The Tabor Opera House in Leadville, Colorado, has three distinct
scenery collections. Scenic artists who delivered scenery to the venue include,
Henry E. Burcky (1879), T. Frank Cox (1888), the Kansas City Scenic Co. (1902)
and Sosman & Landis Scene Painting Studio of Chicago (1902). In 1901, the
Elks purchased the Tabor Opera House that was built in 1879, remodeling the
stage house and adding a fly loft. The original wing-and-shutter scenery was
carefully tucked away in the attic, and new scenery purchased from Fred R.
Megan, representing the Kansas City Scenic Co. By the way, Megan and Thomas G.
Moses would later partner to establish Moses & Megan while they waited to
purchase the Sosman & Landis name after the company closed in 1923. In
regard to the Tabor Opera House, Kansas City Scenic Co. subcontracted some of
their 1902 project to Sosman & Landis Studio.
The Tabor Opera House in Leadville, Colorado, was built in 1879 and renovated in 1901-1902.
Two months ago, I catalogued all of the scenery stored on
the Tabor Opera House stage and have just finished creating conditions reports,
replacement appraisals and a collections care management document for 105
pieces. I am heading back this fall to do the same for the scenery in the
attic.
Some of the scenery on the stage of the Tabor Opera House in Leadville, Colorado, 1902.
While I was in the midst of creating the documents for the
scenery on stage, Kenneth Kurtz contacted me about a tray in his slide
collection. Years back he visited the Tabor Opera house with his wife and
photographed some of the scenery, especially a few shutters stored in the
attic. I also photographed some of the
scenery in the attic on my 49th birthday in 2018, and knew what treasures were
tucked away up there. In a very generous
move, Kurtz send his slides to me this month and I was able to photograph a few
projections that I have included with this post. I still have to digitize the
photos, but they have been incredibly helpful for me.
Slide tray gifted from Ken KurtzKen Kurtz and Mrs. Furman
The Tabor Opera House scenery collection is remarkable because it shows the shift of scenic art over time, as well as major players in the North American theatrical manufacturing scene. It is a treasure trove of scenic art examples. The collection also depicts a shift in stage hardware from 1879 to 1888 (the flat sheaves used on wings to slide onstage). It also depicts the shift in wing, shutter and roll drop scenery to and fly scenery and realistic interior settings. This is a wonderful theater that should be preserved for future generations. To learn more about visit https://www.taboroperahouse.net/
Scenery dating from 1888 in the attic of the Tabor Opera House, Leadville, Colorado.Scenic piece painted by T. Frank Cox in 1888.Signature on scenic piece painted by T. Frank Cox in 1888.Scenic artist and architect, Tignal Frank Cox (1854-1940) painted scenery for the Tabor Opera House in Leadville, Colorado, in 1888. He was touring Colorado as a scenic artist and performer, marketing his artistic skills on stage as a “Lighting Artist” and “Tramp Artist.”
Please consider donating to the preservation of this remarkable theatre collection. Here is the link to the Tabor Opera House Preservation Foundation: https://www.taboroperahouse.net/donate
Sosman & Landis were still waiting for the final
payments related to government cantonment theater work in January 1918. In
1917, Thomas G. Moses wrote, “We closed a contract with H. Robert Law of New
York City for a lot of scenery for the Government Cantonment Theatres. First contract was $12,600.00, second
$3,600.00, and third $980.00 for installing one job. All to be completed November 7th –
some hustling. I went down to the studio
on five Sundays – something I haven’t done in fifteen years, and every night
until 8:30. Some of the boys slept in
the studio. Everyone hustled. We completed the work on the day set and
inside of a week it was all out of the studio.” This was a project to help the
war effort; a big one that brought in $17,180 in a short period of time. That
is the monetary equivalent of $364,438.00 today; no small project.
1918 American penny.
On January
3, Moses left Akron, Ohio, and headed to New York City, where he planned to “settle
up with the Government work with Law.”
Of the trip between Akron and New York, Moses wrote, “All day a cold
car. The first time I ever had to keep
my overcoat on in a sleeping car. Very
cold all night – no lights in the car, everything was frozen. Nine hours late. After leaving Philadelphia, we passed a bad
wreck. A passenger train had run into
another one standing on the side track.
The engine had plowed through the rear coach, which happened to be a
“dead head.” No one in it. The coach
settled down on the engine, covering it completely. Strange to say, no one was badly hurt. Transacted my business in one day.”
Unfortunately, the trip was not a success.
Sosman & Landis would have to send another representative to New
York later that year to collect the final payment. Of this second trip, Moses
wrote, “Lester Landis went to New York and finally got a settlement with Law
for our government work. It has cost us
a good bit to get it settled.”
This becomes a reoccurring theme in the final years of
Sosman & Landis, one that directly contributes to the eventual closure of
the firm.
At the end of 1917, Moses wrote,
“The greatest handicap to a profit sharing business is procrastination among
the managers. The eleventh hour idea of
getting scenery, we can either take it, or work night and day to get it out on
a close margin, or let it alone and allow someone else to creep in and steal
our business.” This represented one hardship the firm was repeatedly encountering.
