In 1914, Thomas G. Moses wrote,
“Got an early start on the Globe Theatre, Philadelphia, for New York Studios.”
Two years earlier, Moses wrote
that he also painted a New York studios set for “a new theatre in Philadelphia,
the Globe.” New York Studios was the eastern affiliate of Sosman & Landis,
founded and run by a one-time employee David H. Hunt. Hunt was a theatrical
manager, as well as scenic studio founder. In the 1890s he convinced Sosman and
Landis to establish the theatrical management firm of Sosman, Landis &
Hunt. By 1910, Hunt convinced Sosman to
invest in New York Studios, run by Hunt and his second wife, Adelaide.
In 1914, the “Philadelphia
Inquirer” reported, “New Globe Theatre to Open Tomorrow” (May 31, 1914, page 25). Located on the corner of Market and
Juniper Streets, the seating capacity of the Globe Theatre was 2000, with a
stage, “equipped with every modern improvement in the line of gridiron,
lighting devices, scene shifting apparatus.”
The article noted that the stage also had a clearance of 30 by 50 feet,
noting that the Globe Theatre was “located in the shadow of City Hall and in the
heart of the business section.” It provided “a suitable place for those who,
with business finished still have an hour or two to while away recreation
before taking a train for home” (31 May, 1914, page 9). Of the theater, “The
Globe stage is large enough to accommodate the most pretentious of vaudeville
acts and the acoustic properties are such that in every nook and corner of the
building the audience will have no difficulty in hearing as well as seeing all that
is transpiring on the stage. A competent orchestra under the direction of
Charles Kitch, formerly of the Metropolitan Opera House, has been engaged and
the orchestral effects will be supplemented by a $15,000 pipe organ.”
The new Globe Theatre featured vaudeville
acts and motion pictures from 11:30AM until 11:30 PM daily. “Continuous vaudeville” was to prevail at the Globe;
with two complete shows every day. Prices for the matinees were 10, 20 and 30
cents, with loges and boxes at 50 cents.
From the “Evening Public Ledger” (Philadelphia, PA) 14 April 1915, page 9.
In 1913, Thomas G. Moses wrote,
“We did a New York Studio job for Atlantic City – a theatre on the pier.” New
York Studios was the eastern affiliate of Sosman & Landis, the firm managed
by David H. Hunt. Sosman & Landis manufactured the scenery which was then
sold by New York Studios to the new theatre on the pier.
B. F. Keith’s Garden Pier
Theatre of was located on the 700-foot Garden Pier at the end of New Jersey
Avenue, opening in 1913. The pier had formal gardens at the entrance and
featured an open-air theatre, hosting theatrical production, exposition and
even conventions over the years. The Garden Pier Theatre officially opened on
July 19, 1913.
Garden Pier, Atlantic City, New Jersey.Entrance to Garden Pier, Atlantic City, new Jersey.
Before the theater’s grand
opening, the “Philadelphia Inquirer” published,” Atlantic City, N.J., June 21 –
Activity in the theatrical world here is quite pronounced. Playhouses are
multiplying at such a rate that it begins to look as though the thing would be
overdone. Two new playhouses skirting the Boardwalk are among the most imposing
structures in evidence today. These are the New Nixon, at St. Charles place and
the theatre on the new pier at New Jersey avenue. (22 June 1913, page 29). The article continued, “The theatre on the
new pier is fast shaping up, the side walls and roof now being in place. But it
will be several weeks before it will be anything like condition to invite
public attention. It is to be a large house, but just what kind of attractions
will it play or who will be the local manager seems to be sill a matter of
conjecture.”
The theater on the Garden Pier, Atlantic City, New Jersey.1926 event in front of the Garden Pier Theatre, Atlantic City.
The “Philadelphia Inquirer”
later reported, “It has been whispered about during the week that the theatre
on the new pier – named the Garden – at New Jersey Avenue, is to be devoted to
the Keith style of low-priced vaudeville, and that Ben Harris may be the
manager…The theater is not nearly finished yet, and probably will not be for
some weeks to come. The front of the pier, however, is in pretty good shape,
and it is said that already rentals amounting to nearly sixty thousand dollars
have been made. The shops on either side of the big entrance will be mostly of
glass and will make a decidedly attractive appearance, giving the keepers
unusual advantages in the way of displaying
their wares effectively. There is
a beautiful lawn and flower garden in the centre, which will invite promenaders
along the Boardwalk. It is said that there will be no admission charged fro the
pier proper, but that a scale of low prices will be made for the theatre. The
style of entertainment will be much like that at the Liberty and Keystone in
Philadelphia. Mr. J. Fred Zimmerman has signed with the United Booking Offices
(Keith) whereby the latter will furnish a majority of the attractions for his
varied enterprises in the future. This will give him better facilities than he
has hitherto enjoyed” (20 July 1913, page 22).
In 1912, Thomas G. Moses wrote,
“New York studios set in a new theatre in Philadelphia, the Globe.” He meant
that Sosman & Landis painted scenery for a New York Studios’ project, one
that was delivered to the Globe Theatre in Philadelphia. New York Studios was
the eastern affiliate of Sosman & Landis, founded and run by a one-time
employee David H. Hunt. Hunt was a theatrical manager, as well as scenic studio
founder. In the 1890s he convinced Sosman and Landis to establish the
theatrical management firm of Sosman, Landis & Hunt. Later in 1910, Hunt convinced Sosman to
invest in New York Studios, run by Hunt and his second wife, Adelaide.
