Sosman & Landis – Page 25

Tales from a Scenic Artist and Scholar. Part 770 – Beer is a Food at the Brewer’s Show of 1911

The Sosman & Landis studio was scrambling after losing a foreman carpenter and lead scenic artist during the month of February in 1911. On top of the loss, Joseph S. Sosman took another family vacation. Unfortunately for the studio staff, work kept pouring in that year. One of the largest projects handled by the studio that spring included a series of exhibits for the Brewer’s Show. Chicago hosted an International Brewers’ Congress during October 1911 that was devoted to showing visitors various beer exhibits.

In 1911 Thomas G. Moses wrote, “Early in April I started on the designs for the Brewers’ Show, in which they wanted to demonstrate that beer is a food and not a beverage.” What a great marketing ploy, proposing that beer was a meal. Advertisements in “Western and Daheim,” a German-language Chicago newspaper, included articles pertaining to the International Brewers’ Congress that year, characterizing various beer and malt products as “The Family Beer,” “The Source of Energy,” and “Malt-Marrow: A Perfect Score in Health” (“Geschichte des Chicagoer Brauwesens,” Westen and Daheim, October 15, 1911).

For the opening, the “Chicago Tribune” interviewed Henry E. O. Heinemann, the secretary of the exposition. Heinemann reported, “Thousands of dollars have been spent for the foundations alone, so tons of brewing machinery must be properly set. An army of painters, decorators, scene builders, and machinists was busy all day and far into the night getting everything ready for the opening” (12 October 1911, page 7). Of the event, the article commented, “Every brewer in the exposition is an ardent missionary, eager to convert America to the ways of Germany, of Belgium, of France…Beer, they asserted during the day, is not an ‘alcoholic’ drink. Continental Europeans do not regard it as such. Americans would not, they argues, if it were not for their habit of standing at bars and drinking in a hurry.”

As the project commenced, Moses wrote, “We started Brewer’s work at the 20^th Street studio, with an extra number of men.” Of the event, Moses wrote, “The Brewer’s Show opened October 12^th with enormous crowds. Had a lot of trouble getting our work into the building….Sosman was well pleased, as there was a good profit in the work. Some of the brewers thought I had overcharged them.” In the end, the Brewery Show of 1911 was a success. By October 23, over 94,000 patrons attended the exposition and consumed over 500,000 glasses of beer (Statesman Journal, 24 Oct, 1911, page 9).

Of course, there were many groups opposed to the event too, including the Anti-liquor force headed by the Chicago Christian Endeavor union who were rallying for a mass meeting to protest against the brewers’ exposition (Dixon Evening Telegraph, 16 Oct, 1911, page 5). Local headlines also reported, “Brewer’s Show Drinking is On Increase. Consumption of Beverage is Three Times Greater Than the Growth of Population” (Star-Gazette, Elmira, New York, 21 Oct, 1911, page 3). The “Star-Gazette” noticed that “The volume of beer business has reached its highest point in the history of the trade.”

Moses also added, “Mr. Sosman would have nothing to do with it, and told me to go after it and get $10,000.00 out of it if possible.” There was $25,350.00 in contracts before all was finished for the event. Today’s equivalent purchasing power of $25,350 in 1911 is $683,361.28 – a sizable amount of work.

The studio’s first contract for the event was for $1,150.00. Moses recorded that the Schoenhoffen Brewing Company exhibit featured the “celebrated ‘Edelweiss.’” Edelweiss was the Schoenhoffen Brewing Company’s flagship brand. Advertisements from the time included “Delicious Satisfaction is an Edelweiss Attraction,” “Phone Before Eleven – Delivered before Seven,” “Here’s the Case, You be the Judge,” and “Phone for a Case to be Sent to Your Place.”

Founded in 1860 by Prussian immigrant Peter Schoenhofen (1827-1893), the brewery was located 18th and Canalport by 1862. During the 1860s, the made approximately 600 barrels of lager beer each year. Production continued to increase throughout the nineteenth century. By 1868, the annual output was 10,000 barrels. By 1890, Chicago was the nation’s sixth largest beer producer, with thirty-four breweries manufacturing over 1,000,000 dollars worth of beer annually. By 1900, the annual capacity of Schoenhoffen Brewing Company was 1,200,000 barrels – big business. The Schoenhofen brewery eventually housed fifteen buildings over seven acres, two miles south of downtown Chicago. The last expansion to the brewery’s complex at this location occurred during 1912, the year after the Brewer’s Show.

