In 1917, Thomas G. Moses wrote,
“Got a $1,430.00 contract from the Murat Theatre.”
Murat Shrine Building in Indianapolis, Indiana.From “The Indianapolis Blue Book,” 1913
Sosman & Landis previously
provided scenery for the Ancient Arabic Order of the Nobles of the Mystic
Shrine in Indianapolis, Indiana.
The Shrine building was named for
the Nubian desert oasis Bin Murat. Bin Murat was named after Napoleon’s general
Joachim Murat during his Egyptian campaign. The Murat Shrine in Indianapolis was
located at the corner of Massachusetts Avenue and New Jersey Street. The theater
officially opened on March 1. By March 3, 1910, “The Waterloo Press” included a
lovely article on the new structure in an article entitled “New Murat Theatre
Opens” (page 2). The article reported, “The Murat Theatre, contained in what is
said to be the most elaborate Mystic Shrine temple in the United States, was
opened at Indianapolis, Ind., under the management of the Schubert Theatrical
Producing Company. The temple, completed, will cost $250,000, but only the
theatre has been finished. James T. Powers and his company, in the musical
comedy, ‘Havana,’ gave the first performance in the theatre. Only the members
of the Mystic Shrine were admitted but the subsequent performances will be
public. The theatre is decorated with mural pictures representing camel
caravans passing through a desert and approaching an oasis, and with other
allegorical paintings symbolic of the significance of the Mystic Shrine.” The
Schuberts leased the theater from 1910 to 1930. In 1910 Sosman & Landis
also provided stock scenery for the Schuberts’ newly acquired Great Northern
Theatre in Chicago.
From the “Elwood” Daily Record, 5 April, 1910, page 2.
Over the years, the building was known as the Murat Shrine Temple, Murat Shrine Theatre, Murat Theatre, and Old National Centre. It is now called the Murat Theatre at Old National Centre, located at North and New Jersey Street in Indianapolis. Noted at the oldest stage house in downtown Indianapolis, it is still in use.
In 1916, Sosman & Landis Scene
Painting Studio also produced scenery for a production entitled, “At Ocean
Beach.” The show was billed as “a sprightly tabloid musical comedy” and “a
breezy musical comedy.”
From the “Hutchinson News,” Brooklyn, NY, 4 August 1916, page 5.
The “Dodge City Daily Globe”
reported, “It is a wholesome musical comedy…some high classed elaborate scenery
is utilized to dress it, and girls who not only possess and astonishing degree
of personal pulchritude, but real singing voices as well. It is in comedy that
the piece is strongest, however. Don Adams as Augusttus Klutz, proprietor of
the hotel, is the funniest Dutchman seen here since the palmy days of Joe
Cawthorne. He reminds one of the notorious ‘Hans Nitz’ of ‘The Telephone Girl’
fame. His makeup is so good that it looks like the real thing, and his comedy
tickles the risabilities of the audience until it roars in appreciation. ‘Billy
Batchelor plays the burlesque characetrs of a dop fiend, under the title of
‘Daffy Dill.’ When Batchelor comes on the sage at first he looks like a dressed
up ‘rough nut’ abiout to make an announcement. He improves as the minutes go by,
until the final drop of the curtain. He and Adams make an exceedingly strong
team, in fact, and are deserving of heavy patronage while they are here.
‘Blanche Oliver,’ played by Norine Robinson, is a startling good character.
Miss Robinson has an excellent voice and knows how to use it” (1 Aug. 1916,
page 1). Here was the program posted in the article:
Daffy Dill – Billy Batchelor
Miss Getrich – Hazel Vert
Augustus Klutz – (Proprietor Ocean Beach Hotel) – Don Adams
Count Jean Campeau – Ed Smith
Blacnhe Oliver – Norianne Robinson
Italian Street Singers – Smith and Robinson
Guests of the Hotel
Adeline Guild – Mildred LaRae
Thelma Palmer – Joy Lynn
Claire Summers – Norianne Robinson
Edithe Vandergould – Evelyn Sintae
Alice Astorbilt – Miriam Bennett
Nina Beach – Billie Douglas
Place – Veranda, Ocean Beach Hotel, California.
Time – summer evening.
(Costumes by Chas. Stevens Co., Chicago; shows, by the
Aiston Co., Chicago; scenery, the Sosman & Landis Co., Chicago; stage
settings, the Pacific Coast Ratan Co., Los Angeles, California.”
MUSICAL NUMBERS
Prologue and opening – Billy Batchelor and Guiests
In the Valley of the Nile – Count Jean Champeau and Guests
Let Me Be Your Husband – Augustus Klutz
Are Your From Dixie? – Blanche Oliver and Guests
Moonlight on the Rhone – Miss Getrich and Guests
Ah Marie – Ed Smith
Ciribiribin – Italian Street Singers
Finale – Entire Company
From “The Chat,” Brooklyn, NY, 7 July 1916, page 49.From the” Vancouver Sun,” Brooklyn, NY, 9 May 1916, page 3.
Sosman & Landis delivered
scenery for hundreds of productions that were not mentioned in Moses’ diary
during 1916.
One Sosman & Landis client
in 1916 was Joe Bren, a minstrel show producer. The Joe Bren 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; working as the
producers, directors and performers for each endeavor. The Joe Bren Company not
only provided instruction, but also all of the technical trappings to produce
the show, including scenery by Sosman & Landis, lighting equipment and
“resplendent costumes” (The Gazette, Cedar Rapids, Iowa, 12 Feb 1916, page 8).
From “The Catholic Tribune,” Joe Bren 11 Nov. 1916, page 7.
The Joe Bren Company primarily
staged minstrel shows in 1916. The Bren
Company was especially popular with the Kiwanis Club, Lions, American
Legionnaires, United Commercial Travelers, Benevolent and Protective Order of
Elks, and Ancient Arabic Order of the Nobles of the Mystic Shrine. In 1916,
Bren’s company was featured in “The Sunflower Council No. 31 United Commercial
Travelers Grand Minstrel Revue.”
Bren was also contracted for the
“Amin Temple Shriners Minstrel show,” as well as “The Elks Grand Minstrel
Review.”
From the “Press and Sun Bulletin,” Binghamptom, 28 Feb 1923, page 11.