New York Studios stamp noting home and Chicago office.
Julius Cahn’s Official Theatrical
Guide listed the Globe as a vaudeville theatre. With a seating capacity of 720,
the venue was managed by Chas. Rappaport. To place the Globe within the context
of the 1912 Philadelphia theatre scene, the city boasted 289 theaters at the
time with a drawing population of 2,000,000. Located at 5901 Market Street, the
Globe Theatre opened in 1910.
I was intrigued that Moses
mentioned creating scenery for New York Studios that was ultimately delivered
to the Globe Theatre in Philadelphia. This was certainly not the first or last
time that Sosman & Landis provided scenery for a New York Studios project. Sosman
& Landis worked in conjunction with New York Studios on many projects, but
seldom were mentioned in a newspaper article at the same time.
Interestingly, both studios were
mentioned in the same article in the “Star-Gazette” on March 4, 1913 (Elmira,
New York). The newspaper article was about the W. P. Murphy’ new theater in Bath,
New York:
“THURSDAY NIGHT
First production will be local
talent minstrels, a testimonial to Bath man who promoted playhouse.
Bath, March 4 – (Special)- The Liberty
Minstrels, a premiere aggregation of Bath talent, will hold the boards at the
Murphy theater, Thursday evening; the production is under the direction of J.
W. Lewis and is given as a testimonial benefit to the builder and owner of the
theater, W. P. Murphy.
The benefit is designed as a
means of expression on the part of the local public of its appreciation of Mr.
Murphy’s efforts to supply the village a long needed modern playhouse as well
as in a measure to reimburse him for the heavy expense he has incurred in building
and equipping the house. Already every seat has been sold and the demand may be
that the minstrels be repeated a second night.
The house is one of the finest
to be found in any village of this size anywhere in the Southern Tier. It
stands at the rear of the former site of the Nichols House, the once famous
hostelry, facing Pulteney Square in the central part of the village. Entrance
is gained from Steuben street through a long arcade or foyer, off from which
are a box office, telephone booths and cloak room. At the rear of the house
near the entrance is a smoking room. The auditorium is 50 feet in length by 40
feet width. The floor slopes, dropping about five feet from the rear to the
orchestra circle. Surrounding three sides of the auditorium is a horseshoe
gallery; the house is carpeted with rubber linoleum and supplied with opera
chairs on both orchestra floor and galleries, the seating capacity being about
825 persons.
The stage has an opening of 45
feet width, 17 feet height and 30 feet depth. It has an ample scene loft and is
supplied with elaborate scenery, which is supplied by Sosman & Landis of
Chicago. Beneath the stage is a musician’s waiting room, a property room, four
dressing rooms, supplied with baths; above the stage are four other reserve
dressing rooms for use when attractions with large casts play the house. The
building is equipped with gas and electricity; has seven exits, is a fireproof
building and heated by steam. The drop curtain, depicting a scene from Venice
is from the New York Studio Company.
Charles H. Thomas will be
manager and booking agent for the house and already many leading attractions
are promised. As Bath has been without a theatre otherwise than the motion
pictures for some time, undoubtedly the new theater will prove very popular”
(Star-Gazette, Elmira, New York, 4 March 1913, page 9).
Today’s
post continues with the story of New York Studios for one more post. In 1912, the firm brought suit against the
owners of the Colonial Theatre. In court they tried to recovered money that was
due from F. & H. Schweppe for a “Moonlight Olio.”
A moonlight effect drop at the Scottish Rite in Deadwood, South Dakota.Backside of drop for the moonlight effect.
I have read many tales of honest and hard-working people who were not paid for their work. They all seem to share a similar story. Only twice, have I had the misfortune of being “stiffed;” pretty good for being in the business more than thirty years. However, for me that was twice too many. I think that the first time was the hardest as I didn’t see it coming. It concerned painted ceremonial settings for the Ancient & Arabic Order of the Nobles of the Mystic Shrine – go figure.
While
researching the life and times of Thomas G. Moses, I have repeatedly read the
letters of correspondence between scenic studios and various Masonic
organizations, begging for money owed from scenery that was already designed or
installed. In many ways, I feel quite fortunate with only suffering from two
dishonest clients.
Not being
paid from a Masonic organization is similar to not being paid from a religious
institution; they know better. I always
think back to Thomas G. Moses quote, “My experience with Church
Committees, of all denominations was such that I almost promised myself never
to enter another Church. I found a lot
of dishonest men that were pillars of the church and naturally I looked upon
them as good Christians, and their word should have been as good as their
bond.”
There is an interesting dance that often occurs with a client, or organization, owes money for completed work and has no intention of paying. After a series of delays, a lame excuse is often presented as justifying nonpayment. It really doesn’t matter to the client at this point, as the vendor has already delivered everything promised; they are simply waiting for compensation. So the client just sits, gambling in a way, and hoping that no legal action will ensue. The person owed the money contemplates whether the amount is large enough to incur additional legal fees. In 1912, New York Studios decided the amount was worth it. Their particular story had to do with a client paying for scenery that was not returned in 1911.
