Scenic Studio – Page 18 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 858 – Jesse Cox and the Diamond Dye Process

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. In light of yesterday’s post about dye drops, now is a good opportunity to unwrap Jesse Cox’s purported contribution and his scenic art process.

*Diamond Dyes advertisement, date unknown.*

In 1983, Mrs., Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, an happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor of a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s. This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

*Jesse Cox’s paint table at the Theatre Museum in Mt. Pleasant, Iowa. The containers on the table are filled with dry pigment and not dye. Note the dye cabinet on the wall.*

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. They museum staff that gave me a tour of the museum during their off season, did not really Cox’s artifacts or the scenic art painting process.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them” (an I am sure they were before child labor laws). Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.”

So what makes a product indispensable? Availability. In 1915, “The Practical Druggist” included the article, “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book,” noting “Diamond Dyes are unquestionably staple goods for druggists.”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing. Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.”

One might immediately recognize that an enterprising scenic artist who decided to use this readily available material to make theatre scenery would be an immediate benefit to both the company and himself, becoming an example of the versatility of the company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses. Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference.

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows. Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant. Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the one who was credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…

Tales from a Scenic Artist and Scholar. Part 857 – Dealers in Theatrical Goods and Dye Scenery, 1913

While looking for information about scenery delivered by Sosman & Landis in 1913, I stumbled across an interesting publication – “How to Enter Vaudeville” written by the Frederic LaDelle that same year. The content of the book covers a lot of ground, providing an interesting snap shot of the production process and terminology in 1913. There was also a guide to theatre manufacturers, suppliers, and services. The “Dealers in Theatrical Goods,” however, only four studios were listed under “Theatrical Scenery.” I don’t know if this speaks to Frederic LaDelle’s limited connections or if other scenic studios perceived this publication as lacking importance.

The four dealers in theatrical goods were listed in the following order:

1. John C. Becker, 143 Southport Ave., Chicago, Ill.

2. Manning Studio, Rochester, N.Y.

3. Eugene Cox, 1528 Van Buren St. Chicago, Ill

4. W. Crosbie Gill, Warrick’s Theatre, N.Y.

N J. Pausback purchased advertisement space in the book, yet was not listed as a theatrical dealer in the directory. The add was worth mentioning.

N. J. Pausback’s advertisement in “How to Enter Vaudeville.

Here is Pausback’s 1913 ad on “How to Enter Vaudeville:”

“DYE SCENERY! Papier mache properties and stage effects. The best scenery for vaudeville performers is that which is known as ‘Dye Scenery.’ “It is brighter in color and can be folded and packed into trunks and traveling cases without the slightest injury to the scene itself. Dye scenery is also lighter in weight than the old kind and is therefore an important item in reducing excess baggage expense which amounts to considerable in the course of the season. Many acts make good on scenery and stage setting alone, and in such acts as Japanese, Chinese, Western Cowboy, Indian and in fact all impersonations of race or nationality, the scenery should be best. Write me a letter stating your requirements, and the nature of your act and I will submit you a rough sketch and quote you a satisfactory price on your work. N. J. PAUSBACK, Theatrical Contractor 6539 Ellis Avenue, Chicago, Illinois.”

I have continually explored the production of dye scenery in many past posts over he past few years, but it is worth repeating at this particular juncture in the life and times of Thomas G. Moses.

During the first decade of the twentieth century, much traveling scenery was created with aniline dye, allowing drops to be easily folded and packed in a trunk (for additional information, see past posts # 548-550). This process ensured that the painted composition would not crack or dust off during transit and repeated use. Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors also worked well for certain stage effects, such as sunsets and stained glass. All you needed to do was mix the dye with a binder, such as gum arabic. The right mixture provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct or it was a big bleeding mess. Dyes were also used for inking the drawing. It was a wonderful and versatile “go-to” product for painting and staining.

Dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

Painted detail of dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

Dry pigment was also used in place of dyes, applied in a series of thin glazes. Many of the dry colors remained quite vibrant, even when watered down, but were not comparable to certain anilines. The earliest translucencies for the stage were simply produced with a thin glaze of dry pigment, but dry pigment glazes could not hold a candle to aniline dyes in terms of vibrancy.

In the past, I have examined dye drop collections at historic theaters. For example, in Madison, Wisconsin, all of their drops are dye drops, with the majority are kept off stage in a nearby storage room, as there are more drops than lines. Now kept in plastic tubs, each drop is easily accessible to immediately hang for a degree (for more information about this particular installation, see past post #107). There are also several lovely examples of dye drops on display at the theater museum in Mount Pleasant, Iowa. This museum purports that scenic artist Jesse Cox invented the diamond dye process for theatre drops, instigating the immediate popularity of dye drops for touring vaudeville acts and tent shows. Whether or not Cox was the first to popularize dye drops in immaterial, but the increased resulted in dye drop ads, such as Pausback’s in “How to Enter Vaudeville.”