Add on collecting funds on projects with a “close margin,” such as the Law
project. It took two trips to New York,
sending a Sosman & Landis representative to meet with Law in person to
collect the owed funds. Two trips, with train fare, lodging expense and meals,
plus the loss of time on other projects to collect money for completed work. I then look at the career of H. Robert Law,
who was in and out of courts for much of his career, also trying to collect
payment for his work (see past post #962). What a mess.
The theatre industry, like any
other business, is based on trust; the understanding that you will be paid for
your work as identified in contractual agreements. Unfortunately, that is not always the case.
Many of us have weighed the options when trying to collect money from clients for
completed work. For Sosman & Landis in 1918, additional project-related
expenses included two trips to New York and the loss of time. Much remains unknown about the work
contracted with H. Robert Law Studios in 1917.
It is possible that Sosman & Landis were simply subcontractors to
Law, and he was also waiting for payment from the US government.
The point of this tale in the big picture for the studio is money owed for completed work. The delayed payment in 1918 did not cause Sosman & Landis to crumble in the same way that might have been the case with a smaller firm. However, it did leave a mark, and those marks turned into a major scar. A series of projects with delays and non-payments eventually took a toll on the studio. Keep in mind that Sosman & Landis financed the stage portions of many Scottish Rite theater projects for almost two decades – 1/3 upon delivery, 1/3 a year later and the final 1/3 a year after that. That work made up approximately 25% of all projects for twenty years. I the end, Sosman & Landis had consistent difficulties in collecting the final payment from many Scottish Rite Valleys; this was well after the client had received the contracted goods in their entirety. The continued absence of money owed added up in the end. It became the perfect storm to cause a studio’s downfall. This occurred at the same time that demand for painted scenery began to diminish. And in the midst of these difficulties, studio founder Joseph S. Sosman passed away and a series of internal struggles began. Times were certainly changing for the major theatrical supplier.
At the close of 1917, Thomas G.
Moses wrote, “We have had a good year as far as quantity is concerned, but I
hope we have made some money. The
payroll has kept up on account of the night work. The greatest handicap to a profit sharing
business is procrastination among the managers.
The eleventh hour idea of getting scenery, we can either take it, or
work night and day to get it out on a close margin, or let it alone and allow
someone else to creep in and steal our business. No vacation this year and very
little picture painting. Quit the camp
very early.” In 1918, Moses wrote, “Our business is not good – far from
it. Raw material has advanced so rapidly
that we are unable to keep up with it, and I am very much worried about the
outcome.” By summer Moses wrote, “I have not been out to Fox Lake this year,
the first I have missed in twelve years.
The business is in such an upset condition that I felt I should stick to
it.” But Moses couldn’t weather this
particular storm, and by the end of summer in 1918 wrote, “September 1st,
I resigned as President of the Sosman and Landis Company which severs my
connection with the firm after thirty-eight years of service. I joined the New York Studios and expect to
get a studio and an office to do business…The Sosman and Landis Company have
only done $85,000.00 worth of work for the past year. We should have done about $116,000.00 worth
to make money.” It was not until 1923 that Moses and Fred R. Megan would
purchase “the name and good will of Sosman and Landis Company.”
Like many American studios,
Sosman & Landis weathered many economic downturns since their establishment
in 1877. Although WWI provided a brief period of economic growth, an economic
recession continued after WWI. As military veterans returned to civilian life,
there was a surge in the labor pool and problems ensued as veterans were
absorbed back into peace-time production. This also affected the theatre
industry. During the war years, there was a certain percentage of work directly
related to wartime propaganda and patriotic-themes shows. However, between January
1920 and July 1921, America dipped into a depression. Ironically, this is the
same time that Prohibition began. There are a few economic factors to consider
as I examine the life and times of Moses before his purchase of the Sosman
& Landis name in 1923. I believe that Moses’ 1918 departure signals the end
of the firm. With both founders gone. Moses was the institutional memory and
intimately connected with most of the projects since 1880.
In April 1917, Congress declared war on German. By October
1917 Congress passed the War Revenue Act. This bill lowered the number of tax exemptions
while increasing tax rates. For example, an individual with a $40,000 annual
income was subject to a 16 percent tax rate, while an individual with an income
of $1.5 million was subject to a 67 percent. Tax revenue increased from $809
million in 1917 to a whopping $3.6 billion in 1918, a much-needed increase for adapt
for war-related expenses.
Keep in mind that between 1916 and 1918 the U. S. expenses
for troop training, weapons and munitions increased fifteen fold. This means that by the time World War I ended,
income tax generated from the War Revenue Act had paid for only one-third of all
war expenses. Spending outpaced funding for the war, and the government
implemented the sale of war bonds to help cover the gap. By the spring of 1918
the federal government had sold approximately 10 billion dollars worth of war
bonds and treasury certificates. There is a fascinating article about the
Federal Reserve’s role in WWI too: https://www.federalreservehistory.org/essays/feds_role_during_wwi
As American went to war, there are a few factors to consider
about its citizens. In 2017, “The Saturday Evening Post” published an article
on “The Average American Today and on the Eve of World War I,” noting, “What it
means to be an ‘Average American’ today is in many ways so different from what
it meant a century ago, when the United States entered World War I.” Here are a
few numbers provided in the article:
In 1917, there were 103 million Americans.
In 1917, 86% of the American population was Caucasian.