On March
18, 1912, the “Star-Gazette” reported “The New York Studio, painters of stage
scenery of all sorts has begun action against Schweppe Brothers, owners of the
Colonial Theatre on Main Street to recover $90, claimed to be due on a
“moonlight olio drop” which was furnished that theater. It is alleged that
settlement made with Schweppes at a certain figure providing the local firm
would return the drop. The studio says the drop has not been returned” (Elmira,
New York, page 3). In other words they rented a drop and decided to keep it.
The first time round they lost the case in city court.
On
September 4, 1912, the “Star-Gazette” reported “The New York Studios Company,
through their attorneys, Baldwin & Allison, have appealed from a jury’s
verdict in city court which was rendered in favor of Fred and Henry Schweppe,
owners of the Colonial Theatre block. The action has been tried in a city court
to recover $90, which the New York Studios Company alleged was due them for a ‘Moonlight
Olio.’ The jury held that the Schweppe Brothers were justified in their
position. The jury rendered that verdict on July 25” (Elmira, New York, page
11).
Now there is the basic question here: “What is a Moonlight Olio?” There is an ongoing discussion about “olio, the machine” versus “olio, the scene.” In this particular case it is painted scenery, more specifically a backdrop that depicts a moonlight scene or has a moonlight effect. Olio likely refers to the studio design label. Examples of “olio” drop compositions can be found in the Performing Arts archives at the University of Minnesota. The Twin City Scenic Co. collection has an entire box of olio designs, with each label using an “O” for olio, for example, O-89. Olio drops were musical numbers placed between the scenes of a play/melodrama and were independent of the main storyline. Back to the court case…
By 1915,
The “Star-Gazette” published the ongoing 4-year saga of the moonlight olio,
reporting, “The action grows out of the furnishing scenery for the Colonial.
The original claims were settled at 75 cents on the dollar and in the
settlement the Messrs. Schweppe were to return a moonlight drop, which is one
of the canvas painted drops which make the background of the stage setting. The
studios had furnished two olios and it is claimed that the wrong one was returned.
From this incident, four years ago, grows the present action for $90. It was
tried once in City Court and Messrs. Schweppe were successful. The studios
appealed” (1 June 1915, page 7). On June 2, 1915, the verdict was published –
$90 was awarded to the New York Studios. The “Star-Gazette” commented, “The $90
is the full amount of the claim but it is not so much the money as a vindication
of lawyers that was being fought for” (1, June 1915, page 7).
The $90 fee
for the Moonlight Olio is the equivalent of $2,380.44 today. Although this was
not a great amount of money for a scenic studio to lose in product, they had to
fight this battle in a very visible arena. Their legal actions sent a signal to
other theaters and clients that New York Studios would not back down; they would
collect money owed, regardless of the amount.
In 1912, Thomas G. Moses wrote,
“Did a number of garden wings for Proctors, N.Y. for the New York Studios, and
some drops for Washington, D.C.”
What is fascinating about Moses’ entry is his mention of
painted garden wings for a New York Studios project. There is an extant wood
wing attributed to New York Studios at the Thalian Hall in Wilmington, NC, also
by New York Studios.
Thalian Hall, Wilmington, North Carolina.Extant wood wing by New York Studios for Thalian Hall.New York Studios stencil on back of wood wing at Thalian Hall.
Last spring, I visited Thalian Hall and gave a presentation on historic stage scenery. Russell Smith painted a drop curtain for Thalian Hall in 1858; they still have it. Like many theaters, additional scenic pieces were added over the years, including some pieces from New York Studios. During my visit, executive director Tony Rivenbark pointed out a small painted wing that was tucked away. The wood wing at Thalian Hall was the last remnant of a pair, once part of a set that masked the side stages for exterior scenes. On the back of the folding wing was a New York Studios Stencil, the first I had ever encountered. Again, New York Studios was the eastern affiliate of Sosman & Landis of Chicago, started by David Hunt during the first decade of the twentieth century. New York Studios was incorporated on April 8, 1910, and lasted until its dissolution on Dec. 15, 1939.
Keep in mind that Sosman & Landis had regional offices
throughout the country, including one in New York City before New York Studios
was established in 1910. An article in
“The Times” even mentioned Sosman & Landis’ presence in New York describing,
“the well known New York and Chicago artists, Sosman & Landis” (The Times,
Streator, Illinois, 14 Sept. 1910, page 5). Regardless of their east coast
office, Sosman & Landis treasurer and secretary, David H. Hunt, proposed a
new business venture. Instead of maintaining a regional office, he would
establish an eastern affiliate. New York Studios stockholders included David H.
Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle.
Painted wings for both large and small stages were the bread
and butter of our scenic studios at this time. Their construction necessitated
the careful collaboration between both carpenters and scenic artists. Whether
they accompanied shutters, roll drops or fly drops, these painted sidepieces
were necessary to complete the scenic illusion while masking backstage areas.
These sidepieces were supported with grooves, stage jacks and other hardware.
Wood setting for the St. Paul C.S.P.S. stage that uses two sets of wood wings.Upper grooves helped hold hold wings in place.
Painted wings are still found at some historic venues, but seldom used. They often become the chipped sugar dish in china set that is missing its creamer. When only one wing is left, how can it be used for a production? It can’t, so it simply sits backstage in a corner, or tucked away somewhere. Such was the case at Thalian Hall. After almost all other scenery left the building, this one wood wing remained. The New York Studios wood wing may possibly be the last remnant of New York Studio, after the firm produced thousands.
