Sosman & Landis – Page 24

Tales from a Scenic Artist and Scholar. Part 785 – The 20th Street Studio, or the Sosman & Landis Annex

Sosman & Landis catalogue image from 1894

In 1911, Thomas G. Moses wrote, “We started Brewer’s work at the 20^th Street studio, with an extra number of men. Pausback had his hands full; Scott acted bad. Got Geo. Schultz on the staff at 20^th Street. I was obliged to remain at the Clinton Street studio, only going to 20^th Street every other day.”

Before building their main studio on Clinton Street, the Sosman & Landis studio was located at 277 and 279 S. Clark Street in Chicago. As business increased, it became necessary to build a larger studio to simultaneously accommodate multiple projects. However, even the new Clinton space could not accommodate all of the contracted projects. Therefore, some projects were manufactured on site, Carpenters were sent ahead of scenic artists, building paint frames in various opera houses, theaters and music halls.

Space and location was the key to any studio’s overall success; scenic artists needed access to multiple frames throughout a city when a very large project hit. They referred to these additional spaces as “annex studios,” temporary locations that complimented the main studio and business offices. Sosman and Landis opened a second studio space on the West Side of Chicago, renting the “old Waverly theatre” and referring to the second space as “the Annex” during August 1892. According to Thomas G. Moses, the studio measured 93 feet wide by 210 feet long and 40 feet high. The first annex studio had four paint frames with plenty of floor space for all kinds of work. This space was specifically secured for Moses and his crew to accept additional work for the Columbian Exposition. Moses’ arrangement with Sosman & Landis was to receive all of their sub-contracted work. Moses records that his annex studio crew included A. J. Rupert, Frank Peyrand and Harry Vincent besides a number of assistants and paint boys. He wrote, “It was awfully hard to keep the building warm. It was so big we had to use stoves.” Even with his own studio, however, Moses was still constantly sent on the road to complete on site work for the company. During these extended absences, Ed Loitz took charge of the Annex studio.

The annex space remained open throughout 1894. During the summer of 1894, Thomas G. Moses painted a number of small shows there. The work kept the annex studio open, despite the decline in projects after the close of the Columbian Exposition. Moses also wrote that the annex staff was always needed to “get the work out on time.”

In 1896, Sosman & Landis opened another annex studio. Moses wrote, “I had so much special work to do and it was hard to handle in the Studio. We rented the frames at the Alhambra Theatre and I worked there during the Fall and Winter.” This annex studio, however, was located in quite a rough neighborhood. Moses recorded the Alhambra Theatre was located on State Street and Archer Avenue. Moses wrote, “It was a long ride to Oak Park and I disliked the theatre. It was a very rough neighborhood – a hangout for all the big crooks.” In 1897, Moses was still supervising the annex at the Alhambra Theatre.

In 1907 Sosman & Landis established another Annex studio. Of it, Moses wrote, “We opened our annex studio at 19 W. 20^th Street in July, and Ansel Cook went there as a manager. He did some very good work but was a long time doing it, which, of course, didn’t pay us.” Moses divided his time between Sosman & Landis’ main Clinton Street studio and the annex studio that year, in addition to being on the road for weeks at a time. After one extended absence from the annex studio, he wrote, “Took charge of the 20^th Street Studio on my return weeks. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” Moses was obliged to stay at the 20^th Street annex in 1908, commenting it was “an awful place to heat.” Nicholas J. Pausback eventually replaced Cook as second in command.

In 1909, Moses primarily worked at the main studio before finding himself back at the annex again. Of the move, Moses wrote, “Sosman seemed to think I was needed there more than at 20^th Street. Pausback took charge of the 20^th Street studio.”

My research suggests that Sosman & Landis painted approximately 1200 drops during 1909, this being very conservative estimate. Fortunately, they had a staff of forty-eight on payroll in the main studio and twelve in the annex to help with the ever-increasing demand for painted scenery, stage machinery, draperies, and other theatrical equipment.

To be continued…

Tales from a Scenic Artist and Scholar: Part 781 – The Chicago Land Show, 1911

In 1911, Thomas G. Moses wrote, “Lawrence, Kansas, yielded a Masonic job, which meant a lot of work for the Land Show.” Land shows were held for the purpose of exhibiting and explaining the agricultural and other resources of the states with exhibits that included lectures and the distribution of information.

Scenery for Lawrence Scottish Rite was a little free advertising for Sosman & Landis, leading to the Kansas exhibit for the Land Show in Chicago. On Nov. 8, 1911, the “Evening Telegram” reported that Charles I. Zirkle of Topeka was leaving for Chicago to “install the Kansas Land Show exhibit” (Garden City, Kansas, page 3). Later, Zirkle spoke at the “Kansas Realty Men” convention in Topeka, delivering the same daily lecture from the Chicago land show that promoted settlement and travel to the Kansas (Parson Daily Sun, Parsons, Kansas, 29 Dec. 1911, page 4).

In 1911, Land Shows were held in Minneapolis, Houston, Los Angeles, New York, Omaha, Pittsburgh, and Salt Lake City. Of the Land Show in Los Angeles during 1911, the “Los Angeles Times reported, “The big railroad companies interested in the settlement of the West immediately grasped the possibilities of the show and bought space in the Coliseum Building and spent many thousands of dollars in getting together splendid exhibits of fruits, grains and vegetables from districts along their line.” (5 Nov. 1911, page 21). A general sales agent for the Southern Pacific Railroad said, “The big land shows are a wonderful illustration of newspaper initiative and railroad co-operation,” explaining that when the land shows commenced, Chicago was then “the great land distributing center of the country.”

Advertisement for the Omaha Land Show from the “Omaha Daily Bee,” Jan 19, 1911, page 16

Advertisement for the Omaha Land Show from the “Omaha Daily Bee,” Oct 18, 1911

For the Chicago Land Show, the “Chicago Daily Tribune” advertised the event as “the greatest exposition in Chicago since the World’s Fair” in 1893 (Nov. 16, 1911, page 20). The exposition was held in the Chicago Coliseum on Wabash Ave., near 16^th St. and exhibiting space was valued at $47,000 and filled with the finest produce of the land from fifteen states, inviting men and women of Chicago to exchange their steam-heated flats for rural homes.

The Union Pacific Railroad exhibit at the Chicago Coliseum was installed at an expense of $20,000, consisting of three specially prepared rooms and thousands of feet of moving picture films. Of the exhibit, the newspapers described, “Continental moving picture travelogues are to be operated in the rooms, illustrating mining and agricultural industries in the territory through which the railroad furnishes transportation (Nov. 16, 1911, page 20).

Local advertisements urged, “Come down and talk to the men, who like yourself, could not get ahead in the big city and who gave up their jobs, went West and South and are now independent of the landlord.” Each day of the Land Show, one farm was given away to a lucky visitor. Other daily prizes included potatoes; 40,000 of which were distributed on Idaho day at the expense of the state. The State of California shipped in seven carloads of fruit and one carload of violets to be presented to female visitors on California day.

An advertisement for the Chicago Land Show, from the “Chicago Tribune,” Nov. 16, 1911, page 20

The first Land Show was held during 1909. In 1911, it was estimated that $33,000 were spent by the management and exhibitors in decorating the interior of the coliseum, with the entire collection of exhibits valued at $150,000, the spending equivalent of over $4,000,000 today. Of the $150,000 in 1911, $47,000 worth of products was sold during the show, and increase from $34,000 in 1909.