In 1917, American women couldn’t vote, couldn’t obtain birth
control, and had a life expectancy on 49 years. The life expectancy of American
men was 47 years.
In 1917, 14% of American homes had bathtubs with running
water.
In 1917, 18% of American households had one live-in servant.
In 1917, only 10% of American men graduated from high school.
On May 11, 1917, “The Washington Standard” reported.
“Olympia theater is now provided with two drop curtains, one painted by Sosman
& Landis, Chicago, entitled “The Water Place,” and the historic painting of
Olympia by Mr. Lange, which was used at the Spokane Fair during the canvass for
state capital” (Olympia, Washington,
page 7). This is another one of the many jobs by Sosman & Landis not mentioned
in Thomas G. Moses’ memoirs. This is a single article with no follow-up
information, so I am left with very little to go on.
The article notes that a painting
created for a country fair was repurposed for a theatre, used as a drop
curtain. This is not unusual. In 1893, a 20×30 mural for the California
building at the world fair was repurposed as a drop curtain for the Native Sons
of the Golden West Hal in San Francisco.
I explored this subject a few years back (see post #294). The Reed &
Gross Panorama Company created large scale paintings for the California State
Building with compositions that included: the harbor of San Francisco and the
city, as viewed from Goat Island; Christmas in Pasadena; the Stanford Ranch in
northern California; Leland Stanford’s Vineyard; Leland Stanford Jr. University
in Palo Alto; New Years at Hotel del Monte in Monterey, Santa Barbara, and
Fresno.James D. Phelan, one of the of
the World’s Fair Commissioners in 1893 purchased the 20’ x 30’ painting from
the California State Building after the fair, intending to use it as the new
drop curtain at the Native Sons of the Golden West’s Hall. At the time, the organization was
constructing a new building in San Francisco. Phelan was the association’s
president and purchased one of the paintings. Unfortunately the painting was irreparably
damaged in transit.
On January 10,
1896, “The San Francisco Call” reported, “A Fine Painting Spoiled” (page 8).
The original painting by Thaddeus Welch depicting “Golden Gate as Viewed from
Goat Island” was sold for $3,000. The article noted, “On Tuesday it was found
that the painting had been ruined by the careless persons who packed and
shipped it two years ago. Instead of winding the canvas around a roller these
bunglers wrapped it around a 4 by 4 inch scantling and every four inches the canvas
is cracked so that it is doubtful if it can be used.”
There are a few factors to consider:
The first is that the 1893 world fair painting was likely an
oil painting, as it cracked. Even if it had arrived safely, it may have looked
horrible under stage lights due to the sheen, characteristic of oil paintings. Those
unfamiliar with scenic illusion, for example Phelan, may not have realized
this, or that the oil painting would propose a fire threat once on stage.
However, I am intrigued with the basic idea that any large painting could be
transformed into a drop curtain for the stage.
Sosman & Landis delivered scenery for a “Mikado” production
that toured the Redpath Chautauqua circuit in 1917. Annual Chautauqua, or tent,
events were held in cities across the country during the spring and summer,
featuring programs with all types of entertainment that ranged from Broadway
shows and orchestra concerts to magicians and lecturers. During its peak some
12,000 communities hosted a Chautauqua. The Redpath Chautauqua was massive
circuit with hundreds of shows and thousands of entertainers. Although there
were many Chautauqua agencies that contracted entertainers and lecturers, one
of the most notable was the Redpath agency. In 1917, one of the Redpath touring
shows was the “Mikado.” A company of thirty, selected in part from the Chicago
Grand Opera Company, performed in the Gilbert and Sullivan classic that year.
From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Durham Daily News,” (Durham, North Carolina), 8 April 1917, page 17.
The “Critterden Record-Press” reported, “The Redpath
Chautauqua special train of six cars, carrying over a hundred of the big
Redpath family, left Chicago on Tuesday afternoon, April 10, for Jacksonville,
Fla. The arrival in Jacksonville was scheduled for Thursday, April 12th,
the opening day of the Redpath Chautauqua circuit for 1917” (Marion, Kentucky, 14 June 1917, page 9). The
season ran until the end of summer, closing the first part of September.
On June 12, 1917, the “Owensboro Messenger” reported,
“The Redpath chautauquas have been doubly fortunate in securing two eminent
artists for their production of ‘The Mikado’ here Chautauqua Week” (Owensboro,
Kentucky, page 7). The show featured the talents of Ed Andrews as Ko-Ko and Arthur
Aldridge as Nanki-Pooh. The “Steuben Republican” reported, “The orchestra is under
the dynamic direction of Miss May Valentine, a band and orchestra leader who is
rapidly gaining wide recognition” (Angola, Indiana, 4 July 1917, page 4). The article
also noted, “Mr. Arthur Aldridge is, like Mr. Andrews, one of the great
interpreters of his role, Nanki-Pooh. In the recent revival of the Gilbert and
Sullivan Opera he scored tremendous success with De Wolfe Hopper. He has
appeared recently in the mammoth New York Hippodrome productions and is now
recognized s New York’s leading light opera tenor. Indeed, some critics have
been so kind as to claim that he has few equals among the world famous grand
opera tenors” (Angola, Indiana, 4 July
1917, page 2).