Wings were just one element on the historic stage, and
integral part of the scenic illusion. To simplify what was on stage in a
historic theater, stock scenery collections consisted of backings (roll
drop/fly drop/shutter), sidepieces (wings/tormentors), top pieces
(borders/teasers) and set pieces (rocks, trees, balustrades, etc.). Keep in
mind that stage terminology shifts over time. The important thing to remember
is that the painted sides and set pieces are often the first things to go when
a venue was sold, renovated or repurposed. A painted backdrop may remain tucked
away when almost every other scenic piece has disappeared. A painted wing is
often the earliest form of collateral damage while a stage is being renovated. Hanging
scenery often enjoys a slightly longer life span than its counterparts, maybe
because it is more difficult to remove.
The greatest amount of flat stock (wings, set pieces, profiles,
etc.) is still found at Scottish Rite theaters, although those pieces are
rapidly disappearing too. Why are there still thousands of extant pieces in
Scottish Rite theaters? The main reason
is that they are too hard to reach and the average age of Masonic stagehands is
now well past retirement age. Keep in mind that the design of many Masonic
stages incorporated a lofted storage area opposite of the fly rail. Today, the
idea of climbing up a wooden ladder, finding the correct flat, removing a guardrail,
and lowering it to the stage is often a deterrent for many Masonic stage crews.
On the bright side, the lack of use has preserved many pieces. They remained
quietly waiting in the wings to once again accompany the remainder of a painted
scene.
In 1912, Thomas G. Moses wrote,
“Sosman left for the south on a vacation.
My work doubles. We are doing a
lot of work for the New York Studios – not much profit in it for us, as Hunt
seems to think we should be satisfied with a small profit. I have made a number of designs for him which
I am pleased to do as long as we get the work.”
David H. Hunt pictured in the “Detroit Free Press,” 21 May 1903, page 12.
Hunt was a long-term employee at
Sosman & Landis, founder of the theatrical management firm Sosman, Landis
& Hunt (est. 1894), and founder of New York Studios (est. 1910). New York
Studios was considered an eastern affiliate of Sosman & Landis. In 1905,
Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the
talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the
contract for $3,500.00.” Moses did not get along well with David H. Hunt of New
Yorks Studios and periodically mentions the discord in his diary.
By 1910, tensions were high between Moses and Hunt,
escalating when Joseph S. Sosman leaves on a 15-week European tour. At the
time, both Moses and Hunt were left in charge of the studio, with shops in both
Chicago and New York. Hunt was the company secretary and treasure, whereas
Moses was responsible for the design, construction and installation of all
projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and
expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and
assessed the studio’s state of affairs, Moses wrote, “I heard some reports as
to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled… I arrived June
25th. Sosman had his doubts as to my
coming back.” It was around this time that Hunt officially established New York
Studios. Smart move, as it was beginning to appear that Chicago was not big
enough for both Moses and Hunt.
The establishment of New York
Studios is the beginning to the eventual demise of Sosman & Landis. Sosman
steps out of the daily running of the company, leaving it to others, while
investing in new business ventures such as New York Studios, managed by friend
and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was
not. Hunt was also working on many other business endeavors that distracted him
from solely focusing on any one company, whether it was Sosman & Landis,
Sosman, Landis & Hunt, or New York Studios projects. Based on Moses’ description of Hunt and
newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid
scheme, hoping for maximum returns with minimal investments; it is all based on
the underlings beneath him doing the work.
Over the years, Hunt had
remained a thorn in Moses’ side for many reasons, including his poor treatment
of good artists; prompting many to leave the studio. The exodus of scenic
artists from Sosman & Landis included Moses’ good friend, John H. Young.
Young went on to dominate the Broadway scene as a well-known designer.
Hunt had started with Sosman
& Landis during the early 1890s, quickly worming his way into both Sosman
& Landis’ confidence. Although I have yet to find an official start date
for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition
projects. By 1894, Hunt convinced Sosman & Landis to establish, the
theatrical management firm of Sosman, Landis & Hunt. This was a secondary
business venture; a company that leased theaters and founded touring companies
in Cincinnati, Indianapolis and Detroit.
The firm kept Hunt busy as the primary manager for the endeavor, yet the
Sosman & Landis studio staff from Chicago completed much of the necessary
work. Moses’ diaries suggest that Hunt did not treat the artistic staff working
for Sosman, Landis & Hunt well; scenic artists were swapped and directed to
various projects like pawns on a chessboard, ready to be sacrificed at any
point. Throughout this period Hunt had remained on the administrative end of
the studio, always finding the public spotlight to share his great wisdom on a
subject.
By 1910, Hunt also talked Sosman into investing in a new
business venture – New York Studios. That year, Moses wrote, “Hunt had started
a New York studio in New York City and he expected us to do a great deal of
work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the
President, Edward A. Morange as the vice president, and David H. Hunt, as the
Treasurer. The company’s starting capital was $40,000, and listed the following
directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices
located at 325 W 29th Street,
New York. Business listings noted that theatrical equipment was the primary product produced by the company.