Of the Salt Lake City Exhibits, the “Los Angeles Times” reported, “According to the Salta Lake Tribune, the Commerical Club and the Utah Development Company of Salt Lake are arranging one of the best exhibits that Utah can produce for tge land show here.‘The results of the exhibit sent to the last land show at the Los Angeles were so successful that it is proposed to make the best of this opportunity.’ Says the Tribune. Elaborate and extensive preparations are in progress in Salt Lake City for a series of excursions from the city during the land show, and it is expected that hundeds of members of the Commercial Club and other organizations will come here especially to attend the exposition. General Manager Wilson is in receipt of a letter from Frederick Thompson, scenic artist, who designed Luna Park, Dreamland and A Trip to the Moon at Coney Island, stating that he will submit plans for decorations and entertainment which he expects to surpass anything heretofore attempted in the West” (“Los Angeles Times” 5 Nov. 1911, page 21).

To be continued…

Tales from a Scenic Artist and Scholar: Part 780: The Scottish Rite in Lawrence, Kansas, 1911

In 1911, Thomas G. Moses wrote, “Lawrence, Kansas, yielded a Masonic job.” The scenery and stage machinery were similar to that installed at Scottish Rite theaters in Wichita, Kansas, Winona and St. Paul, Minnesota, Santa Fe, New Mexico, Grand Forks, North Dakota, Tucson, Arizona, and the list goes on. Although smaller in scope than some of the other scenery collections, the same counterweight system (Brown’s Special system) was installed, with the lines spaced on four-inch centers. Like many other Scottish Rite Valleys in the first two deacdes of the twentieth century, funds were pouring in and men with vision planned massive edifices to accommodate the ever-increasing membership. Unfortunately, this period of unprecedented growth often meant that no plans were in place for extended periods of membership decline or financial challenges.

The Masonic Temple in Lawrence, Kansas, once home to the Scottish Rite

The Scottish Rite theater, used for 94 years before the building was sold.

The painted front curtain of the stage at the Lawrence Masonic Temple, painted by Sosman & Landis and mentioned in the memoirs of Thomas G. Moses (1856-1934).

Scenery produced by Sosman & Landis for the Scottish Rite in Lawrence, Kansas, in 1911.

Ninety-two years later, the building was on the market, citing those two exact issues. It was one of the early Scottish Rite theaters to change hands, signaling the start of a shift within the Southern Jurisdiction. At the turn of the twentieth century, the Kansas Scottish rite was riding the crest of expansion in the Southern Jurisdiction. They were at the forefront of a new movement as Scottish Rite theaters and degree productions spread like rapidfire. In 1911, there were seven Scottish Rite Valleys in Kansas, located in Kansas City, Fort Scott, Salina, Topeka, Lawrence, Wichita, and Leavenworth. In 1919, the “Lawrence Daily Journal-World” reported, “Largest Class in History” (28 January 1919, page 1). The article noted, “With the addition of more candidates for the Scottish Rite degrees, the mid-winter class now being conducted thorugh the mysteries of higher Masonry, has now become the largest class in the history of the Lawrence Scottish Rite bodies. There are now 119 candidates in the class.” This was a new trend, adding a mid-winter reunion to the standard fall and spring schedule. The need to add an additional reunion each year to accommodate increased numbers of candidates shows how rapidly the Scottish Rite Rite was expanding in, Kansas. The “Fort Scott Tribune,” reported “The four bodies of Scottish Rite Masonry have just adopted plans for a reunion which will be somewhat a deviation from former reunions and an innovation in Masonry. A midwinter reunion is to be held next year, the dates being February 12, 13 and 14^th” (Fort Scott Tribune, 19 Dec. 1911, page 6).

Almost a century later, Kansas was again riding the crest of another Scottish Rite wave – one of declining membership, lost properties and missing artifacts. In May 2003, the Scottish Rite building was placed on the market. So what happened in Kansas?

In 2003, LJWorld.com posted the following article to the Lawrence Journal World website (https://www2.ljworld.com/news/2003/may/14/landmark_sheds_its/):

“A LAWRENCE LANDMARK IS FOR SALE

Faced with aging membership and ever-increasing costs, Lawrence-area Freemasons have decided to sell the majestic Scottish Rite Temple, 1001 Mass.

“This isn’t something that any of us want to do. It hurts,” said Tom Wilkerson, the organization’s executive secretary. “But we’ve projected out the costs of operations, and we know we can’t continue to draw on our resources like we have. It has to be done.”

THE ASKING PRICE: $775,000.

The buyer will have the option of also buying the buildings that house the Scottish Rite office and the Variety Store at 1005 and 1007 Mass., respectively.

‘We’ll entertain any proposal received,’ Wilkerson said. [my thought: bad move to put that in print].

Built in 1911, the Egyptian Revival-style building features several meeting rooms, a 275-seat auditorium and balcony, and, in the basement, a dining room that’s 55 feet wide and a half-block long.

A kitchen, too, is downstairs in an area carved out from underneath the sidewalk alongside the north side of the building. The building does not have an elevator.

Suspended above the auditorium’s stage are 55 backdrops — each painted long ago by art students from Kansas University — that are raised or lowered in accordance with the particular Scottish Rite ceremony being performed.

“We’ll keep those,” Wilkerson said.

GENERATING INTEREST

The building is listed with Coldwell Banker McGrew Real Estate.

“There’s been quite a bit of interest in it,” said Doug Brown, the Realtor assigned to the property. “The fact that the building has historic significance and that it’s on Mass. is quite a draw for investors.”

Brown said the building was “incredibly well-built” and could be converted to a variety of uses.

“The upstairs, maybe, could be turned into apartments; the downstairs to retail,” he said. “It would be a great place for receptions.”

“Or an upscale restaurant,” said Carol vonTersch, president of the Lawrence Preservation Alliance. “There’s been talk of that in the past, but, at the time, the Masons weren’t ready to sell.”

The Alliance, vonTersch said, hoped to work with whoever buys the building.

“It’s a very important building in the downtown area. People remember that building,” she said. “We’re exceedingly concerned about what’s to happen to it, I can assure you of that.”

It’s not yet known where the Masons will go after the building is sold.

“A committee has been appointed that’ll make that decision,” Wilkerson said. “A lot of it’s going to depend on whether the buyer wants the buildings next door. If they don’t, we’ll probably move into where The Variety Store is now; if they do, we’ll either buy a building or build something new.”

OLD

Wilkerson said about 500 men and women belong to the masonic lodges and auxiliaries that use the temple. Most are unable to attend the monthly meetings.

“Our mean age is 66,” he said of the membership. “That’s pretty old.”

Wilkerson attributed the decline in membership to lackluster recruiting and increased demands on members’ time.

“It’s a sad thing to say, but being in a fraternal organization takes away from a person’s family time and, over the years, that’s just gotten harder and harder to do,” he said. “All the service organizations are going through the same thing.” [my thought: not a great advertisement to join].

Wilkerson says the Mason’s reputation for secrecy far exceeds reality.

“Actually, we kind of joke about that,” he said. “Our meetings are closed, that’s true. But if somebody really wanted to know what was going on, they could just go to the library. Books have been written about it.”

Wilkerson said there’s nothing secret about the building. “We rent it out for receptions and things,” he said. “And before we decided to sell, we’d talked about opening it up to public for tours or ham-and-bean lunches.”

