School Scenery – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1198 – The San Jose Scottish Rite, 1924-1925

In 1924, Thomas G. Moses wrote, “Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we soon reached the 3^rd Street Station just in time to catch a train for San Jose…It took us eight days to close a $7,000.00 contract.” Moses was working with Fitch Fulton to land Scottish Rite contracts in 1924. In addition to San Jose, California, their projects included Scottish Rite scenery for Fort Scott, Kansas and Pasadena, California.

*Ground breaking for the Scottish Rite building in San Jose, California.*

The groundbreaking ceremony for the San Jose Scottish Rite was announced in the “Salina Daily Index” on Feb. 20, 1924. The article reported, “Work on Scottish Rite Temple Progressing Rapidly.” The construction went quicker than the contract negotiations. Like most Scottish Rites at this time, discussions were drawn out until the last possible moment. This never worked well for either the scenic studio or client. In the end it everything was rushed through, greatly taking its toll on the artists and installers.

In 1925 that Moses recorded, “We finally received out contract back from San Jose after they had it a month, which settled the matter of our going there immediately after we completed Pasadena.” The San Jose Scottish Rite was scheduled to open at the beginning of May.

That spring, Moses wrote, “I started for San Jose on March 27^th and found Naile had everything in good shape. Fulton and I got busy immediately, got a good start and pounded away pretty steadily until April 18^th”. It was at this point that Moses’ health troubles came to a climax and he was rushed to hospital by Dr. Moore and Fitch Fulton. He wrote, “All through my illness, I had to keep work going and had to ask the Madam to see that the salaries were paid and the work at the Consistory did not stop. It was opened on time and we were through on April 27^th, a few days before my second operation.” Moses’ second operation was on May 1, 1925, with him recovering at the hospital all month. He was not released until May 30.

The San Jose Scottish Rite Temple opened on May 8, 1925. On May 10, 1925, the “Oakland Tribune” announced, “Masons Dedicate San Jose Home.” The article reported, “Formal dedication of the new $450,000 San Jose Scottish Rite Temple was made last evening with Sovereign Grand Commander J. H. Cowles, highest ranking Mason in the United States, as guest of honor. The dedication ceremony followed a banquet in honor of Cowles and Sovereign Grand Inspector W. P. Filmer. Scottish Rite Masons and their ladies only were in attendance, and the big new temple at Third and St. James streets was packed to capacity for the rites.”

By 1926, Thomas G. Moses wrote, “During this year, I have had the opportunity to paint several large canvases to be presented to Masonic Temples and school boards. I presented one large canvas to the San Jose Consistory.” He also presented paintings to the Tacoma Scottish Rite, the Board of Education at Johnstown, Pennsylvania, and Saint Francis Academy of Joliet.” His paintings included the inscription “Compliments of Sosman & Landis.” Of his gifts to various clients, Moses wrote, “While these are all in the line of business, it gives me the opportunity of painting them.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1191 – Johnstown, Pennsylvania in 1924

In 1924, Thomas G. Moses wrote, “…made my way to Johnstown, Pennsylvania, to meet Mr. Wehn, Secretary of the Board of Education. We went up into the hills and I made two sketches, which I afterward presented to him.” That spring, newspapers reported, “Jamestown’s School Cost Takes Big Jump” (The Warren Tribune, 8 May 1924, page 12). From 1919-1924, the cost for operating the public schools in Jamestown increased 13 percent. Class sizes were getting bigger as the town expanded. There was a similar situation all over the country as schools were continually planned and built.

*Postcard of the Johnstown High School in Pennsylvania*

Later in 1924, Moses wrote, “Our work is running to schoolhouses and parochial halls.”

New school buildings meant that there was in increased demand for stage scenery and draperies in these academic facilities. Although the projects were much smaller than touring productions and Masonic projects, these school auditoriums offered a constant stream of work.

