time stereopticon cloud storm effects were played on gauze drops. Mr. Belasco also introduced the now famous bending palm to stage sandstorms, to convey the idea of motion. Once when “Under Two Flags” was produced in San Francisco the local stage manager told the property man to get something that could be blown across the stage, to be used in the sandstorm scene. There was not time for a scene rehearsal, but the property man connected a “blower” made out of a soap box with the ventilating system, and as the cue was given, tossed heaps of flour into the box to be blown over the stage. The play ended right there, with scenery and everything covered as if a blizzard had struck the place! It required weeks to get the flour off of the scenery, to which it stuck and hardened. Last year Frederic Thompson introduced a sandstorm in a scene showing the Western Bad Lands, sawdust being blown from the wings. But the sawdust scattered everywhere, even into the orchestra.”
Ah, the trials and failures of show business. “The Garden of Allah” would use cornmeal for their sandstorm scene.
Souvenir book from the production designed by Gates & Morange in 1912.
I did locate another article New York Times on July 13, 1911 (page 9) called “Return From The Desert.” It was titled “Ford and Morange Visited Scenes of ‘The Garden of Allah.’”
Here is the article: “Hugh Ford, general stage director for Liebler & Co., and Edward Morange, scenic artist for the same firm, returned to New York yesterday on the Minnetonka, after spending some time in the Desert of Sahara with George C. Tyler, general manager of the firm. They, with Mr. Tyler, made a trip to visit the scenes of Robert Hichins story, “The Garden of Allah,” a dramatization of which is to be the first Liebler production next season at the Century Theatre. The party made its headquarter at Biskra, the Beni-Mora of the novel, and made many expeditions into the desert. Several Arabs were engaged to come to America to take part in the production. After leaving Algiers Mr. Ford and Mr. Morange visited Berlin to obtain material for “The Affair in the Barracks,” an adaptation of “Barrackenpluft,” which is to be another Leibler production next year. While in Paris the party spent several days in consultation with Mme. Simone, who will begin her first American tour next Fall, appearing in English in Louis N. Parker’s adaptation of Rostand’s “The Lady of Dreams.”
A Scene from the Gates & Morange design for “Garden of Allah.”
A Scene from the Gates & Morange design for “Garden of Allah.”
A Scene from the Gates & Morange design for “Garden of Allah.”
Finally, the scenic designs for “The Garden of Allah” (Sketch of North African Expedition), 1912, are located in the Gates and Morange Collection (Billy Rose Division) of the New York Public Library. The designs for the production include a color sketch on stock depicting an exterior scene with camels.
To be continued…
Here is Mrs. Daffodil’s link: https://mrsdaffodildigresses.wordpress.com She has covered several interesting topics, including “How to Make Stage Thunder and Lighting: 1829-1900” and “The Great Grampus Bath-house Tragedy: 1875.” According to the site, it is a blog where “you will find a feast of fashion hints, fads and fancies, and historical anecdotes.”
It was in Chicago during 1894 that Edward A. Morange would meet his eventual business partner, Francis “Frank” Edgar Gates. During the day, they would study fine art and in the evenings they would paint theatrical shows. Later, his brother Richard Henry Gates would join the team. Frank and Richard Gates received their academic training at the School of Fine Arts, Washington University, St. Louis. “The Scenic Artist,” Vol. 1, No. 8 (December 1927, page 8), noted “they were practically brought up on theatre from almost infancy, being in a family of theatrical managers, musicians and actors, it was natural that the stage should appeal to them.”
This is an image from a website that is no longer accessible. The creators suggest that they have many designs created by the brothers, Richard and Francis Gates. These are the only two images that I have found of the pair.
By 1897, Frank, Richard, and Morange, founded Gates and Morange Studio. Although Gates and Morange had worked on many projects together, their first Broadway credits date from 1897. Thhe scenic studio of Gates & Morange was to become one of the premiere scenic studios during the early twentieth century. Although starting in Chicago, they soon moved their company to New York to produce settings for dozens of Broadway shows. Their first Broadway credit in 1897 was “Straight from the Heart” by Sutton Vane and Arthur Shirley. Other clients included Liebler Co., Florenz Ziegfeld and George C. Tyler. Artists that worked for their firm included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri. The New York Public Library holds the Gates & Morange Design Collection (1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions.
Gates and Morange Design Collection (1894-1953) at the New York Public Library. Here is the link: http://archives.nypl.org/the/22927
Although many of the designs are undated, the bulk of the collection appears to be from the 1920s. Among the more than seventy-five production designs are “The Daughter of Heaven” by Pierre Loti (c. 1912); “Dolci Napoli” (c. 1913), “Earl Carroll Vanities” (1923), “For Valor” by Martha Hedman and H. A. House (1935), Gridiron Club productions (1935), “An International Marriage” by George Broadhurst (c. 1909), “The Lady of the Lamp” by Earl Carroll (1920), “Music in the Air” with music by Jerome Kern and Designs by Joseph Urban (1932), “Nancy Brown” (c. 1903), “Song of the Flame” by Herbert Stothart ad George Gershwin, with designs by Joseph Urban (1926), and a number of Ziegfeld productions. Of particular note is “Rose-Marie” by Otto Harbach and Oscar Hammerstein II (1924), which includes three photographs, showing development from an initial concept to the scenery in place on the stage (1924).
Program for “Rose-Marie” listing Gates & Morange as the scenic artists for the production.
There are also a few studio plans and research materials in the collection. The collection is located in the Billy Rose Division on the third floor at the New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center. Here is the link for the collection overview: http://archives.nypl.org/the/22927
Gates & Morange’s non-theatrical projects included reproductions for the United States Government of Yosemite, Yellowstone National Park, Glacier National Park, the Grand Canyon, Alaska, Kilauea and many other National Parks.
Design and reference library for Gates & Morange. This shows their research files that were a result of countless sketching trips. Undated image pasted in Thomas G. Moses’ scrap book, Harry Ranson Center, University Texas, Austin.
The studio’s artists constantly took advantage of painting from nature, to attain primary information for various commissions. They had research files from trips throughout the United States, Alaska, Europe and Africa. This provided the artists opportunities to observe various landscapes, customs, and people. They made colored studies and sketches to collect valuable data that was used for their theatrical productions. In 1912, Gates and Morange traveled to the Sahara Desert, accompanied by Hugh Ford, general stage director, to research an actual and ferocious sandstorm for their upcoming show at the Century Theatre in New York.
Advertisement for Gates & Morange, Scenic Artists, in Julius Cahn’s Theatrical Guide (1902-1903).
The 1927 “Scenic Artist” article about Gates & Morange concluded with, “It is refreshing to know that here is one studio housing a large staff of academically trained artists that has kept pace with the insurgent movement with its radical and liberal tendencies, which has been at work in recent years in the theatres of Europe and America. That Gates & Morange have accepted what is sane and beneficial of this movement is readily seen by the numerous beautiful compositions covering the walls of their design rooms and bulging out their portfolios. Through them all is seen the sureness and artistic simplicity that only an artist of thorough and correct draughtsmanship, with a fine decorative feeling, a profound knowledge and delicate sense of color and imagination could create. The present possibilities of producing pleasing or bizarre effects with the highly perfected and easily operated electric equipment of the modern stage, has opened the theatre to the many experiments and fadist illusions that none but an experienced scenic artist could endow with poetical beauty and mystery they exhibit. With all these the stage has not lost its glamour for these artists as the many new ideas and effects around which authors and composers may write plays or revues, upon the initiative of these creators of things novel and beautifully interesting.”