On June 24, 2005, the same newspaper reported that the Lawrence-area Scottish Rite Freemasons were saying goodbye to their 94-year old building and holding an open house and formal relocation ceremony at the new Lawrence Masonic Center, at 1601 W 23rd St., citing, “The 5,500-square-foot store-front-style space is more practical and cheaper to lease and operate than the old building at 1001 Mass., which was purchased by Lawrence developer Doug Compton.” The article noted, “Local Freemasons are hoping the new building and new look will help attract younger men to the organization.” Now, I don’t know about you, but meeting in a shopping mall would not necessarily be any incentive for me to join the Fraternity, but then, I am not potential candidate material. Here is the link to the full article: https://www2.ljworld.com/news/2005/jun/24/freemasons/

Of the new location, the “Lawrence Journal-World” reported, “Their new building features an entrance that leads into a commons or reception area, complete with a conference table and chairs. Nearby is a large room that can be used for dinners and banquets. There is a library, a storage room and a large meeting room near the back with a skylight over the venerable master’s chair at one end of the room. The building will serve as a meeting place for 362 Scottish Rite members with several Lawrence-area Masonic orders. It was chosen after attempts to find a suitable building that could be purchased failed. ‘We were going to buy, but everything was so expensive,’ said Danny Keller, the assistant personal representative for Lawrence Valley. ‘We had a lot of problems, so we just decided to lease for a few years.’

When I visited Lawrence last summer, we drove by the Masonic Center, now just down the street from the previous shopping mall location. It remainded me of the many pole barns that store tractors in the Midwest. For an organization that often links its history to the operative masons and cathedral builders of Europe, it is a little embarrassing to see the Scottish Rite eagle on a small window surrounded metal siding. I was unable to venture inside, but there was no indication of a theater or fly tower in sight. When Wilkerson explained that the Scottish Rite was going to retain the 55 drops from the old temple, I have to wonder where they are now.

The new home for the Scottish Rite and other Lawrence-area Masons

The Scottish Rite eagle attached to the side of the new Masonic Center in Lawrence, Kansas.

For additional history about the Lawrence Scottish Rite, see my past post, “Tales from a Scenic Artist and Scholar: Part 621 – Meanwhile in Lawrence, Kansas” (https://drypigment.net2019/01/20/tales-from-a-scenic-artist-and-scholar-part-621-meanwhile-in-lawrence-kansas/).

To be continued…

Tales from a Scenic Artist and Scholar: Part 776 – Thomas G. Moses and the Memphis Scottish Rite, 1911

The Scottish Rite in Memphis, Tennessee.

In 1911, Thomas G. Moses wrote, “Some more work at Memphis, Tenn., Masonic.” Sosman & Landis delivered additional scenery two years after the initial installation. In 1909, Moses recorded that Sosman & Landis produced a scenery collection for the Scottish Rite in Memphis, Tennessee. At the time, scenery was purchased through M. C. Lilley and work subcontracted to Sosman & Landis.

The auditorium and drop curtain at the Memphis Scottish Rite. Scenery was delivered by Sosman & Landis in 1909 and 1911

Photograph posted online by the Memphis Scottish Rite of their spring reunion work.

The auditorium at the Memphis Scottish Rite.

Architectural ornamentation at the Memphis Scottish Rite auditorium.

The first reunion in the Memphis Scottish Rite building was held from November 15 to 19, 1909. Over the years, a variety of Masonic activity at the Memphis Scottish Rite Temple was reported in newspaper articles, personal correspondence, and business letters.

In 1916, a letter from Charles Rosenbaum of Little Rock, Arkansas, to Frank A. Derr of Guthrie, Oklahoma, addressed the use of footlights in Scottish Rite theaters. The letter noted that the Scottish Rite in Memphis Tennessee employed the use of footlights for their degree productions. The Guthrie Scottish Rite was considering the installation of footlights for their stage.

Rosenbaum responded to Derr’s query on June 10, 1916:

“I note what you say about footlights, but what use are they? In our old synagogue [the Albert Pike Cathedral, 1896], we had footlights; we found them sort of a nuisance. When we built on 8^th and Scott [the Albert Pike Consistory Building, 1902] we left them out entirely.

While in New York several years ago talking to Stage expert equipment people they showed me foot light equipment they were building for a High School building and it had a nice disappearing arrangement, which was all right.

I asked what was the necessary for foot lights, and why they were used.

The answer was —You have to have them to throw up the light on the people on the front of the stage to light up and destroy the rawness of their makeup, which means the paint and stuff they use on their faces, they said you can’t get along without them for that reason.

I said —Suppose there is no makeup, and I described our use of a stage, and they said it would be foolish to have footlights at all, and only in case we rented the building for theatrical purposes would it be necessary, because when Actors and Actresses made up the necessity would it be evident.

So —as we don’t rent for any such purpose and don’t make up our faces, and have no business very far out toward the front of the stage, or for that matter in front of the curtain line, we have no use for ‘foot lights, to high light our faces and they have no use for them in Memphis either unless they rent for shows of one kind or another.’”

There is something to consider beyond the topic of footlights that Rosenbaum discusses in the letter. When many Scottish Rite stages were constructed, they were never intended for public use or rentals. Times have changed and public rental income is a necessity. This mean that many stages have been altered to accommodate a renter, or make it more appealing for public rentals.

Over the years, the Memphis Scottish Rite altered their building for a variety or reasons, including a movie set. While examining the history of the building, I discovered an article that reporting the theater was “expanded and refurbished” when used to film performance scenes for the 2005 movie “Walk the Line,” starring Joaquin Phoenix and Reese Witherspon.

Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

Note proscenium side lights at the Memphis Scottish Rite. Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

Backstage at the Memphis Scottish Rite. Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

The counterweight system, Brown’s Special System, is picture in the background of this film still. Note the wooden arbor frame. Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

In some ways, the rental of Scottish Rite buildings and stages for filmwork has provided much necessary income for many Scottish Rite Valleys. However, the money comes at a price. Damage inevitably occurs over time as various lighting systems and other equipment are installed for a specific film scene, or temporary structures are anchored to existing walls.

I think of the continued television and film work that occurs in the Santa Fe Scottish Rite and recognize the recent changes that have compromised a once unique system. The original counterweight system, known as Brown’s Special System, has been irreparably altered from its original state. Photographs of this system that were published in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (2018, Museum of New mexico Press) depict a pristine system, one that remained unaltered since its installation in 1912. No matter the historical significance, or words of caution, nothing could have prevented its alteration over the past two years.

I understand that change is inevitable as the Fraternity responds to declining membership. In many instances, the loss of membership means a loss of annual revenue, prompting Scottish Rite Valleys to respond in various ways, such as public rentals. Some renovate the space that generates the greatest rental income; in many instances it is the stage and auditorium. For an organization that remained locked in time for decades, a few individuals are irreparably altering their spaces. Stage houses, specifically the scenery, stage machinery and other systems, are often repaired, altered, or renovated, without any undertstanding of the system. Furthermore, these alterations are often completed without the knowledge of the membership or staff. Sadly, a few members consider these historic buildings as their personal playgrounds, completing one “home-improvement” projects after another and using unrated hardware, duct tape, contact cement, and other inappropriate products for their work.