Now there were two scenic studios to consider, and only one Moses. In the 1919
Adelaide A. Hunt was still listed as president of New York Studios, with Edward
Morange as Vice-President and David H. Hunt as treasurer, still supplying
theatrical goods. Office locations varied from 29th to 39th
to 95th Streets. Many scenic artists worked for New York
Studios including John H. Young, William F. Hamilton, Victor Higgins, William
Smart, Art Rider, and Al Dutheridge to name a few.
1927 New York Studios advertisement in the publication, “Scenic Artist.”
New Yorks Studios was listed as the eastern affiliate of
Sosman & Landis, whereas Sosman & Landis were listed at the western
offices of New York Studios. Studio stamps on the back of some designs at the
University of Minnesota’s Performing Arts scenery collection list the New York
Studios “Home Office” at 328 West 39th St. N.Y. There are other New
York Studio designs that link designs to their
“Chicago Office.” The Chicago Office for New York Studios was located at
1022 Consumers Building, separate from the main offices of Sosman & Landis
on Clinton St.
Sosman & Landis Studio and New York Studios were two
very separate entities. Although they shared work and scenic artists, Moses
hints that New York Studios always got more out of the relationship than Sosman
& Landis, always taking advantage of the situation.
Studio stamp on the back of a design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios stencil on the back of a folding wood wing purchased by Thalian Hall, Wilmington, NC.
Between 1910 and 1912, Hunt and
New York Studios were repeatedly mentioned in several newspaper articles across
the country. One particular article concerned an electrical apparatus that
enabled one man to handle sixty-five drops. Hunt was part of a group
interviewed about the innovation; again his being in the right place at the
right time. Hunt was chumming around with Martin Beck (manager of the Orpheum
Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New
York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social
networking and always falling in with the right crowd.
In regard to Hunt keeping company
with Beck, Carson and Vincent in 1910, I am including a section of the group
interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star”
quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager
of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical
appliance which makes it possible for one man to handle sixty-five drops. It
operates everything from the stage curtain to the back, gives absolute fire
protection and does the work of an average of twenty stagehands. One man can
operate it. It looks good to me, and if further tests prove it as successful as
the indications are here we will install in all the Orpheum Theatres. ‘The
apparatus for handling drops, consisting of ropes and counterweights, has been
the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum
house. ‘Mr. Bailey has perfected, the first invention, bringing the stage
mechanism up to date. It has been a field neglected by inventors.’
By 1911, newspapers reported,
“Theatrical men and others in Denver have organized a $500,000 corporation to
manufacture a mechanical device, which, it claimed, will reduce the number of
stage hands needed in a theatre by three-fourths, at least. The new corporation
is called the Bailey Fly Rail Machine Company. It is incorporated under the
laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the
inventor of the device. He worked on it several years before he announced that
it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W.
Considine and other vaudeville managers, met in Denver and saw a demonstration
of the apparatus. They appeared to be highly pleased with it. The names of A.
C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft
appear at the prime movers in the matter of incorporation. Mr. Bancroft is an
attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,”
18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem
to have vanished into thin air, as did Hunt’s association with the endeavor.
What remains significant in
terms of theatre history is that Hunt was there, part of the vaudeville
managers who gathered to see Bailey’s invention. He was certainly a mover and
shaker. I will continue with David Hunt’s
story tomorrow.
The front of the Collingswood Scottish Rite includes the original mansion that was built on the property in the 1850sThe design for the Collingswood Scottish RiteMy visit to the Collingswood Scottish Rite on July 13, 2019
In 1991, I encountered a series of Scottish Rite scenic designs
with “Camden, NJ” written on the back. This was while I was processing the
Holak collection for the University of Minnesota Performing Arts Archives as
part of an Undergraduate Opportunities Program grant. The Holak collection was
the second of two Masonic scenery collections that I processed between 1989 and
1991. The Holak collection included a
variety of designs created by “Sosman & Landis” and their eastern affiliate
“New York Studios.”
By 1992, I journeyed to the East Coast for the first time,
newly engaged and visiting my fiancée’s family in Delaware. Unfortunately, there
never seemed to be any opportunity to track down the Camden Scottish Rite, so
it sat on the back burner for a few decades until this month.
Over the years, I would think of the Camden designs every
time we visited friends or family in New Jersey. Opportunity finally presented
itself while I was attending the League of Historic America Theatres national
conference in Philadelphia. I was on my
way back to New Jersey with our eldest child’s godparents when we decided to
stop by and take a look. I had not
scheduled a visit or checked if the building would even be open, just hoping to
catch a glimpse of the fly tower. The Collingswood Scottish Rite was only two
blocks away from the Camden city line and bustling with activity when we
stopped.
There were cars in the parking lot and many exiting the
building – score! This meant that I
might be able to venture in far enough to see the lobby, and possibly the theater. Unbelievably our arrival coincided with the
break between the matinee and evening performances of “Seussical” – not by the
Masons, but by a local community theater group. Although, the idea of a Masonic
version of “Seussical” does make me giggle – “Oh, the Thinks You Can Think!” But
I digress…
Once inside the building, I met with an enthusiastic woman
who eagerly listened to my connection with Masonic theater and then introduced
me to Mary, the woman in charge. She was also delighted to hear my history about
Scottish Rite scenery and promptly offered us a tour of the stage, patiently waiting
while I climbed up to the fly gallery. “Seussical” had not been presented in
the theater due to lack of central air. Instead, it was being presented in the
only air-conditioned space below- the banquet room.