As an interesting aside, www.forgottenchicago.com reports that members of the Schoenhofen family used the Brewery’s tower to broadcast radio messages to German agents during World War I, prompting federal agents to seize the brewery. This claim, however, remains unsubstantiated.

The Schoenhoffen Brewing Company was acquired by the National Brewery Company in 1928. Operations ceased during the Prohibition Era, but reopened in 1933 after the national ban on alcohol production was lifted. The Schoenhofen-Edelweiss Co. was eventually purchased by the Atlas Brewing Co. in the late 1940s, then became part of Dewery’s Ltd. of South Bend, Indiana, in 1951. Dewery’s even reintroduced the famous Edelweiss brand in 1972.

To be continued…

Tales from a Scenic Artist and Scholar. Part 769 – The Ever Changing Staff at Sosman & Landis, 1911

In 1911, Thomas G. Moses wrote, “Mr. Brown, our foreman carpenter, died February 27^th, very suddenly.” Sosman & Landis suffered the loss of their foreman carpenter the same month that they also unexpectedly lost one of their veteran scenic artists. David A. Strong passed away on February 5, 1911. This caused a monumental shift for the company; one compounded with the increasing absences of company founder Joseph S. Sosman.

Two deaths and an absentee studio owner could not have come at a worse time, as it was an extremely busy year at Sosman & Landis. A few of the 1911 projects mentioned by Moses in his typed memoirs include, the Columbia Burlesque Theatre, a “Mme. Butterfly” set for Joe Sheehan, multiple designs for the Brewers’ Show, stock scenery for the Keeley, two unidentified projects in St. Louis, “picture contracts” in Fort Wayne and Chattanooga, Masonic work in Lawrence, Kansas, Cheyenne, Wyoming, and, Memphis, Tennessee, as well as a “good curtain” for Lincoln, Nebraska. In addition to Moses records, historical newspapers list dozens of projects that were not mentioned by Moses during 1911.

One of the hundreds of Masonic drops painted at Sosman & Landis in 1911. This one ended up in Cheyenne, Wyoming.

Work was plentiful across the country, with many of the contracts being secured by Moses. Since 1904, when he returned to the studio for a final time, Moses continued to increase his national reputation for speed and quality. He was becoming synonymous with the high standard associated with Sosman & Landis. In a sense, Moses had slowly become the face of the company, securing many contracts based on the strength of his sketches and design work. He wrote, “Closed another contract on the strength of my sketches – $1,800.00. I was obliged to remain at the Clinton Street studio only going to 20^th Street every other day.” It was no surprise that the Board of Directors immediately elected Moses president of Sosman & Landis when Joseph Sosman passed away in 1915.

Sosman & Landis’ 20^th Street studio, also referred to as the annex, is where Moses and his crew were often working – unless Sosman was away on business. The main studio on Clinton Street housed the company’s official offices, sewing rooms and carpentry area. In a sense, the annex was a bit of an oasis, apart from the hustle and bustle of sixty employees in the Clinton Street space. The 20^th Street studio only employed a quarter of the main work force, approximately fifteen artists and their assistants.

Unfortunately, after the passing of Strong and Brown during the month of February, the main studio on Clinton Street needed guidance, and direct supervision. Moses needed to fill a few roles by March, while scrambling to replace a lead artist and carpenter. In the past, Moses’ right hand man, Ed Loitz would manage the 20^th Street studio during Moses’ absence, but there were too many moving parts and Loitz was working on other projects that spring. Of the crew at the annex, Moses wrote,”Pausback had his hands full. Scott acted bad. Got Geo. Schultz on the staff at 20^th Street.” A quick turnover was happening and new personalities were constantly being added to the mix.

Everything was going to rapidly change, with Toomey & Volland of St. Louis, soon surpassing their Chicago competition.

To be continued…

Tales from a Scenic Artist and Scholar. Part 766 – The Empire Theatre, Syracuse, New York, 1911

In 1911, Thomas G. Moses wrote, “Syracuse, N.Y. claimed my personal attention for awhile, and I did my best work for it.” Without the name of a show or a specific theater, it is difficult to know where Moses worked in Syracuse during January of 1911.