Go visit your nearest Scottish Rite theater now, as change is coming and it might be different by tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar: Part 775 – Thomas G. Moses and the Cheyenne Scottish Rite, 1911

I return to the life and times of Thomas G. Moses. In 1911, Moses recorded that Sosman & Landis received “a small contract at Cheyenne of Masonic work.”

Sosman & Landis were well known in Cheyenne, having delivered stock scenery to the Grand Opera House in 1882. Sosman & Landis artists paired up to complete many projects on site, traveling from one theater to another and crisscrossing the country. From 1881-1882, Moses and studio founder, Joseph S. Sosman were a team, completing one project after another as salesman Abraham “Perry” Landis secured each contract.

The Scottish Rite Theatre is located in the Masonic Temple, home to multiple Masonic orders. Located at 1820 Capitol Avenue in Cheyenne, construction commenced on a three-story structure in 1901, costing local Masons $45,000. Unfortunately, in 1903 the building was gutted by fire. The “Natrona County Tribune” reported, “The fire originated by defective electric light wiring over the stage at the south end of the building. The loss was estimated at $50,000; insurance $33,500, $30,00 of which was on the building and $3,500 on paraphernalia. The elegant paraphernalia of the Scottish Rite Masons, costing at least $6,000 was entirely destroyed, and besides this many suits belonging to the members of the order were lost. Only a few rugs and several pieces of furniture were saved. The structure will be rebuilt at once. The structure will be rebuilt at once. The Scottish Rite Masons had just finished holding a reunion in the building, at which forty-one new members were admitted on the night before the building was destroyed, this being the first reunion held in the building since its completion” (5 March 1903, page 8). After receiving their insurance settlement, the Cheyenne Scottish Rite Bodies reconstructed the damaged stage and interior.

Sosman & Landis delivered an initial collection of scenery to this Masonic Hall in 1911, and membership numbers began to skyrocket.

On January 25, 1911, the “Natrona County Tribune” reported, “Cheyenne. – The semi-annual reunion of Wyoming Consistory No. 1 here met Jan. 4, and is attended by Masons from all sections of the state. A class of twenty-six candidates for the Scottish Rite degree has been selected” (Caspar, Wyoming, page 6). By that fall, there were fifty candidates at the Scottish Rite reunion in Cheyenne (Natrona County Tribune, 20 Dec. 1911, page 6). Over a year later, there were forty-six candidates (Natrona County Tribune, 26 Dec. 1912, page 2).

A new Scottish Rite Cathedral was planned in 1920 as membership rapidly outgrew its current quarters. The “Casper Star-Tribune” reported, “Tentative plans for the cathedral which Wyoming Consistory No. 1, A.A.S.R., is to erect at Capitol Avenue and Twentieth Street, have been approved. They call for a structure of Grecian architecture, with a frontage of 132 feet on Capitol Avenue, which will cost approximately $500,000. Aside from the fact that it will be the largest and finest fraternal society building in Wyoming architecture. Work on the building, it is planned and will begin next fall” (29 May 1920, page 9).

The Scottish Rite stage in Cheyenne, Wyoming.

In 1921, “The Billings Gazette” reported that Wyoming had 1906 thirty-second degree Masons, an increase of 245 members in twelve months. Furthermore, the secretary of Wyoming Consistory No. 1 in Cheyenne reported, “the total resources of all four bodies of the Ancient and Accepted Scottish Rite amount to $189,958.88” (17 Sept 1921, page 8). There were 2,090 members in the Rocky Mountain Lodge of Perfection; 1,961 members in the Albert Pike Chapter of the Knights of Rose Croix; and 1,961 members in the Cheyenne Council of Kadosh No. 1.

I visited the Cheyenne Scottish Rite last year on June 18, 2018. It was father’s day when I documented the Cheyenne Scottish Rite scenery collection, with my husband and son working as stagehands that day. Our guide, Ron, explained that the building was expanded during the 1920s, an addition that included a new theater. Toomey & Volland studio records list a delivery of scenery to the Cheyenne Scottish Rite at that time. I identified three distinct scenery collections when examining the stencil placement. Two are consistent with Sosman & Landis and the third is likely from the studio of Toomey & Volland in St. Louis.

Some of the scenery includes the shipping label “Scottish Rite Bodies. Masonic Hall. Cheyenne, Wyoming.” This information is stenciled on the back and front of some bottom sandwich battens. Additional stenciling on the back of some drops also confirms the destination of Cheyenne, characteristic of standard Sosman & Landis Studio labeling during the first decade of the twentieth century. Keep in mind that it was common for Scottish Rite Valley’s to retain their original scenery when the initially expanded and increased and existing stage. Enlarging the original scenery delivered to the Masonic Hall in 1903 and 1911 for the 1920s stage was not unusual, even if a competing studio painted it.

The three collections at the Cheyenne Scottish Rite are not of any particular, or standard, size. It is obvious that many of the drops were hung at another venue prior to being installed above the current Scottish Rite stage. Charcoal markings denoting previous line sets are just one indicator of a previous life elsewhere.

In regard to painted aesthetics, the design and scenic art for some of the collection is consistent with other Sosman & Landis scenery delivered to Santa Fe (1912), St. Paul (1910), Winona (1909), Tucson (1914), Asheville (1914), and Grand Forks (1914). The painted flats accompanying many of the painted scenes, however, are not identified with stencils, nor characteristic of Sosman & Landis flats manufactured before 1908. The profile pieces in Cheyenne only include a few pencil markings. The design and construction of these pieces are not characteristic with Sosman & Landis set pieces, as they are also much brighter in color than the remainder of the collection, suggesting their delivery by Toomey & Volland aesthetic.

The stage machinery also predates the 1920s. It is an example of Brown’s Special System, also delivered to Santa Fe (1912), St. Paul (1910), Winona (1909), Tucson (1914), Ashville (1914), and Grand Forks (1914).

Counterweight system on the stage right side. The Scottish Rite stage in Cheyenne, Wyoming.

Brown’s Special System installed at the Cheyenne Scottish Rite

The fly rail at the Cheyenne Scottish Rite. This is where Masonic stage hands stood when they raised and lowered backdrops.

Counterweights in a wooden arbor cage were part of Brown’s Special System. The Scottish Rite stage in Cheyenne, Wyoming.

Finally, our host explained that additional drops that went unused for decades. They were rolled up and placed in an offstage area. Sadly, they were disposed of a few years ago without anyone documenting was thrown away, so we have no idea if this were an earlier collection, and adopted collection, or simply unused scenes. There is one dead hung drop curtain against the upstage wall. It appears to be a drop curtain, as I was able to see some painted fringe and draperies, suggesting that this piece may have been the drop curtain from the previous stage at the Masonic Hall; the front curtain would have been not wide enough for the current proscenium opening. I would love to see what the composition is, as I was unable to see more than the bottom two feet of the drop.

To be continued…

Travels of a Scenic Artist and Scholar. The Collingswood Scottish Rite, July 13 and July 17, 2019.

The front of the Collingswood Scottish Rite includes the original mansion that was built on the property in the 1850s

The design for the Collingswood Scottish Rite

My visit to the Collingswood Scottish Rite on July 13, 2019

In 1991, I encountered a series of Scottish Rite scenic designs with “Camden, NJ” written on the back. This was while I was processing the Holak collection for the University of Minnesota Performing Arts Archives as part of an Undergraduate Opportunities Program grant. The Holak collection was the second of two Masonic scenery collections that I processed between 1989 and 1991. The Holak collection included a variety of designs created by “Sosman & Landis” and their eastern affiliate “New York Studios.”