May Valentine was the conductor of “The Mikado.” From the “Advocate Messenger” (Danville, KY, 25 May 1917, page 7.
Newspapers across the country noted that Andrews was the
best Ko-Ko of his generation, having performed the part more than 1200 times to
date. The “Knoxville Sentinel” reported, “He is a small dark man, swarthy of
skin with a beak like an eagle. He possesses a thunderous bass voice all out of
proportion in volume to his small body. He sings the part with zest and a
delightful enthusiasm” (May 24, 1917, page 5). Of the scenery, the articled
added, “Beautiful and unique effects have been secured in the scenery built
especially for the Redpath chautauquas by Sosman & Landis, of Chicago.
These scenic artists have just completed the effects for a spectacular Madison
Square Garden production.” “The Nashville Banner” reported, “At first it was
thought that it would be practically impossible to give ‘The Mikado’ an
adequate setting on the Chautauqua stage, but all difficulties were overcome
and most gratifying results have been obtained” (Nashville, TN, 2 July 1917,
page 28).
From the” Times-Herald,” (Port Huron, Michigan) July 31, 1917, page 2.Ed Andrews played the part of Ko-Ko.
The University of Iowa Libraries holds a massive Redpath
Chautauqua Collection, contained in 1,132 boxes. The cite gives a brief history
for the circuit:
“Circuit or ‘tent’ Chautauqua had its beginning in the
lyceum movement, which started in Massachusetts as early as 1826, and in the
Chautauqua assemblies held at Lake Chautauqua, New York, beginning in 1874. The
purpose of the lyceum movement was self-improvement through lectures and
discussions on literary, scientific, and moral topics. After the Civil War,
commercial lyceum bureaus were founded; among them was the Redpath Lyceum
Bureau of James C. Redpath in 1868. In 1901, Keith Vawter purchased a one-third
interest in the Redpath Lyceum Bureau and became the Redpath booking agent in Chicago,
later moving his headquarters and operations to Cedar Rapids, Iowa. In the
summer of 1904, Vawter launched the first Chautauqua circuit with the
assistance of Charles Horner. The Redpath Lyceum Bureau had offices in
other American cities, including White Plains, New York; Columbus, Ohio;
Chicago; and Kansas City, Missouri. Vawter’s territory was roughly Iowa,
Minnesota, the Dakotas, Nebraska, and Missouri. Another Iowan and former Vawter
employee, Harry P. Harrison, ran the Chicago office. Under the name
“Redpath-Chicago,” Harrison launched a major Chautauqua circuit in
1912. His territory was Illinois, Indiana, Ohio, Michigan, Kentucky, Tennessee,
and the Gulf States. In 1912, Horner established in Kansas City the
“Redpath-Horner Chautauquas.” His territory was Missouri, Arkansas,
Texas, Oklahoma, Kansas, Nebraska, Wyoming, Colorado, and South Dakota. Circuit
or tent Chautauqua began to expand and became an even greater influence about
1913, but World War I interrupted the circuits somewhat. In the years after the
War (1920-1924), Chautauqua reached its peak of attendance. In 1920 there were
twenty-one companies operating ninety-three circuits in the United States and
Canada. The Great Depression brought an end to the circuits. The final circuit
folded its tents in 1932 and the splendor of tent Chautauqua was over.” Here is
a link to this remarkable collection, http://sdrc.lib.uiowa.edu/traveling-culture/inventory/msc150.html
The publicity brochures in this collection have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php Additionally, there are over seven hundred photographs and postcards in the Chautauqua Collection with subjects ranging from tents and parades to audiences and performers, cities, and other scenery. These have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php
In 1917, Thomas G. Moses wrote,
“We closed a contract with H. Robert Law of New York City for a lot of scenery
for the Government Cantonment Theatres.” Yesterday’s post examined Smileage
Books for government cantonment theaters during WWI. Today I explore the life
of H. Robert Law.
Harry Robert Law, Jr. was born
in Toronto, Ont., Canada, on September 20, 1876, but only lived there for the
first year of his life. In September 1877, the Laws returned to the Wilmington,
North Carolina.
His father, Harry Law Sr. was born
in Wilmington, North Carolina. H. Robert
Law’s 1923 passport application notes that his father lived for 63 years,
uninterruptedly, in the United States, at Wilmington, N.C. and Baltimore, M.D. Law’s
mother was born in New York.
By 1910, New York City
Directories list H. Robert Law as an artist, living at 141 Park Hill Ave,
Yonkers, NY. In 1914, Law partnered with John H. Young to provide scenery for
the William A. Brady production of “Life.” (Boston Globe, 30 Aug. 1914, page
40). In 1915, the younger Law met and married his future wife Lilla Gertrude
Batdorf. (b. March 5 1884), in Philadelphia. Lilla was a Chicago native and the
daughter of John William Batdorf (b. 1852, Ohio) and Helen Gertrude Tetrick (b.
1858).
WWI draft records described
Law’s physical appearance as “tall” and “stout,” with brown hair and brown
eyes. “Stout” is subjective, as this simply could have meant big-boned and not
morbidly obese. Draft records only give the options for a slender, medium, or
stout build.