Stages were also being outfitted with new equipment and scenery throughout Pennsylvania. In Harrisburg, Pennsylvania, on the “Evening News” reported, “New scenery and a new curtain was yesterday set up on the auditorium stage at the High School building. The equipment will be used the first time tomorrow evening for the opening performance of “The Charm School,” the senior class play” (March 26, 1924, page 4).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1165 – Thomas G. Moses and High School Scenery, 1923

In 1923 Thomas G. Moses wrote, “We had some very good work for the Public Schools of Dubuque, Iowa, and we put in extra effort to please them as it was a $6,000.00 contract.” $6,000 in 1923 is today’s equivalent of approximately $92,000 – a sizable project for a studio that was preparing to close.

*Dubuque Senior High School in Dubuque, Iowa.*

The 1923 Sosman & Landis project was for the Dubuque Senior High School auditorium. The newly-constructed building was formally dedicated on February 9, 1923. It was an impressive structure, albeit looked somewhat like a fortress.

On March 9, 1923, the Gazette reported,

“PUBLIC TO INSPECT NEW DUBUQUE SCHOOL TONIGHT.

Dubuque’s new senior high school building, erected at a cost of $715,000, will be formally thrown open to the public tonight. Classes have been conducted in the building since Feb. 20. An interesting program will be staged in the auditorium, which seats 1,200 persons” (page 2). The High School’s dedication ceremonies drew a massive crowd of approximately 4000, twice the number that would fill the new theater. Attendees at the event had to be split between the auditorium and gymnasium, with program speakers going from one location to the other.

That year 733 students were enrolled at Dubuque’s new high school, and the number kept climbing over the decades. The building has survived, and today is home to more than twice that number. The high school’s current theater is known as the Lamb-Hedeman Auditorium. In 2006, the space was completely renovated. None of the original features or décor of the 1923 auditorium remain. Any Sosman & Landis scenery installed in the Dubuque Senior High School in 1923 is long gone.

There 1920s were a turning point for many scenic studios and other theatre manufacturers. They began to target a new client – schools. As the demand for painted scenery continued to decline, studios desperately searched for other opportunities and projects. In the 1920s, school contacts offered the much-needed income for struggling firms. High school theaters also offered an affordable space for many community productions. Some studios formed entire departments to deal with school projects. The Twin Cities Scenic Co., even published an entire brochure about their completed stage installation for schools and high schools.

*A list of schools and colleges equipped with stage scenery by the Twin City Scenic Co. of Minneapolis, Minnesota.*

Many academic stages were constructed fo multipurpose use and there was in increased demand for fabric draperies. In some cases, draperies were used in lieu of painted scenes, reducing the overall expense of school productions.

*Stage setting incorporating fabric draperies into the design.*

Sosman & Landis delivered scenery to another another high school stage in 1923. It was for a two-night production by the Y. W. C. A. in Shamokin, Pennsylvania. On April 11, 1923, the “Shamokin News-Dispatch” reported:

“BETTY WHO

Two-act Modern Musical Comedy

to be Given at the High School April 23 and 24.

Scenery – New scenery made by Sosman & Landis of Chicago.”

*Advertisement from the “Shamokin News Dispatch,” 19 April 1923, page 5.*

Big names were brought in for this fundraising event. In addition to Sosman & Landis, Eaves of New York and Lester of Chicago were responsible for the costumes. Wigs were attributed to Schmidt of St. Louis. On April 24, 1923, the Shamokin News-Dispatch” reported, “The musical comedy, produced under the personal direction of Madame Mabel Chenault, was arranged for the benefit of the building fund of the Y.W.C.A.” (page 2). 300 locals were included in the cast. The show was advertised having catchy music, spectacular dances, splendid scenery and gorgeous comedy” (Shamokin News-Dispatch, 21 April 1923, page 7).

I am including a few high school designs by the Twin City Scenic Co. in the 1920s. They are part of the Performing Arts Archives, University of Minnesota.