Dye drop at the Scottish Rite Theatre in Madison, Wisconsin.

In addition to vaudeville and tent shows, many circus spectacles also used dye scenery. In 1906, Thomas G. Moses created a dye canopy for Al Ringling (see past post #548). Moses describes how dye work was still vulnerable to water, causing Ringling to greatly chastise him after one particularly sever rain storm. Just because a backdrop was painted in dye did not mean that it could not be water damaged. A dye drop simply helped the painted composition stand up to excessive wear and tear, it did not make it water proof; an application of paraffin helped waterproof canvas outdoors.

Over the years, dye drops have made their way into various performing arts collections. The historic examples greatly range in both size and quality. However, it is the brilliance of color that often remains, bringing to mind the spirit an energy that characterized many touring shows that left their mark on small Midwestern towns. I will continue down the dye drop road and Jesse Cox’s perceived role in this history tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 848 – The Fort Wayne Scottish Rite, 1913

In 1913, Thomas G. Moses wrote, “Took a quick trip to Fort Wayne and settled for a lot of Masonic work at the Temple.”

Postcard of the Fort Wayne Scottish Rite Cathedral.

Over the past few years, I have repeatedly mentioned the Fort Wayne Scottish Rite. Like many other Scottish Rite stages, their scenery collection was a compilation of backdrops produced by more than one scenic studio over the years. This is not unusual. It was common for Scottish Rite clients to make multiple purchases over a period of years or decades, repairing, replacing and sometimes upgrading their stage work. Masonic scenery collections are like patchwork quilts, all composed of different fabric squares with their own history.

Sosman & Landis records note that they delivered scenery to the Fort Wayne Scottish Rite in 1907 and 1913. The first scenery was delivered prior to the completing the 1909 building. Keep in mind that the Santa Fe Scottish Rite ordered a fill set of scenery for practice prior to the opening of their new building. In Fort Wayne, additional scenery for the 1909 building was delivered by Toomey & Volland, not Sosman & Landis. However, it is very likely that some of the original 1907 Sosman & Landis backdrops were transferred to the new stage in 1909.

1909 Program from the Fort Wayne Scottish Rite.

Program from the 1909 opening of the Fort Wayne Scottish Rite Cathedral.

Toomey & Volland delivered scenery to the Fort Wayne Scottish Rite in 1909 and 1945. The 1909 stage was unveiled at the consecration and dedication ceremony of the Scottish Rite Cathedral on Nov. 17, 1909. The three-day fall reunion coincided with this event. Furthermore, a 1912 advertisement in the “The New Age Magazine” credited Toomey & Volland with the stage scenery installed at the Fort Wayne Scottish Rite. Moses’ 1913 entry in his diary, “Took a quick trip to Fort Wayne and settled for a lot of Masonic work at the Temple” meant that their membership was rapidly growing.

The Fort Wayne Scottish Rite building was described after it opened in the “Kansas Republic” (December 2). The article noted, “The dedication was held at the regular time of the fall meeting of the consistory for the Valley of Fort Wayne, and 300 took the Scottish Rite degrees. Degrees were given from the fourth to the Thirty-second. Heretofore this valley had no jurisdiction beyond the eighteenth degree, and the degrees from the 19 to 32 were conferred here for the first time. As the consistory has already nearly 1,100 members, the Fort Wayne consistory has become one of the largest in the country” (Kansas City, Dec. 2, 1909). This information suggests that the original Scottish Rite scenery in Fort Wayne by Sosman & Landis (1907) was for the 4^th-18^th degrees and delivered prior to the construction of the new building. Toomey & Volland produced the 19019 scenery used in the 19th -32nd degree productions, delivering it to the new stage.

The “Kansas Republic” article further described the new Scottish Rite Cathedral in Fort Wayne: “The cathedral is three stories high, with a spacious basement. The ground floor will be the banquet and ballrooms, with galleries. The social rooms are on the second floor, which is also provided with quarters for the ladies. There is also a room for the Mystic Shrine. The third floor is occupied by the consistory auditorium, which is arranged on the stadium plan with tiers of opera chairs rising steeply, so that those in the rear seats can all see the work on the large floor below. There are seats for nearly 600 in this auditorium. The organ loft is in the north and at the south end there is a spacious stage provided with scenery, the work of a St. Louis firm.” The “St. Louis firm” mentioned was Toomey & Volland.