WWI draft records list Harry
Robert Law’s address as 7389 West End Ave., Manhattan, New York. The record
lists his present occupation as a “scenic artist” and his employer as “self.”
His studio address was 502 West 38 NY, NY. This continued to be the studio
address throughout the 1920s.
As a scenic manufacturer, Law
was contracted by the United States Government War Department during WWI. He
was a well-known individual at this time. On May 21, 1917, the “News-Journal”
reported that Law had gained “considerable fame through his spectacular scenic
creations” (page 11). 1917 productions that Law designed scenery for included
“Molly O’” (May 17, 1916 – Jun 24, 1916) and “When Johnny Comes Marching Home” (May
07, 1917 – Jun 16, 1917). 1918 shows included “Cheer Up” (Aug 23, 1917 – May
11, 1918), “Oh Look” (Mar 07, 1918 – May
04, 1918) and “Hitchy Koo” (Jun 06, 1918 – Aug 03, 1918).
Law’s 1923 passport application, indicated that he was traveling for business purposes with his wife to France, England and Germany. His occupation was listed as that of a scenic studio manager of H. Robert Law Scenic Studios, still at 502 W. 38th Street in New York City. Law also listed his permanent residence that year as 1925 7th Ave., NY, NY.
While researching for additional
information about Law, I noticed that he was in court – a lot. Here are just a few examples of his extensive
legal battles:
In 1910, Law was involved with Joseph E. Shea in a contract dispute with D. S. Andrus & Co. (Star-Gazette, Elmira, NY, 14 April, 1910, page 7). In 1911, Law won a case against Sangor Rice Co. and Benjamin Sangor for $477. In 1914 Law sued to recover $75 from T. C. Brown, a local automotive agent for non-payment of a space on an advertising curtain (Asbury Park Press, NJ, 19 June, 1914, page 1). In 1917, Law sued Harry J. Everall and Samuel H. Wallach for non-payment (New York Herald, 22 Oct. 1917, page 14). In 1920, Law sued Daw Producing Co., Inc for $1,063.17 (New York Herald, 30 July 1920, page 13). In 1920, Law sued John Cort about the about “valuable services rendered” in relation to his scenic contribution to “Listen Lester” (Daily News, New York, 1920, page 2).
From the “Daily News” (NY) 13 May 1920, page 12.
The most entertaining story,
however, was published in the “Buffalo Times” on Dec. 1, 1921 (page 15). The
article “Art Show Emporium Fine But Overpriced” noted, “Admits He’s an Artist
but the Bill was Too High.”
Here is the article in its
entirety, as it is quite entertaining:
Abe Attell, the artist, is in
trouble. An interior decorator wants Abe to pay him some money for decorating
the interior of Abes’ shoe shop on Broadway, near the Winter Garden. Abe says
he owes the interior decorator some of the money but not all of it, and that
he’s going to get his old pal Bill Fallon to take the matter into court and see
that his rights are protected.
It’s a fight between artists.
Abe explained that as he conducted us through his multi-colored depths of his
show shop, pointing out its artistic beauties.
“This shop is for ladies,” said
Abe. Then he paused and said, “LADIES.”
We got him right off the bat.
“Ain’t this a grand place,” said
Abe, with a wave of his hand that took in the combination of Swiss and Japanese
sunset effect.
Grand doesn’t describe it. It’s
magnificent. It’s elegant. It’s sumptuous. It’s palatial. It looks more like 51st
Street and Broadway than 51st Street and Broadway ever dared to
look.
The color scheme is yellow,
rose, vermillion, gray, blue, brown, a touch of saffron, a hint of turquoise, a
dash of raspberry, a slice of mauve, a streak of green, a flare of purple and a
mere suggestion of gold and ecru and silver.
The walls are gilded, and over
the gilt have been painted Japanese hoochie-koochie girls in pink mother
hubbards playing hide and seek in a bamboo forest. Chinese red has been worked
into the effect, to say nothing of the black lacquered panels. The chandelier and wall lights are concealed
by silk shades, yellow as the streak down a welcher’s back. The chairs are
carved teakwood.
When LADIES have their shoes
tried on they place their silk stockinged feet on red plush cushions with long
gold tassels. A miniature Japanese fountain bubbles in the center of the room.
On the level, it’s scrumptious.
Abe says he picked up his ideas
of art while he was on the stage and out in Chinatown in Frisco. “Of course you
not bein’ an artist,” said Abe, “you can’t appreciate what this difference of
opinion is about. They say I owe ‘em 728 bucks and I says right back I’ll pay
‘em all except 250 bucks, which they ain’t entitled to.” Abe was served with a
Municipal Court summons by Wise & Otfenberg, attorneys for H. Robert Law
Scenic Studios who executed Abes’ ideas of art. “I ain’t woryin’,” said Abe.
“Bill Fallon’ll take care o’ my end of it. You got to be an artist to see what
I mean.”
I have not been able to locate
the ruling of the case.
In 1925, the “Bridgeport
Telegram” reported on another Law court case: “The ‘Three Morin Sisters,’
singers and dancers on the vaudeville stage, and who recently appeared at the
Palace theatre have been named defendants in an action brought against them by
H. Robert Law, a producer and scenic artist of New York city, who seeks damages
of $1,250” (Bridgeport, CT, Sept, 4, 1925). The basis of the suit is that the
plaintiff was not paid his commission for perfecting their specialty act, or
providing their scenery and their booking. And there were many, many more cases
in court for Law. I had to wonder if Law’s lawyers worked for him full-time.