*Twin City Scenic Co. design for scenery delivered to Logan High School in, LaCrosse, WI, 1928.*

*Twin City Scenic Co. design for scenery delivered to the Mays Landis High School in Hamilton Township, NJ, 1928.*

*Twin City Scenic Co. design for Garnet High School in Charleston, West Virginia, 1929.*

*Twin City Scenic Co. design for draperies at the Peekskill High School in Peekskill, New York, 1929.*

*Twin City Scenic Co. design for high school stage draperies.*

Here is the link to the Scenery Collection database: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

To be continued…

Tales from a Scenic Artist and Scholar. Part 977 – Measles, 1918

In 1918, Thomas G. Moses wrote, “In March we did a lot of work for the production of “Cinderella,” to be put on in Oak Park at the High School.” Unfortunately, an outbreak of the measles closed down the school production that month. On May 12, 1918, the “Chicago Tribune” reported, “The opera ‘Cinderella,’ which was to have been given by students from the Oak Park High School has been indefinitely postponed because of an epidemic of measles among the cast. Three members of the cast are ill” (page 3).

There is no indication that the show was ever rescheduled. However, I did encounter an informative article about measles and the recommendation to wear facemasks. In light of our recent situation with COVID-19, this seems like a timely article to share. After all, the Spanish Flu would follow on the heels of the measles epidemic.

The “Chicago Tribune” included a medical section entitled, “How to Keep Well by Dr. W. A. Evans.” On Nov. 18, 1918, Dr. Evans addressed “The Measles Question” (page 8).

From the “Chicago Tribune” November 18, 1918.

He wrote to following advice:

“Ask the average man on the street about measles and he will say, ‘Oh, fiddlesticks – don’t amount to a row of pins!’ Ask and health officer the same question and he will say, ‘Very important health department question.’ More children die from measles than from any other form of contagion. It kills more children than diphtheria or scarlet fever. Ask any school principal and he will reply: ‘I don’t know about the severity of the disease, but I know that it upsets the schools more than any other disease.’ Now here are three options, no two which are the same and two almost directly contradictory. All the answers are honest. Why the difference? Measles starts like an ordinary cold. Within a few hours this particular cold differs from an ordinary cold in that the eyes get red. It also differs in degree in that there is more dry cough. In an ordinary cold the cough does not come on until a few days after the nose cold. In the family is accustomed to using a thermometer it will find that the measles cold causes the higher fever of the two. After about three days the measles eruption begins to appear, starting first on the face. The disease is most contagious in the period before the eruption.

As to all those points there is no disagreement In fact, most parents and some school officials say measles is so contagious in this early stage that there is not use trying to stop an epidemic once the disease starts. In this Col. Raymond of the army replies by telling of a time when measles broke out in a command of which he had medical charge. At once he locked all the cases on one house and all the contacts in another barracks and marched the bulk of the command away. The epidemic stopped short.

The mother who has had fortunate experiences with measles in her family tells of a few days of fever and hollow cough, then fading of the eruption, disappearance of fever, and stopping of the hollow cough in about ten days. In this the health officer agrees, but he adds so many children get what are known as complications that the number of deaths form measles in half the United Sates in 1916 was 7,946 and other deaths, really from measles but entered on the record as bronchitis, pleurisy, lung abscess, empyema, but really due in the first instance to measles would bring the total up to at least 16,000.

And right there is where the disagreement comes in. The average man on the street does not know about these cases that went wrong. The health officer knows about them because the death certificates go through his hands and he has been studying them. In olden days we said that the ‘measles struck in’ or that the patient ‘caught cold.’ Recent work indicates that what happens is that the patient gets an infection with a pus coccus called streptococcus hemolyticus.

One great advantage of the discovery is that along with it comes another one having to do with prevention. Not only must the other members of the family be protected against the measles patient, but the measles patient must be protected against them. When measles has him down streptococci from the throats of well members of the family are prone to jump on him and convert a mild disease to a severe one.

To prevent this the patient should wear a face mask. The members of the family in contact with the patient – the mother and those nursing and helping – should wear face masks. Cultures of the throats of the well should be made. Those having no streptococci in their throats and having had measles can take off their masks and stay at home. Those negative as to streptococci and with a history of having had measles can come home if they have been sent away. Those with streptococci in their throats should be sent away. If it is absolutely necessary that any such should stay at home they must wear face masks with care as to minute details.”

From “The Dispatch,” Moline, Illinois, 18 March 1918, page 8.