As I was looking for a little history surrounding Bren, and
came across “A History of Broadcasting in the United States: A Tower of Babel
to 1933” by Erik Barnouw. Barnouw explains the Joe Bren Company “made a
business of staging local shows throughout the United States for lodges,
churches and clubs” (page 225). He goes on to describe, “Local talent was used;
the Joe Bren Company supplied sketches, jokes, songs, costumes, and
supervision.” Freeman Fisher Gosden, who later played “Amos” of Amos ‘n’ Andy,
traveled for Bren. In fact, Gosden truly began his professional career as an
entertainer with Bren, going on the road to organize reviews, minstrel shows
and carnivals. Charles Correll, who later portrayed “Andy” of “Amos ‘n’ Andy”
also worked for Bren. For those who are unfamiliar with the radio show, “Amos
‘n’ Andy:” https://www.nytimes.com/1972/12/31/archives/weaf-700715-ow-wah-ow-wah-ow-wah-amos-n-andy-the-angelus.html
and
https://en.wikipedia.org/wiki/Amos_%27n%27_Andy
Freeman Fisher Gosden and Charles Correll as “Amos ‘n’ Andy.”
Here is a peak into the
popularity and productivity across the country during the year that Joe Bren
hired Thomas G. Moses of Sosman & Landis to deliver scenery for their shows:
In 1916, the Joe Bren Company produced “A Grand Minstrel Revue” for the Elks in Paducah, Kentucky (News-Democrat, 19 Jan. 1916, page 8). Shows under the direction of Ralph Hamilton, representing the Joe Bren Company included the Shrine Minstrel Show in Springfield, Missouri (Springfield News-Leader, 9 Nov. 1916, page 3), the Shriners Minstrel Show in Sioux Falls, South Dakota (Argus-Leader, 18 Oct. 1916, page 5), the United Commercial Travelers Lodge Show in Salina, Kansas (Salina Daily Union, 27 April 1916, page 4), the Shrine Minstrel Show in Munster, Indiana (The Times, 8 Feb. 1916, page 1), the Elks Minstrel Show in Hutchinson, Kansas (The Hutchinson, News, 21 Feb, 1916, page 2), the Elks Follies in St. Joseph, Missouri (Catholic Tribune, 11 Nov. 1916, page 7), the Jollies of 1916 in Lincoln, Nebraska (Lincoln Star 19 Nov. 1916, page 19), and the Shrine Minstrels of Cedar Rapids, Iowa (Gazette, 21 Jan. 1916, page 1).
Ralph Hamilton of the Joe Bren Company, from “The Times” (Munster, Indiana) 8 Feb 1916, page 1.
Other Joe Bren Company collaborations included the Mohassan Grotto Minstrel Show in Davenport, Iowa (Quad-City Times, 30 Aug. 1916, page 3), the United Commercial Travelers Lodge Show Lodge No. 127 in Shreveport, Louisiana (Shreveport Journal, 11 May 1916, page 5), the United Commercial Travelers Lodge Show in Wichita, Kansas (Wichita Beacon, 15 Feb 1916, page 9), the Elks Minstrels in Independence, Kansas (Independence Star, 10 April 1916, page 2), the Sons of Black Hawks (S.O.B.H.) Minstrel Show in Waterloo, Iowa (The Courier, 1 Feb. 1916, page 9), the Shrine Minstrel Show in Montgomery, Alabama (10 Jan. 1916, page 7), the Elks Minstrel Show in Kenosha, Wisconsin (Kenosha News, 31 Oct 1916, page 1), and the Shriner Minstrels in Knoxville, Tennessee (Knoxville Sentinel, 5 April 1916, page 5).
Jo Alex Robb was another “advanced
director” for the Joe Bren Company. He took charge of the Shrine Minstrel Show
at the Alhambra Temple of Chattanooga, Tennessee (Chattanooga News, 11 Dec,
1916, page 7).
The Joe Bren Company was quite
sophisticated, with a staff that travelled the country and helped produce
shows. Like Sosman & Landis, they
tapped into a unique form of clientele that was driven by the “everyone wants
to be a star” mentality. There were, and are, many people who want their moment
on stage, a chance to shine under stage lights, and Joe Bren delivered that –
an opportunity to don a costume and perform on stage in front of professional
scenery. Although the Scottish Rite had
private performances for its members, it was based on this same principal; you
take an ordinary citizen and let him be an actor on a professional stage.
Over the years, the theatre
industry has continued to draw upon this particular drive, the desire to be a
performer. I also think of past productions that awarded top donors an opportunity
to participate in a production as supernumeraries; they were dressed up for a
stage scene, but they were able to associate with professional actors and stand
on stage before a large crowd.
The only true flaw in this formula is the blackface nature of the minstrel show and the deepening of racism in America. These shows were immensely popular, with many new stage effects being developed by lighting and scenery manufacturers. They also perpetuated prejudice and validated racism, one that thrives today even today. There were still blackface minstrel shows in the 1960s. On March 20, 1970, Vermont’s “Burlington Free Press” reported, “Black face minstrel shows still take place in many Vermont high schools” (page 2). By the late 1970’s newspaper articles fondly remember blackface minstrel shows, recounting comic routines between “black-face clowns” (News-Press, 8 Dec 1974, page 79). In 1977, the “Bennington Banner” included an article about the Lions Club Variety Show announcing, “No black face, but minstrel spirit remains in Arlington” (Bennington, Vermont, 24 March 1977, page 8.
The article describes, “One echo
of minstrel days has not died. That’s the tambourines, when the lights go down.
Day-glo painted on the lips and hands of the tambourinists and fluorescent
ribbons create that old contrast of bright and darks that inspired black face
to begin with.” In other words, instead of blackening the skin and exaggerating
the white lips, associated with stereotypical representations of African
Americans; they just used bright paint to exaggerate the lips, the iconic
illustration of a black-faced performer. Is it any surprise that there was a
large group of white supremacists just waiting for validation from a public
leader again?
Sosman & Landis delivered painted
settings for the Ten Allies Costume Bazaar in New York on November 28, 1918. They
were also hired to provide decorations for Chicago’s Allied Bazaar at the Coliseum. However, this time an architect was in charge
of the designs, not a scenic artist.
In 1917, Thomas G. Moses wrote,
“We opened the season on the New Year with the great Allied Bazaar for the
Coliseum and it is being rushed through in a hurry. I don’t like to deal with an architect on
these decorative jobs. They get an idea
they are building a house and don’t seem to see our way of knocking it
together, depending on the general results.