In 1917, Thomas G. Moses wrote,
“Closed with Joe Bren for $900.00, first part, and some front drops.” Joe Bren was a minstrel show performer and producer.
His company, the Joe Bren Production Company, was a Chicago-based theatrical
company that partnered with fraternities and civic groups to stage fundraising
shows. Company representatives traveled from town to town, working with local
talent to organize minstrel reviews and other types of follies. They functioned
as the producers, directors and performers for each project, providing
instruction and all of the technical trappings. In 1917, Sosman & Landis
provided scenery for a Joe Bren show that premiered in Kenosha, Wisconsin.
The Joe Bren Production Company staff
traveled across the country, helping stage shows that featured local talent. In
1917, the “Marion Star” announced that the Joe Bren Producing company was
presenting an Elks’ Charity minstrel show that November (Marion, Ohio, 12 Oct.
1917, page 12). The article reported, “The scenery is also new and used for the
first time in Kenosha.” The Kenosha Lodge of Elks in Wisconsin presented the
“Jollies of 1917” at the Rhode Opera House in October, advertising that is was
“no mere minstrel show” (“Kenosha News,” 6 Oct. 1917, page 3). It was to be a
“clever mélange of vaudeville, musical comedy and minstrelsy.” The Marion Elk representatives
traveled to see the show as guests of Joe Bren. What a smart move on Bren’s
part.
In Kenosha, a hundred members of
the Elks Lodge were “drafted” to take part in the program led by Joe Bren and
Ralph Hamilton, another company representative (“Kenosha News,” 14 Sept. 1917,
page 3). Fifteen young women were included in the second part of the show as
guests in the resort hotel scene (Kenosha News, 2 Oct. 1917, page 8). In the
big patriotic finale, the United States and the Allies were represented by
“gorgeously costumed young men and women.”
It was the introduction of this patriotic element to Bren productions
that likely prompted the need for new scenery by Sosman & Landis. Of the
painted settings, the “Kenosha News,” reported, “Scenery and costumes will be
the finest possible to be turned out by expert scenic artists and costumers in
the windy city of Chicago, and they do say that among its three millions there
are those who can do ‘some’ turning out of the aforementioned articles” (6 Oct.
1917, page 3).
Sosman & Landis provided scenery for the Joe Bren production Co. in 1917. The new scenery premiered in Kenosha, Wisconsin. From the “Kenosha News,” (Kenosha, Wisconsin) 6 Oct. 1917, page 3.Sosman & Landis provided scenery for the Joe Bren production Co. in 1917. The new scenery premiered in Kenosha, Wisconsin. From the “Kenosha News,” (Kenosha, Wisconsin) 6 Oct. 1917, page 3.
In 1917, Thomas G. Moses wrote,
“Some new work for Harvey D. Orr; quite elaborate.”
Harvey D. Orr was quite an
interesting character. Born in Wooster, Ohio, in 1865, both he and his brother Harold
entered the theatrical profession. In 1890, he founded the Harvey D. Orr
Musical Company. By 1906, he was the director for the School of Opera and
Acting at the Bush Temple Conservatory. The Chicago institution was advertised
as “the leading school of music, opera, acting and languages,” with fifty
teachers of international reputation on staff” (Inter Ocean, 2 Sept. 1906, page
25). By 1907 he Orr managed the Harvey Stock Company. A decade later, he was
still working as producer and performer with two extremely popular productions.
Harvey D. Orr pictured in an advertisement for “There She Goes,” from “The Altoona Times,” 6 Nov. 1917, page 3.
The Orr brothers were well known
for their 1914 musical comedy success, “The Million Dollar Doll.” By the
beginning of 1917, the show was enjoying a successful third season, traveling
with a carload of special scenery. Advertised as a big scenic production, the
show carried “special electrical effects” and “big novelty scenes” (“Caruthersville
Journal, Missouri, 8 March 1917, page 4).
Advertisement for Harvey D. Orr’s production “The Million Dollar Doll” from the “Chickasha Daily,” 4 Jan, 1917, page 4.
During the spring of 1917, Orr contacted
Moses at Sosman & Landis as he planned a new musical, “There She Goes.” On
October 18, 1917, the “Dunkirk Evening Observer” reported, “‘There She Goes’ is
a mammoth scene spectacle with a whirl of whirling dances and a wonderful
chorus of youth and beauty gorgeously costumed. There are two tremendous acts,
four glorious scenes and a joyous potpourri of tuneful melodies and truly
mirth-provoking comedy situations supplied y the Orr brothers. One of the
features is the latest New York craze, a ‘Jazz Orchestra,’ the first to be
carries by a road show” Advertised as Orr’s “most amusing musical comedy” and “a
mammoth scenic spectacle” (Tomes Herald, New York, 23 Oct., 1917, page 6).