Postcard depicting the auditorium and one stage setting at the Collingswood Scottish Rite.The Collingswood Scottish RiteThe proscenium line at the Collingswood Scottish RiteThe fly gallery at the Collingswood Scottish Rite
After examining the toasty auditorium and stage, we wandered
up to another room where some of the backdrops were stored. I would later learn
that local riggers working touring shows at the Collingswood Scottish Rite demanded
the removal of the historic drops. All this seems very odd and I sincerely hope
that I have misunderstood the chain of events leading up to the removal of the
scenery. In the end, some of the scenes were
gifted to the community theater for productions. The gifted drops have been
repaired and repeatedly used in local theatre productions.
Without being able to unfold any of the drops, or see a
stage book, I had no way of knowing if the Holak designs were ever realized for
this particular venue. The designs may
have simply been for a preliminary proposals.
My host suggested that I contact the Scottish Rite Secretary the next
week and meet with him, specifically asking to see the stage book.
It was not until after the conference ended, that I returned
to the Scottish Rite, scheduling a meeting with the Scottish Rite secretary and
bringing a few LHAT friends. I enjoyed a second tour of the theater before
examining the stage book and chatting with the Scottish Rite representative.
Before the scenery collection was removed, each backdrop had been photographed
and placed in a packet, noting the original line sets. As I slowly flipped
through the packet, I recognized many of the compositions from the Holak
collection.
Folded backdrops at the Collingswood Scottish RiteA design from the Holak Collection, with “Camden, NJ” written on the back.Photograph of the same scene in the Collingswood Scottish Rite stage book
Although the scenery collection is folded up and in storage,
it still exists – for now. There is also
a greater possibility that the historic backdrops may avoid a final resting
place in a dumpster if there is any perceived value of the artifacts; I did my
best and even left a copy of “The Santa Fe Scottish Rite Theatre: Freemasonry,
Architecture and Theatre” for the Scottish Rite Valley library.
The history of the Collingswood Scottish Rite complex is quite
unique and fascinating. The Masons purchased the parcel of land with the intent
of leveling the existing 1850s mansion that remained on the property at the
time of sale. At some point, plans changed and the mansion was not leveled,
just abbreviated; the front portion was left standing to be used as Scottish
Rite offices. The new theater building was then connected to the back of the old
mansion.
Recently, the Scottish Rite sold its building to the city,
reserving the right to maintain the offices and use the lodge room. This arrangement is becoming more common
across the country, as Scottish Rite Valleys sell their buildings for pennies
on the dollar and negotiate with the new owners to still meet in the space. I
remain unsure as to how much the theater is used for Scottish Rite degree
productions, if it is used at all. Remember that the Northern Masonic Jurisdiction
has mostly transitioned from degree productions to video presentations for
instruction. The Collingswood Scottish Rite auditorium hosts a variety of
touring shows, including an upcoming performance by Pink Martini, my new favorite
musical ensemble. The current bookings at the Collingswood Scottish Rite remain
limited to spring, fall and winter due to the lack of any central air.
As I near the end of 1910, it
is time to recap this incredibly busy year in the life of Thomas G. Moses. A
significant event was his falling out with co-worker David H. Hunt during
Joseph S. Sosman’s 15-week European tour. At the time, both Moses and Hunt were
left in charge of the studio, with shops in both Chicago and New York. Hunt was
the company secretary and treasure, whereas Moses was responsible for the design,
construction and installation of all projects.
Postcard from 1910A Postcard dated Dec. 31, 1910
Prior to his departure, Sosman gave
a few days notice, surprising not only Moses, but also the entire staff. Sosman’s
involvement in the daily running of the business was beginning to decline, with
the various duties being delegated to both Moses and Hunt. However, his extended absence put a strain on
the company during an extremely busy period of productivity. Painted settings,
stage machinery and other scenic pieces were being manufactured at a remarkable
rate.
Upon Sosman’s return, Moses
wrote, “About this time, I heard some reports as to what Hunt had reported to
Sosman about my treatment towards him. I
got mad and wanted to quit. Sosman
wouldn’t listen to me. I finally got
cooled.”
Part of Moses’ “cooling off”
involved departing for New York to focus on some projects for Fred Thompson at both
the New Amsterdam Theatre and Luna Park. During this period, Moses wrote, “Hunt
remained away from the [New York] studio for some time, before going back
home. I took a run down to Woonsocket on
the Fall River boat back to Buffalo and Niagara Falls for a day and Detroit for
a day. I arrived June 25th. Sosman had his doubts as to my coming back.”
1910 was the year that Hunt also
started a new company – New York Studios. I have often wondered whether the
tensions between Moses and Hunt were the impetus for the new studio. For New York
Studios, Hunt expected current Sosman & Landis artistic staff to complete a
great deal of the actual work. This meant that New York Studios incurred minimal
overhead expenses as the majority of scenic artists and stage carpenters were
already employed by Sosman & Landis; there was no need to keep a large
staff on payroll, just pay for time spent on the project. Hunt even convinced
Sosman to invest a small amount in his new firm. The corporation papers of New York Studios lists 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 company directors as 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. New
York Studios would become known as the eastern affiliate of Sosman & Landis,
whereas Sosman & Landis would become the western affiliate of New York
Studios.