In regard to the measles and streptococcal co-infections of 1917-1918, David M. Morens and Jeffrey K. Taubenberger published a paper in 2015 – “A forgotten epidemic that changed medicine: measles in the US Army, 1917-18.”

Here is the abstract in case you want to read it: A US army-wide measles outbreak in 1917-18 resulted in more than 95,000 cases and more than 3000 deaths. An outbreak investigation implicated measles and streptococcal co-infections in most deaths, and also characterized a parallel epidemic of primary streptococcal pneumonia in soldiers without measles. For the first time, the natural history and pathogenesis of these diseases was able to be well characterized by a broad-interdisciplinary research effort with hundreds of military and civilian physicians and scientists representing disciplines such as internal medicine, pathology, microbiology, radiology, surgery, preventive medicine, and rehabilitation medicine. A clear conceptualization of bronchopneumonia resulting from viral-bacterial interactions between pathogens was developed, and prevention and treatment approaches were developed and optimized in real time. These approaches were used in the 1918 influenza pandemic, which began as the measles epidemic waned. The outbreak findings remain relevant to the understanding and medical management of severe pneumonia. Here is a link to the paper: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6617519/

When safety signs were issued from public officials to warn of contaminated homes and businesses. From the Measles. From “The Daily Chronicle,” 9 Feb. 1918, page 6.

From the “Evening Telegraph,” Dixon, Illinois, 18 Feb 1918, page 4.

To be continued…

Tales from a Scenic Artist and Scholar. Part 971: St. Edmund’s Parochial School, 1918

In 1918, Thomas G. Moses wrote, “The new St. Edmond’s Parochial School within two blocks of our home needed scenery, so I got a little line from one of the Parishioners. Met Father Code and he was willing to spend $600.00, but wanted a figure curtain. I had a fine wood cut of “The Landing of Columbus” which he selected, and we were very successful in getting a very good curtain. He was well pleased with it.” Moses was referring to Rev. Msgr. John J. Code of St. Edmund, the first Catholic Parish in Oak Park, Illinois. St. Edmund’s Catholic School opened in the fall of 1917 and operated until 2016.

Code was appointed by Archbishop James Quigley to organize the Oak Park church, serving from June 1907 until October 1956. Father Code made plans to construct a school on the corner of Oak Park Avenue and Pleasant Street in Oak Park and selected architect Henry J. Schlaks. Schlaks designed the new school after the Palace of Justice in Rouen, France.

The cornerstone for St. Edmund’s school was laid on May 20, 1917, with dedication ceremonies on October 14 of that year. The original structure had five classrooms, one of which housed the nuns; the Dominican Sisters from Adrian, Michigan were the instructors. A convent was later purchased for the nuns on the southwest corner of Euclid and Pleasant Street. Over time the school expanded to 17 classrooms. An annex to the school was completed in 1948, with four new classrooms, a music hall and library. In 1959 and a modern two-story addition was added on the south. Unfortunately enrollment declined for a variety of reasons by the twenty-first century.

On Jan. 13, 2016, the “Chicago Tribune” reported, “The Chicago Archdiocese has announced that one more school will close at the end of the academic year, just one year short of celebrating its centennial. St. Edmund Catholic School in west suburban Oak Park could not overcome years of declining enrollment and financial difficulties, the archdiocese said. There are three other Catholic schools in Oak Park: Ascension, Sr. Giles and St. Catherine Siena-St. Lucy.”

Here is the current website for the church: http://www.stedmund.org/

To be continued…

Tales from a Scenic Artist and Scholar. Part 945 – Oak Park High School, 1917

The demand for school stage scenery increased in the early twentieth century in a similar fashion as that for fraternal stage scenery. A dramatic increase in orders began during the second decade of the twentieth century. Schools were not a new client, but many more academic institutions begin to produce stage shows, necessitating the purchase of stock scenery and specialty settings for school productions.

In 1917, Thomas G. Moses wrote, “Closed with Oak Park High School for $675.00, the first they have bought for their stage.” On May 4, 1917, the “Chicago Tribune” announced, “High School to Give Opera. Oak Park High School will present ‘Hansel and Gretel’ this evening at the high school auditorium. A school orchestra of fifty pieces will accompany the cast” (page 11). Of the actual production, I have only uncovered the one article. The auditorium was only a decade old when Sosman & Landis delivered scenery in 1917, likely for the upcoming production of “Hansel and Gretel.”