By 1992, I journeyed to the East Coast for the first time, newly engaged and visiting my fiancée’s family in Delaware. Unfortunately, there never seemed to be any opportunity to track down the Camden Scottish Rite, so it sat on the back burner for a few decades until this month.

Over the years, I would think of the Camden designs every time we visited friends or family in New Jersey. Opportunity finally presented itself while I was attending the League of Historic America Theatres national conference in Philadelphia. I was on my way back to New Jersey with our eldest child’s godparents when we decided to stop by and take a look. I had not scheduled a visit or checked if the building would even be open, just hoping to catch a glimpse of the fly tower. The Collingswood Scottish Rite was only two blocks away from the Camden city line and bustling with activity when we stopped.

There were cars in the parking lot and many exiting the building – score! This meant that I might be able to venture in far enough to see the lobby, and possibly the theater. Unbelievably our arrival coincided with the break between the matinee and evening performances of “Seussical” – not by the Masons, but by a local community theater group. Although, the idea of a Masonic version of “Seussical” does make me giggle – “Oh, the Thinks You Can Think!” But I digress…

Once inside the building, I met with an enthusiastic woman who eagerly listened to my connection with Masonic theater and then introduced me to Mary, the woman in charge. She was also delighted to hear my history about Scottish Rite scenery and promptly offered us a tour of the stage, patiently waiting while I climbed up to the fly gallery. “Seussical” had not been presented in the theater due to lack of central air. Instead, it was being presented in the only air-conditioned space below- the banquet room.

Postcard depicting the auditorium and one stage setting at the Collingswood Scottish Rite.

The proscenium line at the Collingswood Scottish Rite

The fly gallery at the Collingswood Scottish Rite

After examining the toasty auditorium and stage, we wandered up to another room where some of the backdrops were stored. I would later learn that local riggers working touring shows at the Collingswood Scottish Rite demanded the removal of the historic drops. All this seems very odd and I sincerely hope that I have misunderstood the chain of events leading up to the removal of the scenery. In the end, some of the scenes were gifted to the community theater for productions. The gifted drops have been repaired and repeatedly used in local theatre productions.

Without being able to unfold any of the drops, or see a stage book, I had no way of knowing if the Holak designs were ever realized for this particular venue. The designs may have simply been for a preliminary proposals. My host suggested that I contact the Scottish Rite Secretary the next week and meet with him, specifically asking to see the stage book.

It was not until after the conference ended, that I returned to the Scottish Rite, scheduling a meeting with the Scottish Rite secretary and bringing a few LHAT friends. I enjoyed a second tour of the theater before examining the stage book and chatting with the Scottish Rite representative. Before the scenery collection was removed, each backdrop had been photographed and placed in a packet, noting the original line sets. As I slowly flipped through the packet, I recognized many of the compositions from the Holak collection.

Folded backdrops at the Collingswood Scottish Rite

A design from the Holak Collection, with “Camden, NJ” written on the back.

Photograph of the same scene in the Collingswood Scottish Rite stage book

Although the scenery collection is folded up and in storage, it still exists – for now. There is also a greater possibility that the historic backdrops may avoid a final resting place in a dumpster if there is any perceived value of the artifacts; I did my best and even left a copy of “The Santa Fe Scottish Rite Theatre: Freemasonry, Architecture and Theatre” for the Scottish Rite Valley library.

The history of the Collingswood Scottish Rite complex is quite unique and fascinating. The Masons purchased the parcel of land with the intent of leveling the existing 1850s mansion that remained on the property at the time of sale. At some point, plans changed and the mansion was not leveled, just abbreviated; the front portion was left standing to be used as Scottish Rite offices. The new theater building was then connected to the back of the old mansion.

Recently, the Scottish Rite sold its building to the city, reserving the right to maintain the offices and use the lodge room. This arrangement is becoming more common across the country, as Scottish Rite Valleys sell their buildings for pennies on the dollar and negotiate with the new owners to still meet in the space. I remain unsure as to how much the theater is used for Scottish Rite degree productions, if it is used at all. Remember that the Northern Masonic Jurisdiction has mostly transitioned from degree productions to video presentations for instruction. The Collingswood Scottish Rite auditorium hosts a variety of touring shows, including an upcoming performance by Pink Martini, my new favorite musical ensemble. The current bookings at the Collingswood Scottish Rite remain limited to spring, fall and winter due to the lack of any central air.

To be continued…

Travels of a Scenic Artist and Scholar. The Howell Opera House and the Donaldson Guide, 1894

In 1894, the “Donaldson Guide” listed that the Howell Opera house had a seating capacity of 750. This number was 100 seats less than those included in earlier directories, such as Harry Miner’s or Jno. B. Jeffery’s theatrical guides. It may simply suggest the purchase of new seats, or a clerical error, but the number varies from earlier seating capacities. The Donaldson Guide also listed that the theater was now under management of W. E. Beach, with ticket prices being 25, 35, and 50 cents. No rental information was provided.

The “Donaldson Guide” was published by W. H. Donaldson (1864-1925) in Cincinnati, Ohio. It is certainly a publication worth perusing.

Col. William H. Donaldson was born in Dayton, Kentucky, the son of William M. Donaldson. After High School, Donaldson worked for his father who ran an art store and picture-framing establishment in Cincinnati. His father then established a poster business at 127 West Eighth Street, Cincinnati, which later became Donaldson Lithographing Company. Donaldson worked for his father as a salesman and “proved to be remarkably capable, winning and acknowledged place as the best poster salesman in the country” The Cincinnati Enquirer, 2 Aug. 1925, page 5). Donaldson rose to nationwide prominence as a circus and theatrical publisher.

Advertisement in the Donaldson Guide, 1894

In 1894, Donaldson founded and published two new publications – “The Donaldson Guide” and “The Billboard.” That same year, he was appointed Secretary of the Protective League of American Showman (The Cincinnati Enquirer, 31 Dec. 1894, page 8). The first issue of the Billboard was published during November at 127 East Eighth Street, Cincinnati, containing only eight pages, with its contents being devoted solely and entirely to billposting, poster-printing and advertising agency interests. In 1899, the Donaldson plant moved to Newport, Kentucky. Donaldson remained with the business until 1904 when he resigned to devote his entire time the Billboard. He was the president of the Billboard Publishing Company.

The Donaldson Guide was published “for the use of showmen, theatrical managers, circus managers, managers of opera-houses, dramatic, musical, and variety agents, bill posters, show printers, costumers, and all Persons identified or connected with the show business in an manner whatever.”

The publication was advertised as, “containing a list of all opera-houses in the United States and Canada with description of their stages, their seating capacity, and the names of the managers of each; the populations of cities, and the names and population of adjacent towns to draw from; the names of city bill-posters, baggage express men, hotels, boarding-houses, newspapers, vaudeville resorts, museum, beer gardens, fairs, race meetings, circus licenses, and miscellaneous facts, dates, etc., of great value to managers.” Donaldson Guide also noted that it was published “in conjunction with the Showman’s Encyclopedia, “the International Professional Register,” and “the complete code of the Donaldson cipher.”