Of all the jobs that we have done of this character, where we made our
own plans, we never had one that didn’t have the big scenic spirit of
decorations and was always accepted.”
From the “Chicago Tribune,” 8 Jan 1917, page 9.
The Allied Bazaar was held at
the Chicago Coliseum for a week, beginning on January 11, 1917. 8,000 people
were involved in marketing of the bazaar, abandoning many other routine society
events to promote the “million dollar show” (Chicago Tribune, 12 Jan. 1917,
page 6). Promoters publicized the event in Minneapolis, St. Paul. St. Louis,
Cincinnati, Louisville, Indianapolis, Cleveland, and Detroit. 4,000 men and
women worked the bazaar, with approximately 500,000 attending. Exhibits
connected with the European war were on display, and included big guns,
ammunition, aeroplanes, French biplanes, German Taubes, American Curtiss and
Wright machines, hospital devices and field ambulances. The show even included a reproduction of a
trench with dugouts, barbed wire, loopholes, and other military appliances.
This particular exhibit was built under the direction of English army personnel
Capt. Ian Hay and Capt. Norman Thwaites.
From the “Chicago Tribune,” 20 Jan 1917, page 3.
Of the event the “Chicago
Tribune” reported, “This is the third big event of this characters for the aid
of the suffering in the allied nations, in Boston the bazaar proceeds were
$400,000, in New York $700,000” (Jan. 11, 1917, page 3). The article continued,
“Yesterday with the hum and bustle of the industry artisans were putting the
finishing touches to the Coliseum. A fairy city of shops, brilliant in color,
impressive architecture, has been raised within the big building down on Wabash
Avenue. Hammers tapped away as busy as woodpeckers. The air was filled with
sawdust. An electric lathe whirred away turning, planning and cutting lumber
for more booths and other galleries.
“Electricians with trailing
threads of wiring weaved away up in the vault like spiders. Workmen and society
women workers jostled each other in their hurry, overalls and sealskins fitted
about in the streets of the fantastic city that charity has built. There is a
buffet, a tea garden, a cabaret, a shooting gallery, sideshow, grocery store, fortuneteller
stand and many art shops in bazaar town.
“Among the scores of well known
persons who were at the Coliseum supervising the arrangement of the booths
formerly as observers, were: Henry J. Pattern, Mr. and Mrs. Chauncy McCormick,
Lady Aberdeen, Baroness Charles Huard, Baron Huard, Mrs. James T. Harahan, Mrs.
Halsted Freeman, Mrs. Charles Hamill, Mrs. Walter S. Brewster, Countess
Langston, Miss Cornelia Conger, James Ward Thorne, Mr. and Mrs. Samuel Insull,
Mrs. John Winterbotham, Mrs. George Higginson, and Mr. and Mrs. D. H Burnham
Jr.; the former largely responsible for the architectural planning.
“The Coliseum is full of stuff
of all description. Pianos, antique jewels, original etchings by Whistler,
automobiles, a motor boat, groceries, dolls, seal coats, artistic brasses,
painting and fancy work…Work is being rushed on the war exhibit which will be a
feature of the bazaar. This includes all sorts of shells from the French 75s to
huge sixteen-inch projectiles weighing tons. There are many types of field
pieces, trench mortars, rifles, pistols, wrecked gun carriages, a German
torpedo, uniforms, and war motors.
“In the exhibit is the first
American hospital ambulance set to France. It was given by Mrs. William K.
Vanderbilt. It was wrecked by a shell and the driver killed. The rusted plate
with the name of the donor in big letters was almost ripped from the ambulance
by the same shell.”
From the “Indianapolis Star,” 7 Oct 1917, page 40.
In 1917, Moses wrote, “Another
show for Howard, $1,500.00. “Daughter of
the Sun.” It was very good in every way.
Our scenery is making a big hit.”
Rowland & Howard’s production
“Daughter of the Sun” is not to be confused with another 1917 production starring
Anna Kellerman, “Daughter of the Gods,”
“Daughter of the Sun” was a play of Hawaiian
life, written by Lorin J. Howard and Ralph T. Ketterling. By 1916, Sosman &
Landis had already provided scenery for two other Rowland & Howard
productions, “Which One Shall I Marry” and “The Smart Show.”
“Daughter of the Sun” blotter card for sale on eBay.
“Daughter of the Sun” was billed as a play combining
“romance, international political intrigue and tropical setting in a drama that
is replete with stirring incident” (“Indianapolis Star, 7 Oct 1917, page 46).
The show was also advertised as a “massive scenic production,” telling the
story of a “Hawaiian Butterfly” (“Suburbanite Economist,” 31 Aug, 1917, page
3).
From the ‘Pittsburgh Daily Post,” 23 Dec 1917, page 40.From “The Fairmont West Virginian,” 23 Oct 1917, page 5.
On Dec. 23, 1917, “The Pittsburgh
Daily Post” reported, “The story turns on the love of Dr. Grant, and American,
for a Hawaiian girl, Loa, known as ‘The Daughter of the Sun.’ She is the
sweetheart of Kama, a descendent of Kalakaua. The plot is fostered by a
Japanese, posing as a scientist, who plans to aid a rebellion and then take the
islands in the name of Japan. Meantime, X-17 of the United States secret service
has been sent to get evidence. The Jap persuades Kama to give the young
American doctor a germ of leprosy in his tea, but Kama loses his nerve.
Nevertheless he retains the bottle in his possession, and when the villain
demands it Kama yields and Dr. Grant is inoculated. He is sent to Molokai, but
escapes. The physician comes back to face the villain and then it is that X-17,
who is a young woman posing as a Broadway actress, reveals her identity and frustrates
the Jap. A volcano begins to erupt and all flee for their lives except Grant,
who remains to hunt Loa. There are three acts and seven scenes. In the cast are
Freda Tymers, Jean Clarendon, James A. Bliss, Blosser Jennings. Virginia Stuart
and Leah H. Hatch” (page 40).
From the “Sun News Journal,” (Lancaster, PA) 11 Dec. 1917, page 7.