Scenery produced by Sosman & Landis on the Oak Park High School stage. From a production Ernest Hemingway was in during 1917.

Oak Park opened a new high school in 1907. That same year the school’s orchestra was founded. It was also one of the first schools to offer credit toward graduation based on student performance in the orchestra.

The new building was designed to hold 800 students and was located at East and Ontario Streets. However, by 1908, the school was deemed defective and needed extra work; the concrete floors were inadequate to carry the necessary weight and the contractors were sued. This is likely the reason that the school did not order any painted scenery until 1917. Additionally, in 1916, the original Oak Park school building was sold for $25,000 and subsequently provided funding for a variety of projects.

As I looked at school activities during 1916-1917, this was the same period when Ernest Hemingway was contributor to the school newspaper and literary magazine. Some of his works were included in “Hemingway at Oak Park High: The High School Writings of Ernest Hemingway, 1916-1917.” Hemingway played the role of Richard Brinsley Sheridan in his class’ performance of “Beau Brummel” at Oak Park High School; he graduated in 1917. His sister Marcelline was a member of the Drama Club. Here is an interestingly link to Hemingway’s High School graduation: https://www.huffpost.com/entry/hemingways-high-school-graduation-100-years-later_b_59144a0ee4b016248243f1ff?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAE6eeE3ka8HhzZSB_FdpafZR0hncAj0sZbi5r4FHl3D5_qSW2XMBOgJHA5k7IQuFQQ5DaluarnAzGVegYWkez79SuhNf3ELLWUgKPcGjnIODIBV9hQGoPeNtifjGu11ZJcXp5pcVYQ85WUPsekX9LlF8MCISoewN1b9FrvK2yuWt

Ernest Hemingway was an Oak Park High School graduate in 1917.

In 1917, local Oak Park real estate listings noted that the Oak Park high School was “one of the best in the country” (Chicago Tribune, 1 April 1917, page 74). The history of the Oak Park High School is quite interesting in itself. Oak Park was the home to many artists and architects who worked in Chicago; a short train ride to downtown. Oak Park was an affluent area with famous names.

To be continued…

Tales from a Scenic Artist and Scholar. Part 920 – Thomas G. Moses and the Triangle Club, Princeton, 1916

I am reposting this installment, as it has been a month since I switched over to “Travels of a Scenic Artist and Scholar” on my way to Colorado.

In 1916, Moses wrote, “Thanksgiving Day at Pitt’s, with brother Frank, which was a surprise to me, and we had a fine time. Next day I had to go to Princeton to see about installing the scenery for the Triangle Club. The boys were highly pleased with it, as it was very odd.”

The Triangle Club was a theatre troupe at Princeton University. By 1916, the organization had presented annual musical shows for about twenty years. That December, the club presented “Safety First,” a comic opera burlesque by F. Scott Fitzgerald. The show was also advertised as a futuristic farce. As an undergraduate at Princeton, Fitzgerald wrote three shows for the club between 1914 and 1917.

In the article “Rah!Rah!Rah! The New Princeton Show,” there was a little more information about scenery that Moses considered “odd.” The article reported, “The type of scenery used has never been employed in any musical comedies of this country. It was arranged by Bakst, designer for the Russian ballet. Massive blocks of bold colorings have been employed throughout so as to gain an effect of the greatest contrast possible. The effort was made to make the actors themselves stand out more in the foreground, and the situations realistic without aid form the stage setting” (The Theatre, 1917, Vol. 25, page 80).

The article further described the production: “From the mystical prologue to the final satirical drop of the curtain, [this] is a musical comedy which speaks rather of the twenty-first century than the twentieth century. It is daring and done with finesse and polish that relieves it of any touch of the outré. The show is a plea to waft the audience to the land of the future – a land in which all our modern absurdities have been carried to their logical conclusions indicating that society should examine carefully each new idea before accepting it as bona fide. The idea of the lyric should be to proceed more carefully, looking before we leap, and thus practicing ‘Safety First.’”