The “Showman’s Encyclopedia” portion of the “Donaldson Guide” was noted as “A compilation of information for showmen, performers, agents, and everyone identified with the theatrical, vaudeville, or circus business, such as ticket tables, internet tables, the address of show-painters, costumes, dramatic agents, theatrical architects, scenic artists, aeronauts, playwrights, etc…” and “the International Professional Register, a directory of the names and address of dramatic people, variety people, minstrel people, circus people, freaks, acrobats, operatic artists, musicians, and farce-comedy artists.

The “Donaldson Guide” also included a cipher and key that are quite intriguing. Here is what was offered at the time for telegrams:

TO CONSTRUCT a message use the Key to the Cipher. The phrases will be found arranged under convenient headings, with directions under each for finding readily any needed clause.

TO DECIPHER a message use the Index to the Cipher. The cipher words are all arranged alphabetically, and can be found as quickly as in a dictionary.

TELEGRAPH IN CIPHER TO the manager of any Opera House, Theatre, Museum, Music-Hall, or Vaudeville Resort; any Show-Printer, Costumer, Dramatic, Variety, or Vaudeville Agent, or “The Clipper,” “Mirror,” “Dramatic News,” “Dramatic Weekly, “Dramatic Journal,” “dramatic Star,” “Music and Drama,” or any theatrical paper whatever in the United States or Canada, whose name appears in the Guide or Encyclopædia. A copy of the index of the Donaldson Cipher has been sent to each and every one of then free of charge. Remember, if the names of any person engaged in any of the callings appear in either the GUIDE or ENCYCLOPÆDIA, you may telegraph to them in cipher with perfect impunity.

THE ADVANTAGES of the Cipher are many and varied. Foremost among them, of course, is the great savings which may be had in the matter of telegraph charges. A glance at the following pages can not fail to demonstrate the truth of this assertion to the entire satisfaction of even the most skeptical, for there are few messages indeed which can not be kept within the limit of ten words prescribed by telegraph companies. But economy is not the only advantage it has to recommend it. The mere fact that the message is unintelligible to anyone except the party for whom it is intended is often times a source of wonderful satisfaction, both to the sender and recipient; and this, added to the fact that experience has proven that there is less danger of errors, confusion, and mistakes in cipher message than those couched in ordinary language, renders it a most desirable medium of communication.”

The key to the “Donaldson Guide” cipher included phrases pertaining to actors, actresses, addresses, advertisements, aeronauts, agencies, agency business, agents, answers, attractions, billing, bill-boards, booking, burlesque people, business manager, calcium lights, calls, canvas-maker, circus manager, circus people, C.O.D. shipments, collections, concert, couriers, dates (printing house, calendar), deposits, dodgers, dramatic people-men, dramatic people-women, drunkenness, duns, engagements-artist to manager, engagements-manager to artist, expenses, financial straits, free list, hangers, heralds, hippodrome, house show, instructions-manager to agent, leaders, letter-style of, lithograph boards, lithographers, lithographs, local manager, mail, managers of combinations, managers of opera houses, managing editor, measurements, medicine show, minstrel people, money, musicians, no (street numbers, catalogue numbers, etc.), numerals (for quantities, amounts, etc., but not money), operatic people, opposition, orders, paper, partner, percentages, posters, printer, printing, programmes, property man, prospects, qualifications of people, receipts, remittances, repertoire people, reports, routes, salary, samples, sharing, shipping instructions, shows, side-show or museum, sizes, spaces, special delivery, specialties, stage carpenter, stands, streamers, terms, time of day, traveling managers, two weeks’ notice, Uncle Tom’s Cabin, Variety People, weather, and window work-lithographers.

The fact that any cipher was created to relay information about drunkenness says a lot. Here are a few examples for your amusement.

Unacted….I (we) understand my (or our) agent is drinking

Unactive…If this is the case wire me at once

Unapt….Let me know if he is in condition to transact business

Unarm….I understand that you are drinking

Unasked….Sober up at once

Unawed….And get down to business in dead earnest

Unbar….Or I shall discharge you forthwith

Unbed….I have no sympathy or patience with a drunkard

Unbend….Do not let him have any money

Unbit….Try and sober up

Charter….Any information you may see fit to let me (or us) have will be gratefully received and treated strictly confidential.

Hopefully the person operating the telegraph or delivering the telegram did not moonlight at the theatre. I wonder how often someone received:

Unarm. Unasked. Unawed. Unbar.

Donaldson passed away in 1925. That year, the “Cincinnati Enquirer” reported “Mr. Donaldson was a member of the Masonic Order and Odd Fellows, to which he devoted much attention” (2 Aug. 1925, page 5). Another article reported, “Colonel Donaldson founded the Billboard and published it until two years. Ago. He was interested in prison reform, employed many former convicts upon release from prison, and declared that he was never defrauded by any of them” (Cincinnati Inquirer, 4 Aug. 1925, page 2). He was survived by his widow Jennie (Hassan) and daughter Marjorie (Mrs. Roger S. Littleford), his father William H. and three brothers (Andrew, Lincoln and Archibald) and two sisters (Mrs. Charles Longley and Mrs. Dr. George W. Brown). Donaldson’s death in Sarasota Florida at the relatively young age of 61 came as a shock to his family. Having been in failing health for some time, he came to Sarasota at the suggestion of his friends, Charles and John Ringling (The Jacksonville Daily Journal, 2 Aug. 1925, page 3).

To be continued…

Travels of a Scenic Artist and Scholar. The Howell Opera House as Listed in Theatrical Guides, 1882-1884

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, staff and local network of support for touring groups. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters,” however, there were other theatrical guides too, including: Harry Miner’s American Dramatic Directory; The Donaldson Guide; Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America; and Henry’s Official Western Theatrical Guide. Each provides a unique snapshot of theatrical activity and stage houses in North America. From small rural towns to large metropolitan areas during the 1880s through 1920s, one understands the scope of American theater construction, as well as the daily operation. These guides are a wonderful resource for historians, historic theatre enthusiasts and theatre technicians.

In 1884, the Howell Opera House was listed in “Harry Miner’s American Dramatic Directory.” Published by the Wolf & Palmer Dramatic Publishing Company, in New York, the publication was advertised as “a complete Directory of the Dramatic and Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls of America together with much other Information of Value to the Amusement Profession.”

The Howell Opera House entry listed a seating capacity of 825, with a stage measuring 26×44. Both Donaldson and Jeffrey confirm this size stage in their respective publications. It was only Harry’s Miner’s Directory that provided additional measurements and other technical specifications. The Howell’s proscenium opening was 19 feet high by 20 feet wide. This opening suggests that many of the roll drops were approximately that size, give or take a foot, depending on the painted side tormentors and other wings. The height from the stage to the top grooves measured 13 feet with 22 feet from the stage to the rigging loft. The groove height was to accommodate the painted side wings to mask the sides of the stage. The depth under the stage was 5 ½ feet with one trap in the stage floor. Traps allowed action to either emerge from, or disappear into, the stage floor, such as an apparition.

Harry Miner’s Directory also listed eight sets of scenery that were created by Sosman & Landis, with R. T. Holmes was listed as the stage carpenter. This was a standard delivery that would contain eight backdrops. The subject mater would range from landscapes, seascapes, woods and garden scenes to city scenes, fancy interiors, plain interiors and prisons. Each scene would utilize at least one pair of wings to conceal backstage activities. These wings were likely 4 to 6 feet wide by 13 feet high. It remains unclear how many sets of grooves were installed during the original installation of stage machinery and scenery. Additionally the original scenery installation would have included painted flats and profile pieces, such as garden balustrades, statuary, or rocks.