“The Morning Call” added,
“Rowland and Howard, the producers, have given the play an Hawaiian atmosphere
by a wonderful scenic equipment and also a band of native Hawaiian singers….‘A
Daughter of the Sun’ is a massive scenic production carrying a carload of their
own special scenery” (Allentown, Pennsylvania, 19 Nov 1917, page 10). The
article also added, “In all the plays of last season, the Hawaiian play seemed
to have the greatest appeal, for throughout the entire season, the play, ‘The
Bird of Paradise’ was greeted by wonderful audiences. The present season will
no doubt see a number of plays founded on the Paradise of the Pacific.” Hawaii
was, and remained, a popular stage subject.
Of the painted settings for “Daughter
of the Sun,” newspapers reported, “Exceptional scenery is presented, especially
the scene where the high priest calls down a curse upon the Hawaiian girl and
man for disloyalty to their race. The curse seems to be answered by the
eruption of a volcano and the wrecking of the village” (“Baltimore Sun,” 6 Nov.
1917, page 6).
Before the volcano erupts and the buildings crumble. The volcano scene produced by Sosman & Landis for the Scottish Rite theater in Winona, Minnesota, 1909.After the volcano erupts and the buildings crumble. The volcano scene produced by Sosman & Landis for the Scottish Rite theater in Winona, Minnesota, 1909.
Moses’ previous business
partner, Walter Burridge, made sketches of Kilauea while staying at the Volcano
House. Burridge’s source material was used for a huge panorama at the 1893
world fair attraction. Volcanic eruptions drew crowds at not only world fair
attractions, but also many other theatre spectacles. It was even incorporated
in into degree production for Scottish Rite stage ceremonials. In fact, examples of volcano scene for the
stage are still found at many fraternal theaters; they are a wonderful resource
for theatre students and popular entertainment buffs alike. The erupting
volcano effect is magical, still captivating the most seasoned stagehands when
produced. Even under a century’s deposit of dust of dust, this particular stage
illusion is fascinating. It may be an old school trick, with panels helping
translucent areas simulating plumes of smoke and streams of flowing lava, but
it still can make the audience spectator gasp with delight.
The “Allentown Leader” included
the article “DAUGHTER OF THE SUN A LYRIC ATTRACTION” (Allentown, Pennsylvania,
13 Nov. 1917, page 2). Here is the article as it took a unique look at the
show:
“On the island of Maui in the
Hawaiian group, the second island in point of size is the extinct crater of
Haleakala. The largest volcano crater in the world. While the crater is that of
an extinct volcano; still the possibility of its again becoming active is an
ever-present possibility. The crater of Haleakala has an area of 10 square
miles or 6400 acres’ its circumference is 20 miles; is 7 ½ miles ling and has a
depth of 10,032 feet. These figures are quoted to give some idea of what an
enormous affair Haleakala really is. The word Haleakala means “The House of the
Sun.” From this translation the idea for the play, “A Daughter of the Sun,” the
story of the Hawaiian butterfly, was derived. The Kanaka, as the native
Hawaiian is called, before the coming of the missionary in 1819, like all the
world tribes, worshipped the Sun as the source of life and nothing was more
natural than that this vast crater was the abode of the Sun, and hence it was
held in great reverence. The play ‘The Daughter of the Sun,’ was written by
Lorin J. Howard and Ralph T. Ketterling and is to be the attraction at the
Lyric for the first three days of next week.”
Watching the sun rise from Mount Haleakala.
I was fortunate to see the sun both
rise and set from the top summit at Haleakala National Park high above the
crater. Gazing across the clouds at the big island of Hawaii it feels like you
are sitting at the top of the world. This was on the 2017 trip to Maui when I
acquired several Thomas G. Moses paintings from a great grandson. If all comes
full circle.
In 1916 Sosman & Landis delivered a picture setting to
Indianapolis’ Strand Theatre. The studio took out an advertisement in the
“Indianapolis Star” when the theater opened, announcing, “Designed, built and
painted the elaborate picture setting for the new Strand Theatre listing their
contribution. In 1916, studio president Thomas G. Moses recorded projects for
picture sets in Fort Wayne, Indiana, and Pittsburg, Pennsylvania, too. The
first picture set mentioned by Moses at all in his diaries was during 1915; a
$1500 picture set for Fred Ingersoll in Detroit, Michigan. Here is the link for
that post: https://drypigment.net2020/01/17/tales-from-a-scenic-artist-and-scholar-part-904-thomas-g-moses-and-frederick-ingersoll-1915/
The term “picture set,” or “picture setting,” had two
meanings at the time. The first identified the painted scenery (leg drops and
backdrop) that created a lovely setting with a center projection area. The
backdrops in these picture sets were also termed “picture sheets.”
Picture setting design by the Twin City Scenic Co.Picture setting design by the Twin City Scenic Co., see model picture below.Another example of a picture set for a theater.
Of Fort Wayne project, Moses wrote,
“Went to Fort Wayne to stage picture set at the Empress Theatre.” The $1300
project was for painted scenes that framed a projection screen placed within a
painted composition. The new scenery was needed for the reopening of the venue
as the Empress theater reopened as a combination house, featuring vaudeville
acts and the latest three-reel films and serials..The Empress Theatre reopened
under new management on June 16, 1916. The “Fort Wayne Sentinel” reported,
“EIGHT BIG ACTS OF SUPREME VAUDEVILLE…This theatre, now under the management of
large Eastern Circuit and will at all times give the public the best obtainable
in from eight to ten acts of Vaudeville and High Class Musical Comedy.”
From the “Fort Wayne Sentinel,” June 14, 1916, page 5.
In 1916 “Picture set” also
identified a setting for film production. Newspaper articles suggest that his
was a relatively new practice in 1916. These new types of “picture sets”
received a substantial amount of publicity. They were even referred to as a
“new stunt” in filming (“Hobart Republican,” Hobart, Oklahoma, 17 Feb, 1916,
page 7). The “Jackson Daily News” reported, “The use of a big theatre as a
motion picture set is a new scheme and proved to be a very effective one” (8
Feb 1916, page). Here is the context…the Republic Theatre was used as a film
set for a 1916 Florence Reed picture. Of the film, newspapers reported, “As soon as the curtain was rung down at 11
o’clock on ‘Common Clay,’ Producer Fitzmaurice with his star, Florence Reed and
many extras, came in and took possession of the theatre. Special lights were
installed and some twenty scenes taken in jig time….In order to carry out the
realism the floor of the theatre was crowded with extras, and friends of
various Pathe officials. Mr. Woods himself was present and gave many valuable
hints as to detail. The picture is New York,” an adaptation of the one of Mr.