Postcard of the Empire Theatre in Syracuse, New York

Syracuse theaters listed in Julius Cahn’s Official Theatrical Guide for the 1910-1911 seasons included the Bastable Theatre, the Crescent Theatre, the Grand Opera House, Grand Theatre and the Wieting Opera House. The following year, Syracuse theaters expanded to include the Empire Theatre and Keith’s Theatre. Based on that information, I started to do a little digging and discovered that Sosman & Landis delivered the stock scenery collection to the Empire Theatre in when it opened in 1911. The Onandaga Historical Association includes a collection of photographs taken during February 1911 when finishing touches were being completed in the auditorium.

Image posted at https://rjbuffalo.com/programs-and-things.html

By March 1911, there were regular advertisements placed in the Amusements section of the “Post Standard.” Tickets were on sale for shows at the Onandaga Hotel, with prices ranging from fifty cents to two dollars.

The original drop curtain depicted a picturesque forest scene, divided by a babbling brook – a signature Moses composition.

Located on S. Salina Street, the theater was designed by the local architectural firm Tabor & Baxter. Previously, the firm was responsibly for a series of residential structures. The seating capacity for the Empire Theatre was 1709, including 707 on the lower floor, 452 in the balcony, 486 in the gallery and 64 in the boxes. The proscenium measured 40 feet high by x 50 feet wide. The depth if the stage was 42 feet from the footlights to the back wall, with 72 feet between the side walls and 54 feet between the fly girders. The height of the stage house measured 70 feet from the stage floor to the rigging loft and 30 feet from the stage floor to the fly gallery. The backstage area boasted fifteen dressing rooms, a sizeable number for a large touring production. There was also an orchestra pit that accommodated up to eight musicians.

The Empire Theatre was renamed DeWitt Theater during the 1930s. By 1940, however, the name reverted back to the Empire Theater name while under the management of RKO, primarily featuring movies. At the time, the space was also “modernized,” to give the auditorium a Streamline-Moderne appearance. The ornamental makeover was completed under the direction of architect Michael J. DeAngelis. Part of the renovation included walling over the original opera boxes and decorating the space with Art Deco elements.

The original building still stands and is now known as Empire House. Unfortunately, the rear auditorium was demolished in 1961, and the remainder of the building divided into apartments and offices.

To be continued…

Tales from a Scenic Artist and Scholar. Part 761 – The Kissing Girl, 1910

In 1910 Sosman & Landis studio was bustling with activity, producing hundreds of drops for a variety of clients. Regardless of the numerous projects completed by the company, Moses also took on extra work of his own. This was part of the agreement that Moses negotiated upon his return to the company in 1904.

One example of a project credited solely to Thomas Moses was the scenery for “The Kissing Girl.” A review of the production was published in the “Oshkosh Northwestern” news on October 10, 1910 (Oshkosh, Wisconsin, page 10). Here is the article in its entirety:

Advertisement for “The Kissing Girl” from “The Morning Register,” (Eugene Oregon), 27 Nov 1910, page 14

“The Kissing Girl,” advertised in “The Morning Register,” (Eugene Oregon), 27 Nov 1910, page 14

“’The Kissing Girl,’ which comes to the Grand opera house this evening is bright, tuneful and irresistibly funny, imbued with the charm of novelty and given with the finish of perfection. It tells a romantic story of Austria and Bohemia. A company of more than ordinary strength – both vocal and dramatic values – will interpret the charming story. Miss Texas Guinan will have the role of ‘The Kissing Girl.’ Dick Temple will have the principal comedy character. Harry Hermson will be the baritone and Harold Rehill, a tenor, will romance with Marion Mills, at one time prima donna with the original “The Time, the Place and the Girl” company. An important member of the cast will be Ida Fitzhugh, a delightful old character woman from the principal Berlin theaters. These with a chorus of pretty girls and handsome men will bring the ensemble close to seventy people. The company’s orchestra will interpret instrumentally the beauty of Mr. von Tilzer’s musical numbers. The scenery is from the studio of Thomas Moses and the costumes – said to be unusually brilliant – were designed by Schoultz. The performance will be under the personal direction of Mr. Stange, conducted by Mr. von Tilzer and coached by Mr. George Jones, a master of the dance. Seats are on sale at Bauman’s drug store.”