Some of the of the most exciting backstage elements that I noticed at the Howell were the extant border lights. A wooden base held the sockets; this same type of system was originally installed at the Scottish rite Theater in Guthrie, Oklahoma, only to be removed and replaced with a metal version less than a decade later. This was the first example that I have encountered since reading a description written by M. C. Lilley western sales manager, Bestor G. Brown.

Wooden border lights at the Howell Opera House.

Another exciting artifact was an original windlass, still positioned in the stage left wings, waiting to raise and lower the front curtain. There were so many other historically significant artifacts littering the old stage, that it blurred my focus; too much information to take in at once. I could have stayed for hours, but my guide had an impending dinner appointment.

From an administrative perspective, Harry Miner listed the Howell’s rental rates as $25 for one night and $50 for three nights. This number varies a bit from Jeffrey’s 1882 guide that reported rental rates were one night, $30; two nights, $50; three nights, $70, and one week, $125. Both publications noted that the preferred “to play on shares with good attractions.” The equivalent purchasing power of $100 in 1882 is around $2500 today. Between 1882 and 1884, the management of the venue went from Hunter & Holmes to just T. B. Hunter.

In addition to the above information, Miner’s noted the advertising protocol and local marketing expenses for touring production advertising. The local newspaper was the “Republican,” with advertising rates being $3 per column. Touring companies received a special rate at the hotels of $1.25.

Initially the Howell was illuminated by gas, with the gas jet holes for footlights, still being visible on the edge of the stage’s apron. As with many theaters during the turn of the twentieth century, gas jets were replaced with electrical fixtures. At the Howell, original gas fixtures were simply converted to electric. What is exciting about this aspect is that almost all of the original fixtures still exit, preserving the historical aesthetic throughout much if the building. The auditorium’s chandelier is a treasure to behold, instantaneously transporting any visitor to the 1880s.

Gas chandelier at the Howell Opera House that was later converted to electricity.

Later electric footlights installed at the Howell Opera House to replace original gas lights with reflectors.

Original holes for gas jest and reflectors for footlights at the Howell Opera House.

During my tour of the Howell, my guide discussed many of the original artifacts that still exist. For example, poster bills and the signatures of famous personalities still grace the walls backstage. The amount of information contained in a relatively small area upstage of the proscenium wall, would cause any theatre historian’s heart to rapidly flutter. Each pasted piece of paper represents a production, providing a sneak peak into the performers and technical crews of the past. Most recently, piles of peanut shells were found under the balcony’s floorboards, left from patrons munching during a show over a century ago.

A small sampling of poster bills pasted to backstage walls at the Howell Opera House

Although some physical alterations have occurred over the decades, most instigated by well-meaning architects and structural engineers, much remains preserved. For example, even though the original grand staircase that led from the street to the second floor theater was removed, the original front doors were carefully sets aside. One of two original box offices, located at the top of the grand staircase, also remains as a window into the past. Although some of the dressing rooms were walled off when I new backstage staircase was constructed, they were not gutted, just entombed for another generation.

This theater is silently waiting for the renovation to continue.

To be continued…

Travels of a Scenic Artist and Scholar. Sosman & Landis and the Howell Opera House, 2019

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, the staff and network of support for touring shows. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters.

Julius Cahn was the manager of the Charles Froman’s Booking Department at the Empire Theatre. In the theatrical guide’s foreword Cahn states his reason for the publication, citing the need for a “complete and official Theatrical Guide that would give the managers of theaters throughout the country, the managers of traveling attractions and others closely interested in their affairs, a complete and exhaustive volume pertaining to the various braches of business, arranged in a concise and clear manner, so as to make it both valuable and available as a book reference” (Julius Cahn’s Official Theatrical Guide, 1895-1896, page VII).

Great idea, but there is the element of human error. Theaters owners, manager and staff submitted the information in regard to their space, mailing it to Cahn’s office. As far as I can determine, there was no independent study to verify that the submitted information was correct. I have noticed that the names of many scenic artists are misspelled.

In the case of the Howell opera house, the scenic artist credited with the stock scenery in Cahn’s Theatrical Guide is “S. E. Landis (Chicago).” This was Sosman and Landis. My guess is that the individual submitting the information read the ampersand as the letter “E” – so he read “Sosman E. Landis.” Thinking that this was an individual and not a company, he further shortened the name to S. E. Landis. I have encountered Sosman & Landis spelled in various ways throughout Cahn’s Guide, including Sausman & Landis, Sussman & Landis, Sosman & Lundis, and Sussman & Lundus to name a few.

In regard to their work for the Howell Opera House, however, corroborating information from many other sources confirms that the company painted the original scenery for the Howell stage. An 1882 article published in the “Macomb Journal” lists all of the theaters “fitted up” by Sosman & Landis from June 1881 to July 1882. The New Opera House in Howell, Michigan, is one of the 73 theaters listed in the article.

Regardless, it is possible that local individuals or other professional scenic artists added to the original scenery collection over the years. In regard to the Howell, the roll drops that have not been unfurled in decades. Although they look in fair shape from the stage floor, there is no way to anticipate the condition of the painted surface or verify a specific scenic artist.

When I visited the Howell opera house on July 11, 2019, I had the opportunity to examine an enlarged photograph of the original drop curtain. It depicted a lovely Venetian composition, one popular for drop curtains at the time, especially those credited to Sosman & Landis. Purportedly, the original drop curtain is still in place, and the painted details visible from the stage floor support that idea.

Photograph of the original Howell drop curtain

Historic scenery still hanging above the stage at the Howell Opera House

Painted detail of scenery at the Howell Opera House,

During the 1880s, Sosman and Landis sent out teams of scenic artists to paint scenery. Joseph S. Sosman and Thomas G. Moses traveled as a team, following Abraham “Perry” Landis as he secured contracts across the country. At the time, there were five scenic artists on staff; it is unclear if this number included studio founder Sosman.

The 1882 “Macomb Journal” article reports, “A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen at this time give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.” Any one of the five scenic artists working for the firm at this time could be responsible for the drop curtain in Howell. Until the Howell drops are unrolled, it is impossible to identify any potential artist.

Although Moses painted in the studio, he was on the road – a lot – traveling from city to city to paint stock scenery and drop curtains on site. In addition to painting scenery at their Chicago shop and shipping it by rail to distant venues, scenery was still painted on site. When looking at the listed of theaters supplied with scenery from 1881 to 1882, the main Sosman & Landis studio could not accommodate the sheer amount of work contracted by their salesmen. Therefor, pairs of artists were also sent on site to paint scenery. Paint frames were constructed for each stage, providing a temporary studio for scenic artists to work. This not unusual, a common practice for nineteenth century itinerant artists, especially as the scenic studio system was relatively new to the country. Keep in mind, that at the time only a handful of scenic studios had been established, with the majority of work being completing by individual scenic artists or pairs or artists in temporary partnerships.

At Sosman & Landis, Moses records that he went on the road to paint scenery with not only with Sosman but also Will Davis and Lem Graham.

More about the Howell Opera House tomorrow.