Advertisement for New York Studios, founded by David H. Hunt in 1910
Projects that Moses directly
supervised during 1910 included stock settings for the Murat Theatre of
Indianapolis, Detroit’s Temple Theatre, the Teatro Degollado in Guadalajara, and Scottish Rite installations
for theaters in Yankton, SD, St. Paul, MN, Denver, CO, and Indianapolis,
IN. During 1910 Moses also designed dozens of settings for touring productions,
including Sarah Bernhardt, Al Ringling, and Frederick Thompson.
As a scenic artist, he was not
only well known, but also at the top of his profession; only 54 years old.
Business was booming and the economy thriving. Little did he realize that there
would be a series of obstacles, one after another, in the ensuig decade.
I return to writing after cleaning up after a flood and attending to other responsibilities.
Joseph S. Sosman was a successful business man. Fame visited him early in his career and his partnership with Landis flourished, growing into a theatrical supply dynasty by the twentieth century. By 1909, Sosman was nearing retirement and he began redirecting his focus on his family. At first, he sought solace at his summer home, staying at their Fairlawn on the north shore of Lake Bluff. Like many other wealthy Chicagoans, the summer season was spent relaxing in the cool shade near a body of water. Although well-deserved, Sosman & Landis studio never recovered from his extended absences.
osman & Landis Scene Painting Studio brochure detail
Maybe it didn’t matter for
Sosman, as he was well established with ample revenue from multiple business
ventures that supported his retirement.
Maybe he was trying to make up for all of the time spent away from his
wife early in his career, when he was traveling the country and painting one
stock scene after another. Mrs. And Mrs. Sosman began to travel in earnest
during 1910. There were no longer children to consider, as their son Arthur,
married in 1906 and was currently living in New York. Mrs. Joseph Sosman
visited the young couple for an extended stay during 1909, possibly signaling
that she was going to start vacationing, with or without her husband (Inter
Ocean, 30 Jan. 1909, page 7). Regardless, Sosman’s absence was acutely felt by
Sosman & Landis employees as the business began to shift focus and become
subject to infighting.
Image of Mrs. Joseph S. Sosman in 1910 from the Chicago Inter Ocean, Jan 30 1909, page 7
In 1910, Moses wrote, “Mr.
Sosman went to Europe on January 30th for an extended trip. It lasted fifteen weeks. He simply informed me that he was going, just
a few days before he went. Never took
the trouble to inform me of any of the details that I should know. He had a good bookkeeper, and I depended on
him a great deal. I did some hustling
while he was away.”
Sosman & Landis main studio
On February 6, the “Chicago
Tribune” noted, “Mr. and Mrs. Joseph Sosman, 1628 Washington boulevard, have
sailed for a trip down the Mediterranean and to points in Europe. They will be
absent for four months” (6 Feb, 1910, page 23). By April 30, the London “Times”
reported that Mr. and Mrs. J. S. Sosman of Chicago recently arrived at the
Waldorf Hotel (Arrivals and Departures, page 1). On May 21, the couple was
again listed as one of the recent arrivals at the Hotel Waldorf in London
(Americans in London, Philadelphia Inquirer, 22 May 1910, page 2).
Image of Joseph Sosman during his European trip. This was one of the postacards that Sosman sent to Thomas G. Moses in 1910
In appreciation for Moses hard
work during his absence, Sosman presented him with “a fine ‘scarab’ that he
bought in Egypt.” Moses had the scarab turned into a stick pin.”
Yet Sosman’s absence for fifteen
weeks in 1909 was a difficult period for Moses, as he did not command the same
respect without his friend and colleague. This was a period of intense
productivity too. Moses remembered, “I had my own troubles with the
stenographer, and old crank that wanted to do everything as Mr. Sosman did
it. She would write Sosman a lot of
worry stuff that I had been keeping from him.
We were going along allright, making a little money.” The stenographer was just one of the obstacle
that Moses encountered during Sosman’s
absence. Athough Moses had control over the aesthetic and production arm of the
company, David H. Hunt retained control over the administrative offices and
expenses.
In his 1910 memoirs, Moses
wrote, “Mr. Hunt was secretary and treasurer, and expected to run the business,
but I wouldn’t allow it. Mr. Hunt kept
on the road most of the time.” And this is where the downfall of Sosman &
Landis commences; Sosman steps out of the daily running of the company, leaving
it to others. Keep in mind that Sosman was a scenic artist; Hunt was not. The additional
problem was that each of Sosman’s staff has a different focus, or endgame, for
the company. In some ways, Moses and
Hunt are diametrically opposed, each with a specific goals; Moses focusing on
the artistic product and Hunt focussing on the profits.
David H. Hunt pictured in 1903, from the Detroit Free Press, 21 May 1903, page 12.
Keep in mind that Moses returned
to Sosman & Landis studio in 1904. This was his final return to the company
after striking out on his own several times with various business partners. The terms for his return in 1904 specified
that Moses gain complete control over the design, construction and installation
of all projects. In other words, he was in charge of the shops and labor. By 1910, Moses had functioned in this capacity
for six years and the company was producing an amazing amount of product.
Hunt had remained a thorn in
Moses’ side for many years, as his treatment of many of good artists prompted
them to leave the studio. This group included the extremely talented John H.