There are many reasons why the Fort Wayne Scottish Rite may have reached out to Sosman & Landis for new scenery in 1913. If Toomey & Volland could not complete the project in the allotted timeframe, they likely recommended Sosman & Landis. Demand for painted scenery was still greater than supply, making for friendly competition.

Big events were continually planned at the Fort Wayne Scottish Rite too, also providing an incentive for new stage settings. In 1913, the “Fort Wayne Sentinel” announced “Masons Gather in Fort Wayne, Spring Scottish Rite Meeting Attracts Large Number of Visitors” (15 April 1913, page 2). Scottish Rite Masons from Northern Indiana and the Fort Wayne area gathered for the opening session of the annual spring convocation in 1913. Several hundred Masons attended the spring convocation that lasted three days. As Scottish Rite membership skyrocketed in the early twentieth century, additional scenes for degree productions were continually added to existing collections. This practice was common as Scottish Rite bodies continued to focus on superior membership experiences during ceremonials.

In 1914, the “Fort Wayne Sentinel” announced that the Scottish Rite had added a degree production. This is likely the degree that used new scenery produced by Sosman & Landis, first mentioned by Moses in his 1913 diary entry. On Nov. 17, 1914, the article headlined “TO GIVE DEGREE FOR FIRST TIME. Scottish Rite Convocation Opens With Class of Good Size” (Fort Wayne Sentinel, page 9). The article continued, “The annual fall reunion of the Fort Wayne Scottish Rite bodies opened at the Scottish Rite cathedral Tuesday afternoon with the conferring of the degrees of Fort Wayne Lodge of Perfection upon a class of half a hundred candidates. Many Scottish Rite Masons of prominence are in the city to attend the reunion. Fort Wayne consistory has added another exemplified degree to its list, and the present class will be the first one in the city to receive the exemplification of the Twenty-second degree. It will be given late Wednesday evening, and the reunion will come to a close on Thursday evening.”

The Sosman & Landis’ design for the 22^nd degree was known as “The Carpenter Shop.” I have documented a few of these scenes over the years, with the earliest example being in Cheyenne, Wyoming, from 1911. The 22^nd setting did not require a specific composition prior to this time. Many Scottish Rite valleys simply set it in the woods, using props to suggest a carpenter’s shop, and not an interior shop. However, adding new settings, or staging new degrees, facilitated the continued growth of the Rite during this time. Something new, such as the staging of a new degree, prompted old members to return and new members to join. It is a standard marketing technique, repackaging the experience in a way, or creating a superior ceremonial experience. The Northern Masonic Jurisdiction became experts at this approach, rewriting and restaging many degrees over the years. The Southern Jurisdiction seldom revised, but for a long time continued to expand on the experience.

I have to wonder if Scottish membership decline was partially due to the fact that the Fraternity stopped trying to improve individual experiences for each member. I don’t mean that there was an overt attempt NOT to care about the degrees or expansion of the membership, but many Southern Jurisdiction Scottish Rites stopped a variety of practices during the late 1920s, including the investment in fraternal paraphernalia and new degree settings. Overall, the development of new scenery for degrees comes to a screeching halt by the late 1920s. Some cite the Great Depression or military conflicts as a reason, or various progressive movements and a general backlash against what some consider conservative establishments. Regardless of the circumstances, there is a fundamental change in Scottish Rite leadership beginning at this time, one that still continues until today.

At one point, Masonic membership was primarily composed of young men, men in their prime and full of ambition and ideas. That is not meant to say that there were not older members in leadership roles. The organization may have been guided by older and more experienced members, but was expanded by younger enthusiastic visionaries. I think of what Bestor G. Brown accomplished before passing away in his 50s. His contribution to the growth of the Fraternity was providing a superior experience for its members but constantly improving the individual experience.

The focus seems to shift away from the continued improvement of individual member experience to the emphasis as the organization as a benevolent benefactor, or public persona. The social perception of the fraternity as a whole seems to become a major driving force in decision making after WWII.

One example that continues to divide the Fraternity is large charitable donations that are given away to non-Masonic groups. This is happening at a time when lack of financial assistance causes many Masonic lodges to close, the same lodges that continue to donate much of their funding to those outside of the Fraternity.

While a dwindling membership continues to raise massive funds for Masonic charities, lodges close due to lack of funds. At some point the gravy train will come to an end and charitable donations cease when there are not enough lodges to raise money. The thousands of dollars generated from pancake breakfasts and other activities will end when there is no longer the membership to staff each event. Ultimately, each lodge that closes is one less lodge that will contribute funds to Masonic charities. As what point does a lodge fundraise for themselves or their building repairs, just to keep their doors open and focus on the membership experience? I think of the well-known story of the carpenter who lives in a cardboard house and this seems to be happening in many regions.