Wild’s theatrical productions” (Jackson
Daily News. 8 Feb 1916, page).
In 1916, Moses mentioned another movie picture set, writing,
“In March we did a picture set for a suburban town near Pittsburg,” later
adding, “We sent two of our picture set models to the Art Institute with the Palette
and Chisel Club exhibit, and they received as much attention as some of the pictures.”
These were movie set models that were on display for the exhibit instead of
models that depicted a central projection screen.
Of the Palette & Chisel Club Exhibit, the “Chicago
Tribune” reported, “New Exhibit at Institute. A unique event in the life of the
Palette and Chisel Club in Chicago will take place on Tuesday evening, April
25, at the Art Institute. For twenty years the club has been holding its annual
exhibitions at its own clubrooms. Tuesday night all precedent and tradition
will be violated and its large and interesting collection of the last year’s
activities along art lines will be shown at the Art Institute of Chicago. It is
to be an extremely comprehensive exhibit, including in its scope not only
paintings and sculpture, but the work of some master craftsman as well, men who
apply their artistic talents to the usable things of life, incurring thereby
the lasting gratitude of the practical masses.”
For the exhibit Gustave Bauman showed his wood block prints
and book decorations, while Oswald Cooper, Fred Bersch and B. A. Kleboe
exhibited various booklets and interesting examples of fine printing designed
by them. John Carlsen showed special
wall paper designs and Watkins Williams exhibited some stage designs. Williams was noted as a Sosman & Landis
scenic artist. The newspaper article
noted Williams as the artist who “designed and painted the scenery for the
immortal Sarah Bernhardt on her last American tour.”
Williams worked at Sosman & Landis. Sosman & Landis
models for movie sets would have been an asset to this diverse group,
especially in light of Watkins.
One final picture set mentioned by Moses in 1916 was for the
Studebaker Theatre in Chicago. Of it, he wrote, “Our big picture set at the
Studebaker made a big hit, quiet and dignified.” This was likely another film
set, as “quiet and dignified” seems an unusual way to describe a picture sheet.
This movie played at the Studebaker, another theater with a picture setting by Sosman 7 Landis. From the “Chicago Tribune,” 21 May 1916. page 29.
In 1916, Thomas G. Moses wrote, “May 1st was my
first in six months at painting attempt in the studio. Models and sketches take up all my time.”
He was now the president of Sosman & Landis. A partnership had made the firm a success,
and now Moses was pretty much on his own. In the beginning, Landis was on the
road securing contracts followed by Sosman painting the projects. Moses was
their first hire in 1880, assisting Sosman on many of their early projects
before the staff grew, yet Sosman maintained artistic control while Landis
headed sales. When Landis left in 1902, Sosman appointed Moses vice-president two
years later. At this time it was David H. Hunt who focused on sales. By 1916,
however, Sosman was gone and Hunt had started his own studio. Moses was left to
pick up the pieces and please the shareholders, in addition to competing with
Hunt for the same clientele.
Moses was attempting to both secure and supervise projects
in the main studio and annexes. His statement, “Models and sketches take up all
of my time,” emphasized his workload for sales that year.
He later wrote, “October 10th I was re-elected
president of the company, Mrs. Sosman vice president and Lester Landis secretary
and treasurer…Sosman and Landis Company enjoyed a good year. We have all been very busy. I have not done as much as I would like to do
in the way of pictures, but I guess I did fairly well.” Moses then added a sentence that starts to
show the wear and tear of his artistic soul, “I live on year to year, hoping,
always hoping, for a little more time to gratify my ambition to paint if only
one picture that I could really fell was worth while and all the years I have
tried to do this were not spent in vain.”
At the beginning of 1916,
everything seemed possible. The firm delivered scenery for the Strand Theatre
in Indianapolis. Sosman & Landis took out an advertisement in the
“Indianapolis Star” in support, announcing, “Designed, built and painted the elaborate
picture setting for the new Strand Theatre listing their contribution.
“Producers of Quality Scenery” listed Thos. G. Moses as “President and
Designer” with P. L. Landis as “Secretary and Treasurer.” The advertisement
also noted that the firm was established in 1877. An article also announced
“Strand Scenery Excellent,” adding “Thomas G. Moses, president of the Sosman
& Landis Company, producers of theatrical scenery, superintended the
arrangement of the elaborate setting for the Strand Theatre. Mr. Moses has done
a great deal of scenery work in the different theaters of Indianapolis dating
back to the first production of Ben-Hur at English’s Theater. Mr. Moses has
designed and painted productions in nearly every city in the country. In the
Strand stage settings the possibilities for excellent lighting are obvious, and
are taken advantage of by the Strand’s electrician, Mr. Dalton” (Indianapolis
Star, January 15, 1916, page 9).
From the “Indianapolis Star,” 15 Jan 1916, page 9.
Moses started doing something
new in 1916; Moses now took credit for his own designs work when Sosman &
Landis manufactured it. In other words, programs and newspaper article now
differentiated “designed by Thomas Moses” and “built by Sosman &
Landis.” For example, on April 15,
1916, the “Rock Island Argus” reported “[Around the Town] was built in its
entirety by the Sosman & Landis scenic company from special designs made by
Thomas Moses” (15 April 1916, page 8). Another instance was for the Boston
English Opera’s production of “Martha.” Newspaper advertisements reported,
“Scenery Designed by Thomas Moses and Built by Sosman and Landis Studios” (The
McPherson Daily Republican, 21 Oct 1916, page 5). T was too little too late, as
the names of designers were no longer a driving that attracted attention.
All of Moses’ talents and experience
wouldn’t help him in the end. The studio
would soon begin to crumble. Times were changing; there was a new game with new
rules and a war overseas. So many things
began happen simultaneously and the supply for painted scenery began to outpace
the demand. A new movement was in the
making for the stage, and it concerned the rejection of painted scenery on the
stage in lieu of fabric setting and motion picture. Moses would become the
proverbial fish out of water, with Sosman & Landis floundering. The company
would not survive the next seven years.
In 1916, Thomas G. Moses wrote, “Sold Hoffman of Detroit
$725.00 of old scenery from Saginaw.” Sosman & Landis had previously provided
scenery to East Saginaw’s Academy of Music. The refurbishment and resale of old scenery to a
new venue was commonplace at this time.
From the “Detroit Times,” March 28, 1916, page 3.