The Triangle Club’s production of “Safety First” toured all across the country that year. The cast of 65 traveled 3,000 miles and performing in eleven cities. They traveled by special train referred to their “a hotel on wheels.” On Dec. 3, 1916, the show played in Pittsburgh at the Schenley Theater; it was the ninth of the eleven cities. Other locations included Brooklyn’s Academy of Music, Baltimore’s Lyceum Theatre, and New York’s Waldorf-Astoria. “Safety First” was reported to be “one of the most completely equipped plays” produced by the Club (Pittsburgh Press, 3 Dec. 1916, page 15). There is no mention of Sosman & Landis’ scenic contribution other that by Moses in his memoirs.

The Triangle Club’s production of “Safety First,” from “The Theatre,” 1917, Vol. 25, page 81.

As with Purdue’s Harlequin Club, men played the female roles. In girl’s parts Mr. W. M. Bowman played Betty Howard and Mr. W. J. Warburton played Cynthia Mars.

The “Baltimore Sun” described the production on 17 Dec 1916 (page 31). The article included a picture of Paul D. Nelson, president of the Princeton Triangle Club and leading man in “Safety First.” Here is the rest of the article from the “Baltimore Sun:”

“On Wednesday evening the Princeton Triangle Club will make its annual bow to the theatre-going public of Baltimore at Albaugh’s Lyceum Theatre, Although an amateur organization, this well-known college dramatic club has for years set a standard of professional excellence and the play this year, entitled ‘Safety First,’ is reported as well up to that standard. The play is a satire on modern conditions and a burlesque on some of the modernist ideas. The action takes place in the futuristic art community of Arden and deals with a counterfeit art school run by a former convict named Howard. The lyrics, written by F. Scott Fitzgerald, serve to carry on the general idea conveyed by the show, that of satire and burlesque on certain foibles and fads of the day – mostly feminism, futurism, and prison reform. One of the characteristics of the show, and of all Triangle Club productions, is that it is the work of undergraduates throughout. Not only are the play and lyrics composed by students at the university, but the entire personnel of the company is made up of undergraduates, including the cast, flirtatious girls, chorus and pony ballet, orchestra and the lowly electricians, property men and ‘mistress’ of the wardrobe. The scenery and costumes are also designed by members of the club.” The designs were the work of club members, but the manufacture of the stage settings were delivered by Sosman & Landis, installed under the supervision of Thomas G. Moses after Thanksgiving Day in 1916.

Of the scenery, “Brooklyn Life” reported, “the stage settings were most attractive” (23 Dec 916, page 12). “The Brooklyn Citizen” elaborated that there were “a variety of striking scenic effects” and stage settings were “unique”…One innovation is in scenery. Instead of one set for the play there are three distinct scenes, with a special drop curtain for the prologue.” (3 Dec 1916, page 10). The drop curtain was provided by Miss Katherine Maxey in the “Bakst style.” More on Maxey tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 920 – The Triangle Club, Princeton, 1916

As with Purdue’s Harlequin Club, men played the female roles. In girl’s parts Mr. W. M. Bowman played Betty Howard and Mr. W. J. Warburton played Cynthia Mars.

Pictures in “The Theatre,” 1917, Vol. 25, page 81.

To be continued…

Tales from a Scenic Artist and Scholar. Part 917 – Thomas G. Moses and George Ade, Purdue College, 1915

In 1915, Thomas G. Moses wrote, “Went to Lafayette, Indiana, to meet George Ade regarding a new show he is going to stage for the Purdue College.” Ades’s show was the “Eight Little Wives” and it featured an all-male cast; this was consistent with all previous Harlequin Club shows at Purdue. It was not until 1916 that women were first allowed to perform in Harlequin Club productions.