Advertisement for Harvey D. Orr’s “There She Goes.” From “The Times Herald,” 23 Oct 1917, page 6.Advertisement for Harvey D. Orr’s “There She Goes.” From “The Courier,” 30 Dec. 1917, page 6
Later, “The York Dispatch” described,
“The opening scene is enacted from a setting of a beautiful Long Island Country
Club golf course, the second down in Honolulu. The leading action of the play
centers around Harvey and Harold Orr, who as Professor Ichabod Simmons,
bugologist, with a very absent minded trait, and his lackey Rufus Washington, a
colored gentleman of distinction, whose antics are in a large measure the laugh
of comedy. ‘There She Goes’ hinges about the love story of Vadentine Van Dyke
and Patricia Parmalie, which finally evolves in the marriage of Mr. John Smith
and Mary Brown, the latter being the real names of the couple, the former their
society dressings. Replete with mirth-making situations, tuneful melodies and
really pretty stage effects, ‘There She Goes’ is one of the best popular-priced
musical comedies now on tour” (York, Pennsylvania, 28 Dec. 1917, page 3).
Advertisements promised, “Beautiful Hawaiian Scenes, including the famous beach
at Waikiki” (Oil City Derrick, Pennsylvania, 18 Oct., 1917, page 13). The show
was extremely popular across the country, offering a much needed escape from world
events.
Advertisement for Harvey D. Orr’s “There She Goes.” From “The Oil City Derrick,” 18 Oct. 1917, page 13.Advertisement for Harvey D. Orr’s “There She Goes.” From “The The West Virginian,” Fairmont, West Virginia, 26 Sept, 1917, page 6.
“The West Virginian Fairmont”
reported the production was a “joyous potpourri of tuneful melodies, mirth
provoking comedy situations, colorful up-to-date costuming and dazzling
surprises. Dramatic scenic magnificence. Twenty-four song hits, a veritable
landslide of latest gown and millinery effects, rippling waves of laughter and
bevies of fascinating beauties in the chorus as well as among the principal” (Fairmont,
West Virginia, 26 Sept, 1917, page 6).
Advertisement for Harvey D. Orr’s “There She Goes.” From “The Lima News,” 2 Sept, 1917, page 10.Advertisement for Harvey D. Orr’s “There She Goes.” From “The Harrisburg Telegraph,” 29 Dec., 1917, page 8.Advertisement for Harvey D. Orr’s “There She Goes.” From “The Kane Republican,” 27 Oct, 1917, page 3.
“The Reading Times” announced, “Scenic
magnificence, many song hits, a veritable landslide of latest gowns and
military effects, rippling waves of laughter and bevies of fascinating beauties
in the chorus as well as among the principals, all contribute to the success of
the elaborate production” (20 Dec. 1917, page 6). The “Lima News” noted,
“Dreamy waltzes, lively one-steps, tantalizing tangoes, whirling eccentric
dance tunes and modern ballads, all blended into a carefully arranged mélange
to please from start to finish” (8 Sept, 1917, page 8). The performers included
the Polo Girls, the Imperial Quartet, as well as the jazz orchestra, Songs
included “When You’re Twenty-one,” “In Honolulu Town,” “Am Absent Minded Man,” “Some
Girl in the Summertime,” “Hawaiian Moon,” “I Fell for You in the Old Fall
River,” “The Seaside Rag,” and “Sometime if Dreams Come True.”
Music from “There She Goes” posted at eBay for sale.Music from “There She Goes” posted for sale on eBay.
Early in 1917, Thomas G. Moses
wrote, “Did “Faust” for Sheehan and Beck, very complete.” Moses was referring
to Joseph Sheehan and Edward M. Beck. The scenery was for a summer touring
production. In 1917, Beck was managing the Boston Opera Company and Sheehan was
performing with the group.
The Boston Opera Company
selected “Faust” for their special limited tour of Canada, with Joseph Sheehan
playing the title role (“Ottawa Citizen,” 12 June 1917, page 7). On June 11,
1917, the “Ottawa Journal” reported, “From a standpoint of product The Boston
English Opera Company has excelled all previous efforts. Special attention has
been given that every detail is carried out to perfection making the scenic
picture one of rare beauty. There are few operas which give the opportunities
for beautiful stage setting which ‘Faust’ does; its different scenes all
picturesque to the extreme and full advantage has been taken to make this end of
the production on a par with its wonderful artists which comprise the Boston
English Opera Company” (page 11).
From the “Lansing State Journal,” 14 March 1914 page 11.
Of Sheehan’s performance, the
“Ottawa Journal” commented, “As Faust, Mr. Sheehan is at his best. His voice
meets its every requirement, and those who have heard the great American tenor
have noticed that strain of sentiment in his work which has made his
impersonation of Faust one of the best, if not the best, in his extensive
repertoire” (2 June 1917, page 21). Nelli Gardini played the role of Marguerite.
From the “Ottawa Journal,” 2 June 1971, page 21.
Moses first encountered Sheehan when he performed with the
Aborn Grand Theatre Company. In 1910, Sosman & Landis delivered scenery for
their production of “Madame Butterfly,” with Sheehan performing the role of
Pinkerton. That year Thomas G. Moses wrote, “We did an elaborate set for Mme.
Butterfly for the Aborn Opera Company at McVicker’s.” The “Gibson City Courier”
noted the production’s “special scenery of unusually beautiful design” (6 May
1910, page 6). Moses provided another “Madame Butterfly” for the Sheehan Opera
Company of Chicago in 1911. In advertisements, Sheehan was billed as America’s
Greatest Tenor and Famous Opera Star” (“Akron Beacon,” 5 April 1913, page 8).