On March 26, 1916, the “Detroit Free Press” announced,
“Amusement Place of Large Capacity Takes Site Where Stands Old Abandoned House
of Worship.” C. A. Hoffman and Graham Hoffman were pictured next to the
proposed Colonial Theatre. The article continued, “Amusement place with
capacity for 2,289 is to be opened October 1. To build the first large-modern
theater in the near down-town section of Woodward avenue, the Detroit-Colonial
Theater company has been organized by the Hoffman brothers, vaudeville managers
and producers, and incorporated with an authorized capital of $200,000.
“A 30-year lease has been obtained of the northwest corner
of Woodward avenue and Sibley street on which now stands the abandoned Woodward
avenue Congregational church, a landmark in that section.
“C. Howard Crane, architect, has been engaged to draw plans
for the theater and has completed the specifications embodying a number of innovations.
The theater will have no gallery; but there will be a spacious balcony.
Something new to Detroit will be a larger open well on what is to be a
mezzanine floor, giving the auditorium under the balcony the appearance of
great height. This feature is found in the Strand theater, New York. The
capacity will be 2,289 including 204 box chairs. The style of architecture will
be colonial carried out in exterior and interior details, giving opportunity
for striking beauty and simplicity.
There will be a stage adequate in size for any act on the
large vaudeville circuits. There are to be 15 dressing rooms, besides special
quarters for musicians, electricians, and carpenters, and lounging rooms and
shower baths for stage performers.
The name Colonial has been chosen for the theater because it
is the pioneer showhouse of the district in which it is to be located, because
of the style of architecture desired an because as the promoters declare, ‘It’s
a good old American. – strictly American name.”
Clare A. Hoffman will be president and general managers of
the company, and Graham Hoffman secretary and treasurer. These young men of
long experience, in various capacities, with the theatrical and amusement
business, built and have managed the Palace Theatre of this city. They are the
management in the Hoffman Brothers theater enterprises including the new Palace
theater of Saginaw. The vice-president of the Colonial Theater company is Harry
J. Dingeman. The three named with Julius L. Krimmel and Mortimer Hoffman are the
company’s directors.”
Clare A. Hoffman, pictured in the “Detroit Times,” March 28, 1916, page 3.Graham Hoffman, pictured in the “Detroit Times,” March 28, 1916, page 3.
On Feb. 26, 1916, “The Moving
Picture World” announced, “Clare A. Hoffman has succeeded A. I. Marenette as
president of the Palace Theater Cp., of Detroit. Graham Hoffman continues as
secretary. Harry J. Dingeman has been elected vice-president and Frederick H.
Mears treasurer. These, with Mr. Marentette, form the directorate.
It was announced at the director’s
meeting held recently that the company, which has been paying 1 per cent,
monthly on a $200,000 full subscribed capital, will go to 2 per cent. March 1,
with the company practically free from debt. C. A. Hoffman has also been chosen
president, Mr. Dingeman vice-president and Graham Hoffman secretary of the Hippodrome
Amusement Co., of Saginaw, Mich., which has practically completed the financing
of a theater being erected on Gennessee avenue and to be opened about March 15.
The Hoffman Brothers Theatrical Enterprises has recently opened offices at 1437
Dime Bank building. They propose to erect other theaters in Michigan” (page
1330).
Sosman & Landis had been doing
business with the Hoffmans since 1914. On Feb. 15 of that year, the firm
delivered scenery to the Palace Theatre in Detroit (see past post #879). The
Hoffman brothers were the managers for the venue. Other Palace theaters with
scenery by Sosman & Landis included those in Chicago (1912), Minneapolis
(1914) and Fort Wayne (1914).
To be continued…
Yesterday I examined the early
life of Lemuel Laken Graham, a partnership with Thomas G. Moses in 1882, and his
return to the Sosman & Landis Studio in 1883. By 1884, Graham left Chicago to
start his own studio in Kansas City, Missouri. The 1885 Kansas City Directory
lists Graham as a founder of the Kansas City scenic company studio known as
Graham & Davis. At the time, Graham was residing at 637 Garfield Ave. His business
partner, William Davis, was with the firm for less than only two years, and by
1886 studio was simply listed under Lemuel L. Graham.
Lem Graham, 1914 obituary notice.
In 1887, Graham was again listed in
the Kansas City directory as a scenic artist with his studio at 525 Main, rooming
at 517 E. Missouri ave. The 1888 Kansas City Directory lists “Lemuel L. Graham”
as employer for other scenic artists in the city, such as Benjamin F. Dunn,
future president of the Kansas City scenic Co. Two other bits of information in
1888 provide a little context for Graham’s career in Kansas City; the first is
that Moses mentions stopping in Kansas City to visit Graham in his memoirs, writing,
“He was doing well.” Indeed, Graham was doing very well, with a substantial
staff of artists work in his studio. The second mention of Graham and his
studio was included in the 1888 publication, “Industries of Kansas City:
Historical, Descriptive, and Statistical.”
The section on Graham included the following listing:
L. L. Graham.
Scenic Artist, Contractor for Stage Equipment, Theatre Hardware, Frame Work,
Canvas, Traps, Bridges and Every Necessary Equipment of First Class Theatres,
525 & 527 Main Street.
There was an entire entry for Graham too:
“Mr. L. L. Graham is a prominent representative of the
scenic art in Kansas City, having established this business here four years ago
in conjunction with Mr. Davis, who withdrew from the firm some two years since.
Mr. Graham is an adept in this line, having followed the business upwards of
twenty-five years. His first experience in the school of art was had at McVickers’
Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland,
Memphis and New Orleans. His establishment here is eligibly located at 525-527
Main Street, and consists of a studio and shops fitted up with every essential
appliance and convenience for the correct and expeditious execution of the
work, which comprises high art stage scenery and equipment, rich and elegant
stage curtains, stage properties of every description, theatrical hardware,
frame work, canvas, traps, bridges, etc. One special feature of Mr. Graham’s
industry is his advertising drop curtain, which is richly draped on the top and
sides with royal crimson and heavy bullion fringes and pendants gracefully
falling on steps painted at bottom of curtain. In the center is a large and
artistically painted picture in stucco frame, which is surrounded by a border
of deep Prussian blue, divided into spaces for the insertion of business cards.