George Ade (1866-1944) was a well-known author, playwright, and newspaper columnist, born Kentland, Indiana. Ade’s focus while attending Purdue was science, but he became increasingly interested in the theater. After graduating in 1887, Ade became a newspaper journalist, working for the “Lafayette Call” in Indiana. He then moved to Chicago and worked for the “Chicago Daily News,” expanding the scope of subjects that he wrote about. Ade described the daily life of Chicago’s citizens, with first in his regular column being “The Chicago Record.” His writing incorporated street slang and a variety of encounters in the Windy City. Ade was well-known for his “Fables in Slang” (1899) and “More Fables” (1900), earning him the nickname, “Aesop of Indiana, “ He initially gained additional famed with his “Stories of the Streets of the Town.” Here is a link to some of his works online: https://americanliterature.com/author/george-ade

A copy of “Fables in Slang” by George Ade.

Ade’s work as a playwright began in earnest with the 1901 Broadway productions of “The Night of the Fourth” and “The Sultan of Sulu.” Other popular Broadway productions penned by Ade included “Peggy From Paris, ““The Country Chairman,” “Sho-Gun,” “The College Widow,” “The Bad Samaritan,” “Just Out of College,” “Artie,” “Father and the Boys,” “Mrs. Peckham’s Carouse,” “Mars Covington,” “The Pair Co-Ed,” “The Old Town,” “The Slim Princess,” and “Leave it to Jane.” Ade also wrote several one-act plays, some of which became popular films, such as “Our Leading Citizen,” “Back Home” and “Woman-Proof.”

By 1909, Ade remembered his alma mater, becoming a member on the Board of Trustees at Purdue University. He would remain a Trustee until 1916, becoming active in many other alumni-supported activities. He was also a longtime member of the Purdue Alumni Association and former president of the Mark Twain Association of America. His financial continued contributions toward Purdue University supported the construction of Purdue’s Memorial Gymnasium, Memorial Union Building, and the Ross-Ade Stadium.

In regard to the play that Moses designed scenery for in 1915, newspapers reported, “LAFAYETTE, Ind., January 8.- The play to be produced by the Harlequin Club, of Purdue university, this year, will be written by George Ade, according to an announcement made by J. J. Johnston, manager of the club. Mr. Ade, who is a Purdue alumnus, has written several first by the Purdue Harlequin Club, among which were “The Fair Co-Ed,” “The Junior in Command” and “The County Chairman.” Mr. Ade is working on the play, but the name has not been announced” (Indianapolis Star, page 15).

“The Indianapolis News” reviewed the production on 20 April, 1915 (page 2):

“Harlequin Club Presents George Ade’s Play Before Large Audience at Lafayette. ‘Eight Little Wives,’ the ninth annual production of the Harlequin Club of Purdue university, was presented for the first time yesterday at the Victoria Theater before a capacity audience. The play proved a great success, receiving more praise than ever was bestowed on previous first night performances of the Harlequins. There are eighty-five students in the production and the costumes and scenery are unusually elaborate. George Ade. Purdue 1887 is the author, and the music is by Alfred G. Wathall, with interpolated numbers by George Ade Davis [George Ade Davis was George Ade’s nephew who wrote music for his uncle]. The play is an adaptation of Mr. Ade’s musical comedy success, ‘The Sultan of Sulu.’

“George Herbert, the veteran coach of the Harlequin Club directed the production, and J. J. Johnson, manager of the club assisted. The leading role in the musical comedy is taken by R. H. Dwiggens, a freshmen at Purdue, who proved himself the cleverest comedian ever seen in a Harlequin Club production. As Ki-Ram, the sultan of Sulu, he was on the stage most of the time, the part being that played by Frank Moulan in the professional production. G. H. Smith, as Major Jefferson Rice, had another important role, as did H. J. Rosenthal as Lieutenant William Hardy. H. S. O’Brien, captain of the Purdue football team last fall, appeared in the role of Hadji, private secretary to the sultan. M. S. McNay was the Datto Mandi of Parang. J. A. Pierce, as Wakeful Jones, salesman, and K. W. Hurst as Dingbat, captain of the guards, were good in minor roles. F. Ledder and R. J. Mitchell as the Nubian slaves injected a large share of the best comedy. As usual in Purdue Harlequin plays, the male students essayed the roles of the women. D. J. Bellinger, as Henrietta, the major’s daughter, was well made up, as was B. L. McCullom, as Chiquita, the sultan’s favorite wife. They sang and danced and their gowns were visions of loveliness. L. R. McKnight had the role of Pamela Jackson, the woman judge advocate, and presented a realistic picture of the suffragette type. W. K. Dodd, as Galula, the ugly wife of Ki-Ram, had the leading woman comedy part. Other students appeared as the eight wives of Ki-Ram, then there were the school ma’ams, the United States soldiers, marines, American girls, slaves, natives and attendants.