He toured the company, starring in a series of operas that appeared in not only
large metropolitan areas, but also many small towns.
Sheehan continued as a repeat
customer at Sosman & Landis after he partnered with Edward M. Beck. In
1913, Thomas G. Moses wrote, “Sheehan and Beck dropped in with ‘Bohemian
Girl.’” The Sheehan English Opera Co. production of “The Bohemian Girl” was on
tour of 1913. Sheehan and Beck were in Chicago with the production when made a
point of visiting Sosman & Landis about another project.
Another Sheehan-Beck production
with Sosman & Landis scenery that toured in 1913 was “Salome.” Of the
production, Moses wrote, “We turned out a big production of ‘Salome’ for
Sheehan and Beck – some very effective scenes.
A good portion of the contract price never saw our office – one bad
feature about shows that don’t go.” And then all was quiet for a few years,
until Sheehan and Beck contacted Moses again about scenery for “Faust.”
In regard to the 1917 production of “Faust,” the Boston English Opera Company revived “Faust” at the Strand Theater in Chicago after the summer tour (Chicago Tribune, 14 October, page 37). The Musical Courier reported, “Inasmuch as Chicago has not had a season of opera in English for several years and in view of the fact that this city has had an almost marvelous growth as a music center in the last few years, the announcement that the Boston English Opera Company has been incorporated to present a season of opera in the vernacular at the Strand Theatre, beginning Monday, October 1, will be of unusual interest to music lovers and music students. Edward M. Beck, who has had wide experience in the organization in the organization and management of English opera companies throughout the United States and Canada, has been engaged as a general manager of the new organization. Mr. Beck did not conclude to launch this enterprise until he had made a very careful investigation of the situation in which he found that there seems to be a great demand for English opera. (Musical Courier, Weekly Review of the World’s Music, Aug. 4, 1917). Of the performance, “Musical America” reported, “Joseph F. Sheehan, as Faust, astonished everyone by his singing, doing as well as he ever did in his palmiest days. His voice was full and rich, His phrasing and musicianship were above reproach, and he took the high C of “All Hail, Thou Dwelling” with perfect ease and rich tone” (Vol. XXVL, No. 26, October 27, 1917, page 32).
In 1917, Thomas G. Moses wrote,
“April 18th, I went to Detroit and closed with Hoffmans for their
new Colonial Theatre, $3,800.00, and the Palace Theatre, all new scenery at
$2,000.00. Another good days work. I rested a day, then went home.” Moses was referring to past clients C. A. and Graham Hoffman. On
February 15, 1914, the “Detroit Free Press,” reported that Sosman & Landis
delivered the scenery for the New Palace Theater. The “Detroit Free Press”
announced, “Scenery is the Best. The scenery is from the Sosman & Landis
studio of Chicago, leaders in the art, and for particular reasons the work is
extraordinary.”
Colonial Theatre in Detroit, Michigan. From the “Detroit Free Press,” 26 March 1916.The Palace Theatre in Detroit, Michigan.The interior of the Palace Theatre in Detroit, from “American Architect and Architecture,” Vol. 106, 1914.
There are few things to consider
about Sosman & Landis Scene Painting Studio in 1917. The first is repeat
customers. The firm delivered
stock scenery to Palace theatres in Chicago (1912), Minneapolis (1914), and
Fort Wayne, Indiana (1914) and Detroit (1914). Once they secured a
contract, the client is far more likely to come back if they needed something
else, and they did. Sosman & Landis a quality product, on time, every time,
and prompting repeat customers. Their business model relied upon this.
It all began to change by 1920. The
proverbial rug became pulled out from under the feet of the firm. I have
noticed that after WWI, there is a shift in the industry; theater owners begin
to care less about the quality of new scenery and are more concerned with the
bottom line. The phrase, “good enough for who its for” comes to mind. In other words, the painted aesthetic begins
to shift as a second-tier of scenic studios pops up and begins to produce
scenery on a mass-scale. The second-tier studio offers an inferior product at a
cheaper price. Some of the artistic demands begin to diminish the there is an
increased use of fabric draperies in lieu of painted drops. In many cases the
“art” aspect of scenery becomes a “craft,” allowing those with less artistic
experience to easily complete projects. Stencil patterns replace pictorial
painting on front curtains at many entertainment venues. This trend is closely
associated with rise of combination houses and strict cinemas.
Many new theatres during the
second decade of the twentieth century also took film into consideration.
Sosman & Landis had a significant amount of work for combination houses at
this time. Sosman & Landis got a foot in the door delivering picture
settings that featured a central projection area amidst a painted composition.
This type of project featured the studios high-end painting skills while
adapting to new technologies – photoplays, moving pictures, silent films, or
you name what constitutes entertainment.
Another aspect to consider concerns
is the continued increase and power of theatrical circuits; multiple venues
managed by a single organization. It is easier to contract one company for all
of your stages, than look for a new scenic studio each time. In 1917 Sosman
& Landis were able to benefit from multiple theatre chains such as Palace
theaters in the Orpheum circuit.