The cards may be lettered in a becoming and artistic style in bright gold, the
whole having a brilliant and pleasing effect. There are usually from eighteen
to twenty of these spaces of varying sizes to suit the advertiser as to the
amount he desires to pay. Full particulars concerning this feature will be
furnished by mail, upon application, to theatre managers, hall proprietors and
others interested as well as any other information appertaining to stage
equipment and carpentry. Mr. Graham has executed stage work for some fifty or
sixty houses in Nebraska, notably at Omaha and Lincoln, etc., and for forty five
different houses in Kansas, including Winfield, Wichita and Anthony, and in St.
Joe, Hannibal, Springfield and many others in Missouri. As many as thirty-six
men in his employ upon an average weekly pay roll of $500.00, Mr. Graham giving
his personal attention to every detail of this most intricate work. Contracts
were made for Priests of Pallas and trades displays and pageants in Kansas.”
Thirty-six men in Graham’s scenic studio is comparable to that of Sosman &
Landis in Chicago at the same time. However, Graham did not remain in Kansas,
heading east.”
This publication included an interesting commentary about
scenic studios at the time: “Such industries as the one under special notice
[L. L. Graham], are among the necessary concomitants of a rapidly developing
metropolitan community, indicating that spirit of enterprise that caters to
refined taste and social enjoyment.”
By 1896, Graham was listed as doing business with another
scenic artist L. J. Couch (1838 – 1909). Little is known of their exact relationship
or business, but it was an unsuccessful venture and makes me ponder Moses’
comment, “a good fellow and a hard worker,
but altogether too close to please me.” Graham and Couch were listed in
the “Boston Globe” under the heading “Business Troubles.” Of their scenic
studio, the newspaper announced, “L. J. Couch and Lemuel L. Graham, doing
business at 384 West 1st St, South Boston, under the firm of Levi Couch &
Co., scenic painters, have been petitioned into insolvency by Edmund G. Pond,
creditor” (The Boston Globe, 9 Jan. 1896, page 7). This is Graham’s third
failed business venture in twelve years.
Couch was a scenic artist and inventor, specializing in
stage hardware. Born in Milford, Connecticut, he was also a stage mechanic,
with an extensive background as a general carpenter. This should have been the
winning combination for Graham and Couch – both scenic artists, with one being
a knowledgeable stage mechanic. Couch even applied for two patents that
involved the operation of stage scenery. One was for a “wire rope clamp” (US
Patent 756,158) and other for a “curtain block, drop” (US Patent 756,157). Here
are the links to Couch’s two patents:
Couch advertised his wire clamp in the “New England Business
Directory and Gazetteer” (No. XXI, 1904).
Advertisement from the “New England Business Directory and Gazetteer,” No. XXI, 1904.
Couch’s background I fascinating, especially before he
partnered with Graham. In 1890, Couch was working at the Bijou Theater in
Boston, listed as stage carpenter in the city directory. He soon founded L. J.
Couch & Co. and initially partnered with fellow scenic artist, David
Richards from 1893-1895. As with Graham’s firm in Kansas City, L. J. Couch
& Co. offered a wide range of theatrical goods ranging from painter scenery
and theatrical hardware to general stage appliances.
After L. J. Couch & Company, Graham partnered with P.
Todd Ackerman, another scenic artist. Their studio was initially located at the
Broadway Theater in Brooklyn, New York. On Aug. 13, 1902, the “Brooklyn Daily
Eagle” reported that Graham and P. D. Ackerman took a mortgage with John C.
Sceneck at Bushwick Ave. for $3900 (Conveyances, page 14). In 1903, “The
Standard Union” listed: BUSHWICK AVE, s w s 100 n w Eastern Parkway Extension,
50×29.5x-x56.3; Lemuel L. Graham to Philip D. Ackerman; ½ pt; all liens….nom” (22
July 1903, page 10). There Studio Building 1576 to 1580 Bushwick Ave, New York.
Graham later set up his own studio on Crosby Avenue in
Brooklyn, calling it L. L. Graham and Son. This must have been Revard Graham.
In 1905, the US Census lists Graham and his
wife living in Manhattan with their three children: Rachel Elizabeth, Ethel,
and Revard Parker, ages 21, 13 and 10. Graham would remain in Brooklyn, New York,
until his passing in 1914, yet listed “Graham & Son,” now working with
Revard Graham. There remains one drop credited to L. L. Graham & son at the
Grange Hall in Denmark, Maine.
Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.Signature of “L. L. Graham & Son.” Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.Painted detail. Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.Painted detail. Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.
Graham passed away after a brief illness on Sunday, Dec. 27,
1914, at the age of only 68. He died at his home, 3 Miller Ave, and was still working
as a scenic artist (“The Standard Union,” 29 Dec. 1914, page 3). The Brooklyn
Daily Eagle described Graham as “one of the best-known scenic artists of this
country.” The article summarized, “[Graham] was known from coast to coast among
theatrical men and had traveled through every State in the Union in his time,
and his work was known in all of the principal cities.”
Here is Graham’s obituary in its entirety:
“L.L. Graham Artist, Dead.
Painted Many Scene and Curtains for Theatres. Had Studio Here. Curtain at
Broadway Theatre His Creation. Lemuel Laken Graham, one of the country, died
Sunday from heart failure after a long illness at his home. 3 Miller avenue, on
the border line of Queens Borough, near Highland Park. Mr. Graham had a studio
building on Crosby avenue, near his home, or ten years, funeral services will
be held to-night with internment in Evergreens cemetery.
Mr. Graham was known from coast to coast among theatrical
men and had traveled in every State in the Union in his time. His work was known
in most of the principal cities. He was born in Ann Harbor, Mich., July 4, sixty-eight
years ago, the son of the Rev. Daniel McBride Graham, a Baptiste clergyman and
the president of Hillsdale College, Mich., and Ursula Graham. His father
apprenticed him to the scene painting business in his youth and he early
achieved fame in his chose calling.
He was associated with Sasman [sic.] and Landis of Chicago,
for some years and painted the curtain for the Chicago Auditorium. Later he was
a partner of L. J. Couch, of Boston, and in his studio there turned out some of
the best known to stageland, While at Kansas City for a number of years, Mr.
Graham was in charge of the great annual event there, the priest of Pallas
parade, and created all of the floats and scenes used in the carnival. Mr.
Graham and P. Todd [sic.] Ackerman did the decorations for the Broadway Theatre
here, and he painted several curtains and numerous elaborate settings for
Manhattan theatres.