Photograph of “The Kissing Girl”,” March 13, 1910, at the Moor Theater in Seattle. Posted at “The Early History of Theatre in Seattle” (http://seattletheatrehistory.org).

The “Eugene Guard” reported, “ ‘The Kissing Girl’ is sumptuously mounted with scenery by Thomas Moses and costumes by Schoultz” when it appeared at the Eugene Theatre (Eugene, Oregon, 29 Nov. 1910, page 3). Written by by Stanislaus Stange, Vincent Bryon and Harry von Tilzer, “The Kissing Girl” was produced by the Cort Theatre Co. for its theatre in Chicago. The production enjoyed a run of 250 consecutive performances before going on tour.

To be continued…

Tales from a Scenic Artist and Scholar. Part 759 – The Girl and the Clown, 1910

In 1910, Sosman & Landis Scene Painting Studio was a well-known firm with artists located in both Chicago and New York. On September 14, 1910, “The Times” described a production with scenery by Sosman & Landis – “The Girl and the Clown.” The show was advertised as musical comedy with “10 Big Song Hits” performed by a “cute girl,” a “funny clown” and “dancing girls” (Hiawatha Daily World, 4 March 1912, page 2).The story of the play depicted the misfortunes of a Circus Company stranded in a Kentucky town.

“The Girl and the Clown.

“‘One touch of nature makes the whole world kin’. It is just this touch of nature that has made ‘The Girl and the Clown’ so great a success. It was the one touch of nature that has made the ‘Old Homestead’ delight crowds for a quarter of a century. It was the one touch of nature which aides ‘Way Down East’. ‘In Old Kentucky’ and a few other famous plays. ‘The Girl and the Clown’ which will be seen at the Opera House Sunday matinee and night also has this one touch of nature. The title almost tells the story. The girl and the clown are both leading members of a stranded circus – of course they are sweethearts. There is another love story in the play that of an heiress and a German student from Heidelberg. Then there is a villain, not the proverbial heavy type but a gentlemanly villain and none the less a villain because he is a gentleman. There are various other characters in the plat and the complications and situation that are brought about by them are ludicrous, and uproariously funny. The play is a laugh from start to finish – the fun is genuine. A little bit of pathos is introduced which may bring a tear to the eye and this leavens the whole. The company is excellent and includes Gertrude Johns, Isabel Johns, Iona Bertrand, W. A. Orlmon, John Leach. Albert Bruce, Hal Lavin and others. During the performance a number of musical specialties are introduced by the Johns Sisters, Gertrude Johns giving her celebrated imitation of the great Harry Lauder which has made her famous in al corners of the country. Special scenery has been painted by the well known New York and Chicago artists, Sosman and Landis” (The Times, 14 September 1910, page 5).

Little is known of the production beyond a few newspaper articles and advertisements. The production with scenery by Sosman & Landis toured throughout the western region of the United States during 1910. In the follwong years, a series of local interpretations appear across the country.

To be continued…

Tales from a Scenic Artist and Scholar. Part 754 – Thomas G. Moses and Sarah Bernhardt, 1910

In 1910, Thomas G. Moses wrote, “Mme. Sarah Bernhardt bought the nucleus of several plays. We contracted to fill the necessary scenes to make her plays complete, which amounted to over $7,000.00. Our first one was ‘L’Aiglon.’ At the close of her engagement, we did a special production of “Judas” which was produced in New York City. I had to visit her every morning at her hotel to arrange the models for ‘Judas.’ I had to talk through an interpreter. She was very nice about everything and seemed pleased when I would catch her idea quickly. After she had produced the play she sent a telegram, thanking us for the brilliant success of the scenery – no trouble to please a person of Bernhardt’s class, but a rough neck actor, like a great many I know, it is next to impossible to please.”

Program for L’Aiglon. Sarah Bernhardt’s United States tour, for the 1910-1911 season

The amount of scenery purchased by Bernhardt in 1910 is equivalent to $188,298.53 today, a significant contract for Sosman & Landis at the time. On October 22, 1910. The necessary scenes designed by Moses and produced at the Sosman & Landis studio in Chicago was for Bernhardt’s seventh tour in the United States.

Newspapers reported that the trip was Sarah Bernhardt’s final tour in America. A theatrical icon, the public embraced the sixty-six-year-old actresses. Her tour began in Chicago at the Studebaker Theatre on October 31. Her first appearance was in “L’Aiglon” (The Joliet News, 12 Oct. 1910, page 4).