To be continued…

Travels of a Scenic Artist and Scholar. The Twin City Scenic Co. Collection at the University of Minnesota.

For well over a year I have posted a historic stage setting every day to my Facebook group “Dry Pigment.” This post is then shared with other groups for digital dissemination, but not here. I often group stage compositions on a theme, posting one version after another over the course of a week. In the past I have covered landscapes, seascapes, palaces, dungeons, hell scenes, cathedrals, and much more. The images are often from scenery evaluations that I completed over the past few decades while traveling throughout the United States of America.

I return to the life and times of Thomas G. Moses tomorrow on November 11, 2019. For the past week, I have been sharing my Dry Pigment Facebook Group posts, as it helps illustrate the scenic aesthetic that I write about each day.

I primarily post daily pictures of historic backdrops each day for my fellow scenic artists, many of whom were not exposed to this history during their training. I always hope that this small and consistent gesture will help others with their future projects and research.

Today’s Dry Pigment post looks at two sketches created by the Twin City Scenic Co. of Minneapolis, Minnesota, now stored at the University of Minnesota – Twin Cities. They are part of the Twin City Scenic Company collection and also part of an online database. Although the database has become increasingly difficult to navigate after changing servers recently, it is still worth checking out. Here is the link: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

Same drop curtain without Masonic emblem, showing that both commercial theatre and the fraternity used the same stage settings.

Travels of a Scenic Artist and Scholar. Twin City Scenic Drapery Co. Landscape

While I take a break from the life and time of Thomas G. Moses until November 11, 2019, I am going to share my Dry Pigment FB Group posts. It helps illustrated the scenic aesthetic that I have been writing about for over three years.

Today’s Dry Pigment post looks at a backdrop created at the Twin City Scenic Drapery Co. of Minneapolis, Minnesota, now stored at the University of Minnesota – Twin Cities.

Stencil on back of drop identifying the scenic studio as Twin City Scenic Drapery Co.

Twin City Scenic Drapery Co. drop detail.

Twin City Scenic Drapery Co. drop, rolled out on the floor.

Travels of a Scenic Artist and Scholar. The Twin City Scenic Co. in Milton, North Dakota

I primarily post daily pictures of historic backdrops each day for my fellow scenic artists, many of whom were not exposed to this history during their training, or friends who are completely unfamiliar with this form of American popular entertainment. I always hope that this small and consistent gesture will help others with their future projects and research.

Today’s Dry Pigment post looks at the source, design and final backdrop created at the Twin City Scenic Co. of Minneapolis, Minnesota, for the opera house in Milton, North Dakota

Twin City Scenic Co. design, now part of the Performing Arts Archives, University of Minnesota, Twin Cities.

Drop curtain in Milton, North Dakota, by the Twin City Scenic Co. This was a slide taken by Prof. Emeritus Larry Hill.

Travels of a Scenic Artist and Scholar. Twin City Scenic Co. Scenery in Virginia, Minnesota

I primarily post daily pictures of historic backdrops each day for my fellow scenic artists, many of whom were not exposed to this history during , or friends who are completely unfamiliar with this form of American popular entertainment. I always hope that this small and consistent gesture will help others with their future projects and research.

Today’s Dry Pigment post depicts an asbestos curtain produced by a the Twin City Scenic Co. of Minneapolis, Minnesota, for the opera house in Virginia, Minnesota.

Peep hole for actors. Scene by the Twin City Scenic Co.

Standard stencil to identify manufacturing studio. Scene by the Twin City Scenic Co.

Have a great day!

Travels of a Scenic Artist and Scholar: The Twin City Scenic Co., Design and Backdrop

Today’s Dry Pigment post depicts a palace interior produced by a the Twin City Scenic Co. of Minneapolis, Minnesota.

Design by Twin City Scenic Company of Minneapolis, Minnesota.

Detail of backdrop painted by scenic artists at the Twin City Scenic Company of Minneapolis, Minnesota.

Travels of a Scenic Artist and Scholar. My Posts to Facebook Group Dry Pigment

Today’s Dry Pigment post depicted a landscape produced by a Minneapolis Scenic studio that also had regional branches in other cities, such as Detroit, Michigan.

Backdrop produced by the Twin City Scenic Co. of Minneapolis, Minnesota.

Detail of backdrop produced by the Twin City Scenic Co. of Minneapolis, Minnesota.

Have a great day!

Tales from a Scenic Artist and Scholar. Part 838 – The Garden Pier Theatre, Atlantic City, 1913

Garden Pier, Atlantic City, New Jersey, 1920.

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.

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).

Garden Theatre program listed for sale online.

To be continued…