Mr. Graham taught scene painting for years and some of the
most skillful scenic artists in the country were his pupils. Of late years he
confined his work to the creation of smaller scenes and he had a reputation for
clever organizations. He leaves his wife, Elizabeth West Graham; a son Revard
Parker Graham, a scenic artist, and a daughter, Mrs. Fermin Ferrer, of
Laurelton, L. I.” (The Brooklyn Times, 29 Dec, 1914, age 12).
Horace Tabor’s financial fall in the 1890s resulted in the
sale of his two prized possessions, opera houses in Leadville and Denver. The Tabor Opera House in Leadville briefly
became known as the Weston Opera House before J. H. Herron purchased it. Herron
immediately sold the property to the Benevolent and Protected Order of Elks who
renovated it. The fraternal organization
began a massive building renovation in 1901. The $25,000 renovation by the Elks
included a new stage with fly loft and enlargement of the auditorium. There
were also many cosmetic changes made to the interior décor that included an
elk’s head mounted on the proscenium wall. Gone was the original painted décor and
characteristic of the 1870s theater.
The 1902 scenery collection delivered to the Tabor Opera House included at least six interior sets: two center door fancies, two plain interiors, a prison, and a Baronial Hall. Over the years, I have encountered dozens of examples of interior settings, especially in social halls and smaller venues. However, I have never encountered any on such an elaborate setting as at the Tabor Opera House. Not all interior sets at the Tabor Opera House are of the same quality, being produced by two different studios. The green gothic interior and yellow center door fancy are some of the best scenic art examples that I have encountered to date. They are products of Sosman & Landis, a firm subcontracted by Kansas City Scenic Co. in 1902.
1902 setting at the Tabor Opera House painted at the Sosman & Landis studio in Chicago, subcontractor of the Kansas City Scenic Co.1902 setting at the Tabor Opera House painted at the Sosman & Landis studio in Chicago, subcontractor of the Kansas City Scenic Co.
Both firms shared work and artists over the years, but in was F. R. Megan, the Kansas City Scenic Co. salesman, who secured the Leadville contract.
Kansas City Scenic postcard.
I am going to start F. R. Megan. Frederick Rishel
[sometimes noted as Richell]
Megan was born in Galesburg, Illinois on May 5, 1873. His father was Dr. John W. Megan, an Irish immigrant, and his mother was Cornelia Wookey, a native of New York; they were married in 1871 in Knox, Illinois. [I have to admit, reading “Cornelia Wookey” makes it difficult not to think about “Star Wars”].
The first mention of Frederick R. Megan is in an 1896
Kansas City Directory; his listing notes “trvlg” [traveling] and rmg [rooming]
at 1021 McGee. In 1897 Megan was performing and touring with the Barrett
& Barrett Company (“Leonardville Monitor,” Leonardville, Kansas, 2 Dec.
1897, page 8). By 1900 the US Census lists Megan’s wife as Thenia Jones, born
in Carroll, Arkansas around 1877. The couple was married in Jackson, Missouri,
on April 14, 1898, likely while Megan was touring. The transition from
performance to technical theater is not a great leap, as many 19th
century touring companies required their performers to complete backstage
tasks, including scene painting. Jesse Cox is only one example of a performer
who ended up enjoying a successful career as a scenic artist.
On July 19, 1900, Fred and Thenia
Megan celebrated the birth of their daughter, Anabel L. Megan; all were living
in Kansas City, Missouri.
Megan continued to appear in the Kansas City Directory
until 1918, with his first listing as Kansas City scenic Co. salesman in 1903.
However, we know that he was already with the company in 1901, as newspapers
published his association with the firm.
From “The Kansas City Catholic,” 6 July 1892, page 2.
In 1903, however, Megan established his residence at 507
Monroe, where he would continue to reside from for over a decade before moving
to 4136 Warwick Boulevard. Although he continued to be listed as a traveling
salesman for the Kansas City Scenic Studio Co. by 1920, Megan was listed as
Government Supervisor. Many scenic artists worked for the government on
painting projects during WWI, especially in regard to the development of
camouflage painting. The 1920 US Census listed Megan and his wife Thenia as
living a 16th Street in Washington, D.C., although Kansas City
Directories still included their entry.
Megan’s 1918 WWI draft registration card describes him as
tall and medium build, with blue eyes and grey hair. He was 45 years old at the
time. On his draft card Megan listed his occupation as traveling salesman for
the Kansas City Scenic Co,, located at 24th and Harrison Streets in
Kansas City, Missouri.
And then there is Megan’s connection to Thomas G. Moses.
After the death of Joseph S. Sosman in 1915, Sosman & Landis stockholders elected
Moses company president. He was a gifted artist and charming salesman, but was
not intricately connected to the same theatre and Masonic networks as his
predecessor. The company started to slip, losing projects to smaller companies
with the necessary connections. In the post-WWI years, Moses began to realize that
Sosman & Landis would not survive. By 1923, Moses wrote, “On our
return to Chicago we had a little chat with Fred Megan about buying into the
company and getting Hoyland and Lemle out. D.S. Hunt is also bobbing about for
the lease of the studio.” It is this
connection with Megan that has always peaked my interest. Megan was the consummate salesman, having
entered the studio scene early in his career. The opera house in Leadville was
one of his first big projects for Kansas City Scenic Co. that brought in Sosman
*& Landis as a subcontractor.
In 1923, Megan and Moses teamed up and leased the old Fabric
Studio in Chicago while they waited to purchased the Sosman & Landis name.
By 1924, Megan was on the road most of the time, with Moses making models in
his studio and painting scenery. This is how Sosman & Landis had most
successfully operated since the beginning- with Landis on the road and Sosman
in the studio. Now Megan was on the road and Moses was in the studio.
Moses and Megan would close the contract
for the Salt Lake Consistory scenery [Scottish Rite] during 1926. They would
also deliver scenery to the Oakland Scottish Rite in 1927 under the name of “Sosman
& Landis.” Moses and Megan continued working together until 1931. In 1933,
Megan was listed as the Sosman & Landis manager in Chicago, residing at 819
Dobson in the Evanston, Illinois, Directory.
At the time of Megan’s passing on April 16, 1946, his “usual
occupation” was listed as that of a “paint contractor.” At the time of his
death, he was married to Edith Wilkson and was living in La Joya, Texas. The
cause of his death was a heart attack.