Travels of a Scenic Artist and Scholar. The Howell Opera House, 2019

I left Minneapolis on June 11, to head east for the League of Historic American Theatres national conference in Philadelphia. Breaking down the drive into two days, I decided to visit family in Michigan. On the way, I planned a stop at the Howell Opera House. Rick Boychuk had visited the small opera house last year and shared images of the space.

I was familiar with the name, as Sosman & Landis delivered the original stock scenery collection. Over a year ago, I discovered an 1882 article published in the “Macomb Journal” that listed all the performance venues “fitted up” by Sosman & Landis from June 1881 to July 1882 (see past installments #384 and 385). Here is the article in its entirety:

“SOSMAN & LANDIS – A Leading Firm in Their Line in Chicago – The Senior a Macomb-Raised and Educated Boy” (The Macomb Journal, 13 July 1882). “Nearly all the county readers of the Journal know “Joe” Sosman, and that he is in Chicago in the scenery-painting business, but few, if any, are aware of the prominence of the firm of which he is the senior partner. “The News Letter,” a paper devoted to the theatrical interest, in an article not long since, gave some account of the prominence and business of the firm, which article we append below. We know it will be perused with interest by hundreds of the “Journal” readers, who have a lively solicitude not only for Mr. Sosman, but for every McDonough county boy who goes out in this great world to carve his fortune, his head and hand being his only capital. Here is the article:

“One of the surest indications that Chicago is fast becoming one of the most important dramatic centers in America is the evidence before us, that in all matters pertaining to the theatrical profession Chicago has become, so to speak, a manufacturing center. Theatrical printing, etc., have long been staple industries, but of late years, matters which hitherto might have been considered as peculiarly belonging to the great metropolis of the East, have taken prosperous root in Chicago. Among the industries we refer to is that of fitting up opera houses and out of town theatres.

Some five years ago, Messrs. Sosman & Landis, a firm composed of a couple of enterprising young fellows established in this city what they termed a scenic studio. The beginning gave them a good deal of hard work, but in the period we have mentioned above, their business has grown from comparatively nothing to being one of the most important of its description in the United States. This all speaks volumes for Chicago as a theatrical center, and say what we may, there is no disavowing the fact that next to New York city, Chicago is without a question the most important locality in America in all matters pertaining to general amusement affairs.

Perhaps no better recommendation could be given to the firm we have referred to above than the information which is contained in their circulars to managers, and which tells the actual number of houses they have fitted-up since the first of June, 1881. We give the list as a matter of curiosity as much as anything else:

New Opera House, Rockford, Illinois

Academy of Music, Minneapolis, Minnesota

Grand Opera House, Richmond, Indiana

Hill’s Opera House, Ann Arbor, Michigan

Humblin’s Opera House, Battle Creek, Michigan

Union Opera House, Kalamazoo, Michigan

Russell’s Opera House, Bonham, Texas

Brownsville Opera House, Brownsville, Texas

My Theatre, Fort Worth, Texas

Leach’s Opera House, Somerville, Tennessee

Kahn’s Opera House Boliver, Tennessee

King’s Opera House, Jackson, Tennessee

Stummer’s Hall, Washington, Georgia

Vicksburg Opera House, Vicksburg, Mississippi

McWhinney’s Opera House, Greenville, Ohio

Yengling Opera House, Minerva, Ohio

City Hall, Athens, Ohio

Freeman’s Opera Hall, Geneseo, Illinois

Odd Fellows Hall, Peshtigo, Wisconsin

Hyde’s Opera House, Lancaster, Wisconsin

Klaus’ Opera House, Green Bay, Wisconsin

Storie’s Opera House, Menominee, Wisconsin

Holt’s Opera House, Anamosa, Iowa

King’s Opera House, Hazleton, Iowa

Opera House Nanticoke, Pennsylvania

Opera House Athens, Georgia

Opera House Gainesville, Texas

Opera House Reidsville, North Carolina

Edsell Opera House, Otsego, Michigan

New Opera House, Howell, Michigan

Stouch Opera House, Garnett, Kansas

Germania Hall, Blair, Nebraska

Bennett’s Opera House, Urbana, Ohio

Klaus’ Opera House, Jamestown, Dakota

Opera House, Westville, Indiana

City Hall, Mineral Point, Wisconsin

City Hall, Lewisburg, West Virginia

Opera House, Denison, Iowa

Opera House, Nevada, Ohio

Opera House, Hoopeston, Illinois

Opera House Cambridge, Illinois

Turner Hall, LaSalle, Illinois

Kolter’s Opera House, Wausau, Wisconsin

Opera House Moberlv, Missouri

Krotz’s Grand Opera House Defiance, Ohio

Opera House, Montague, Michigan

Opera House Eutaw, Alabama

Opera House, Greyville, Illinois

Opera House, Carthage, Illinois

Masonic Hall, Macomb, Illinois

New Hall, Good Hope Illinois

Music Hall, Eau Claire, Wisconsin

Temperance Hall, Seneca, Illinois

Opera House, Jefferson, Iowa

Opera House, Waupaca, Wisconsin

Soldiers’ Memorial Hall, Milwaukee, Wisconsin

Opera House, Mexia, Texas

Opera House, Wilson, North Carolina

Opera House, Newbern, North Carolina

Opera House, Goldsboro, North Carolina

Grand Opera House, Cheyenne, Wyoming

Cosmopolitan Theatre, Miles City, Montana Territory

Arbeiter Hall, Ludington, Michigan

Opera House, West Bay City, Michigan

Opera House, Detroit, Minnesota

Opera House, Lockport, Illinois

Opera House, Fort Atkinson, Wisconsin

Opera House, Grass Lake, Michigan

Opera House Demopolis, Alabama

Opera House, Unionville, Missouri

Opera House, Harrodsville, Kentucky

Opera House, Hancock, Michigan

City Hall, New London, Ohio

Opera House, Stevens’ Point, Wisconsin

A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen at this time give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.

We take some little pride in the success of these gentlemen. It has always been, and still is, our ambition to see Chicago ahead in all matters pertaining to western dramatic affairs, and the unusual success which has attended the venture of Messrs. Sosman & Landis is a feather in the cap of our wishes.

It is true that much of the success attended these gentlemen has been due to the fact that they have proved entirely reliable in all their transactions, and that their work has always been of the very best. They take contracts to fit up the entire stage of any new house in course of erection, and we venture to say from undoubted information that no contract that they have ever undertaken has proved aught but most highly satisfactory. With their success the success of Chicago as a dramatic center is blended, and we are more than glad to see that to-day, in nearly every opera house in the West which is under erection, the contract for fitting up the stage has been let to Sosman & Landis.”

Between 1880 to 1889, Sosman & Landis outfitted 1000 thousand theatres. By 1894, the company’s brochures advertised that 4000 places of amusement were using scenery made by their firm. In 1880, Thomas G. Moses wrote that he and Sosman traveled a great deal in the beginning and Landis was always away, traveling to secure orders. Sosman and his crew followed Landis, painting whatever was contracted. It would take six months before Moses even meet Landis after being hired as he was constantly traveling across the country to drum up work.

Interestingly, Thomas G. Moses left the Sosman & Landis studio for the first time during May 1882, just a few months before this article was published. He left his position at Sosman & Landis to partner with Lemuel L. Graham. Graham would later found Kansas City Scenic.

Tomorrow, I will share some images of the many treasures that still remain in this delightful building.

To be continued…