Young, who went on to domnate the Broadway scene as a well known designer. Hunt
had been with the company since the early 1890s and wormed his way into both
Sosman & Landis’ confidence. In
1894, Hunt convinced Sosman & Landis to establish, the theatrical
management firm of Sosman, Landis & Hunt. This was a secondary business
venture; a company that leased theaters and founded touring companies in
Cincinnati, Indianapolis and Detroit.
The firm kept Hunt busy as the primary manager for the endeavor, yet
much of the necessary work was completed by the Sosman & Landis studio
staff from Chicago. Moses’ diaries suggest that Hunt did not treat the artistic
staff well; Artists were swapped and directed to various projects like pawns on
a chessboard, ready to be sacrificed at any point. Hunt had remained on the
administrative end of the studio for his entire career, yet always found his
way into the spotlight and newspaper articles.
By 1910, Hunt also talked Sosman
into investing in a new business venture – New York Studios. That year, Moses
wrote, “Hunt had started a New York studio in New York City and he expected us
to do a great deal of work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A.
Hunt as the President, Edward A. Morange as the vice president, and David H.
Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed
the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with
offices located at 325 W 29th Street,
New York. Business listings noted that theatrical equipment was the primary product produced by the company.
Now there were two scenic studios to consider, on only one Moses.
Around the end of May, Sosman returned to Chicago an
assessed the state of affairs at the studio. Moses returned about the same
time, after completing several New York projects that month. Moses recalled, “I heard some reports as to
what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled… I arrived June
25th. Sosman had his doubts as to my
coming back.
Later Moses added, “Hunt remained away from the studio for
some time, before going back home.” Hunt’s home was in New York.
Nineteenth century scenic artists relied on satisfied clients; this not only helped secure future contracts but also guaranteed repeat customers. William F. Hamilton created scenery for the opera house in Wilmington, North Carolina, during 1896 and 1899. He was linked to the 1909 production of scenery too.
On August 25, 1896, the “Wilmington Morning Star” included the following announcement on the first page:
“Improvements at the Opera House.
“Mr. W. F. Hamilton, scenic artist and stage manager of the Standard Theatre, New York city and his assistant arrive in the city to-day to paint things in general in the Opera House. The present roll-curtain will be converted into a drop curtain, and a new drop curtain will be added. Four new sets of scenery will be painted and other necessary improvements in this line will be made. The theatrical season of 1896-97 promises to be the most successful for many years. The house will open with ‘Jim, the Penman,’ on the 7th of next moth.”
A few years later, Hamilton returned and the “Wilmington Morning Star,” reported “Mr. S. A. Schloss informed a representative yesterday that he had just closed a contract for a new drop curtain for the opera house, to be painted by Mr. W. F. Hamilton, the celebrated scenic artist of the Star Theatre, New York City. Mr. Hamilton was in Wilmington about two years ago and most of the finest scenes now at the Opera House were painted by him” (10 Oc. 1899, page 1).
And then there was his connection with another installation. The opera house underwent a significant renovation in 1909, with the installation of the current proscenium arch, measuring 32’ by 26.’ The work was completed under the direction of commercial lessee S.A. Schloss. In a local newspaper article Schloss explained that he was planning to restore and rehang the original drop curtain.
When I visited Thalian Hall this spring, Tony Rivenbark shared another piece of scenery found tucked away at the theater that looked to date from the early twentieth century. Sitting at the top of a backstage landing was an old book flat. It depicted a wood scene and was intended a masking, or a wing, for the side stage.
The New York Studios stencil on the Thanlian Hall flat in Wilmington, North Carolina, ca. 1910.
A painted detail from the New York Studios flat.
Backside of the New York Studios flat at the Thalian Hall in Wilmington, North Carolina.
Backside of the New York Studios flat at the Thalian Hall in Wilmington, North Carolina.
The New York Studios flat at the Thalian Hall in Wilmington, North Carolina.
The New York Studios flat at the Thalian Hall in Wilmington, North Carolina.
Amazingly, there was a studio stencil on the back of the flat, New York Studios. New York Studios was the eastern affiliate of Sosman & Landis of Chicago, started by David Hunt during the first decade of the twentieth century. In 1910, newspapers verified their increased presence in New York, describing scenery produced by “the well known New York and Chicago artists, Sosman & Landis” (The Times, Streator, Illinois, 14 Sept. 1910, page 5). New York Studios was incorporated on April 8, 1910, and lasted until its dissolution on Dec. 15, 1939.
An ad for The New York Studios from 1927.
In 1904, Joseph Sosman and David H. Hunt convinced Thomas G. Moses to return to Sosman & Landis in Chicago, effectively ending his partnership with Hamilton. Moses fostered many theatre connections along the eastern seaboard after establishing Moses & Hamilton. The success of the from 1900-1904 proved an asset to Sosman & Landis upon his return.
The New York Studios stockholders in 1910 included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. Like many firms, they operated under the name prior to incorporating.
Hamilton continued to work for New York Studios until he permanently moving to San Francisco to focus on Shrine Circus scenery and other large spectacles during the early 1920s. A “Variety” article from November 9, 1921 noted Hamilton’s continued connection to New York Studios that year, while also working for local firms. Under the heading “Hamilton’s Special Events,” the article commented, “W. F. Hamilton, formerly of the New York Scene Painting Studio, came to San Francisco to prepare the scenic equipment of the recent Shrine Circus.” In San Francisco, Hamilton also found work at Flagg Studios.