The scene is laid on the Island of Sulu in the Philippines. The first act setting shows the exterior of the sultan’s palace and the second set shows the hanging gardens of the palace. In the background of each act is a view of the land and water scenery of the Philippines. The leading song numbers are Ki-Rams’s ‘Remorse’; ‘Soldiers of the U.S.A.,’ one of George Ade Davis’ contributions; ‘The Smiing Isle,’ by Ki-Ram; ‘The Filipino Cabaret,’ and ‘If You Say That You Love Me.’

“The play will be repeated this evening and Wednesday night in Ft. Wayne, under the auspices of the Purdue Alumni Association in that city. Next Saturday night it will be given again at the Victoria theater in this city for the benefit of the visitors at junior prom parties.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 692 – The Kansas City, Kansas, Scottish Rite, 1904

Part 692: The Kansas City, Kansas, Scottish Rite, 1904

In 1904, Kansas Scottish Rite Masons constructed two new homes in Fort Scott and Kansas City. The Kansas City, Kansas, Scottish Rite was designed by architect W. W. Rose at the corner of 7^th and Ann.

Postcard depicting the 1904 Kansas City, Kansas, Scottish Rite.

The 1904 Scottish Rite building in Kansas City, Kansas.

Postcard of the 1904 Scottish Rite building in Kansas City, Kansas.

The 1904 Kansas City, Kansas, building. Notice the fly tower at the rear of the building.

On April 1, 1904, The Lincoln Journal included the article “New Temple. Kansas City Scottish Rite Masons Open Splendid Edifice With Big Reception.” Here is the article in its entirety:

“The new and very fine temple of the Scottish Rite Masons of Kansas City was opened for the first time Wednesday night, when the members tendered an elegant reception to their wives and friends. The building has been furnished in every detail and is fully complete, except for some changes in the lighting, and more than 1,500 persons accepted, the invitation sent out for the affair, that they might have a look at what is termed the palace of secret society work in the west. The building spacious as it is, was so crowded at times during the evening that it was badly congested, and lies of members had to be formed to keep the throng all moving one way, especially on the stairs.

The new building is well adapted for social purposes. One on entering steps into a spacious hall and finds the secretary’s office on the right, while on the left is a large parlor. Beyond the secretary’s office is the director’s room and back of all these is the great banquet hall, finished with a polished maple floor for dancing. Still in the rear is a perfectly appointed kitchen so that social functions may be given in the building without the necessity of calling upon a caterer.

On the second floor of the building one first enters a candidates’ room and passes from thence to the great cathedral, their sessions. This is a splendid room, with a beautiful ceiling, lighted in a novel fashion, and a gallery on three sides, including and organ and choir loft. The stage, which was concealed last night, is thirty-two feet deep and thirty seven feet to the gridiron and has a full equipment of scenery and appointments including a switchboard, which controls every light in the room from the stage. To the rear of the cathedral is the blue room, for smaller bodies, all fitted up in blue, in which is hung a fine portrait of the later Albert Pike.

All these apartments were thrown open to guests. The rooms were lavishly decorated with flowers and flags; in the banquet hall Zeiler’s orchestra played and a mandolin orchestra furnished music in the cathedral, while a pianist did the same in the blue room. In these three rooms were also booths from which punch was dispensed.

Every member of the order in Kansas City was a committee of one to show his friends through the new structure, and all callers were taken care of in good fashion. The music, lights and flowers, with women in pretty gowns and men in somber evening attire formed a delightful picture, and it was late when the affair broke up.

The 1904 Scottish Rite building is now the home of the Seventh Street Casino, run by the Wyandotte Nation.

The 1904 Scottish Rite building in Kansas City, Kansas, is now a casino.

To be continued…