The first week’s bill included:

Oct. 31 – L’Aiglon

Nov. 1 – La Tosca

Nov. 2 – L’Aiglon

Nov. 2 – Les Bouffons and Las Bois Sacre

Nov. 3 – Camille

Nov. 4 – Fedore

Nov. 5 – Phedre

Nov. 5 – Jeanne d’Arc

After performing in Chicago, she traveled to New York for four weeks before beginning her cross-country tour. In 1910, Bernhardt’s repertoire included the following:

“L’Aignon” by Rostand

“Jeanne d’Arc” by Emile Moreau

“Les Buffons” by Miguel Zamacois

“Sapho” by Alphonse Daudet

“La Sorcerie” by Victor Sardou

“La Dame aux Camelias” by Dumas

“La Beffa,” “Phedre,” and “La Rampe” by Rothschild

“La Tosca” by Sardou

“La Passe” by G. de Porte-Riche

“Fedora” by Sardou

“Monna Vanna” by Maeterlinck

“Hamlet”

“Resurrection” by Bataille, from Tolstoy’s novel “Le Bois Sacre”

“Romanesques” and “La Princess Leontine” by Rostand

Prior to her departure, the French actor Le Bargy arrived during her last week of performance. He appeared with Bernhardt in both “La Princess Leontine” and “Faust.” Once the tour was completed, Berhardt returned to Paris where she began another season, opening with “La Princess Leontine” and “Faust.” The productions for both shows were made in the United States and exported to France.

To be continued…

Tales from a Scenic Artist and Scholar. Part 752 – Gallagher and Shean’s Olio “Battle of Bay Run,” 1910

In 1910, Thomas G. Moses wrote, “We did an odd set for Gallagher in vaudeville – three drops set to represent a battleship from any angle of the theatre, very effective.”

Sosman & Landis created a naval-themed olio setting for Gallagher and Shean, the vaudeville comedy team. Their olio sketch was written by Edward Gallagher and called “Battle of Bay Run” (Philadelphia Inquirer, 30 Aug. 1910, page 5). The use of the term “olio” is referring to a musical number, one that is independent from the featured performance.

The vaudeville comedy team, Gallagher and Shean

In 1910, Gallagher and Shean partnered to present “Big Banner Show,” and toured across the country (The Buffalo Enquirer, 27 Dec. 1910, page 10).

Advertisement from the “Daily Record,” (Long Branch NJ), 13 Aug 1910, page 3

Advertisement from the “Kansas City Globe,” 11 Nov 1910, page 7

The program was composed of a two-act musical comedy, “The Girl from Paris,” olios, and several high-end vaudeville acts. Gallagher’s olio “The Battle of Bay Run” featured a naval travesty, in used the setting created by Sosman & Landis (St. Louis Star and times, 31 Oct. 1910, page 3). Another olio for the show featured Shean as “The Dandy Little Dutchman.” Of the vaudeville acts, the Potter-Hartwell Trio, an acrobatic team, in “The Man with Two Heads,” Annette Goldie singing Southern songs, and a “Hokey-Pokey” girl chorus. (The Evening Sun, Baltimore, Maryland, 3 Sept. 1910, page 7).

“The Baltimore Sun” commented on the production, “[It] is really a clever concoction, more of a musical comedy than a burlesque. At times it is very pretentious, both in musical numbers and scenery. Mr. Gallagher, as an American in Paris, is ‘roped in’ by one of those French maidens who conveniently faints, is clever in his manner of handling the comedy and the plot, and has a good voice. Mr. Shean’s droll German dialect is not introduced until the closing number, as the proprietor of a hotel in Switzerland. The girls are some numbers above the average and sing and dance well. With ‘Money,’ a novelty march song, and ‘Three Jolly Scotchmen,’ in which they are seen in the regulation Scotch attire, decided hits are made. Edna Davenport, as the girl from Paris, carried the house with her ‘Espanola Prance.’ The best olio feature was Gallagher and Shean’s naval travesty” (6 Sept, 1910, page 9).

Edward Gallagher partnered with Al Shean early in his career. Shean’s birth name was Abraham Elieser Adolph Schönberg. He was born in Dornum, Germany, the son of ventriloquist Levy Schönberg, and yodeling harpist Fanny Salomons. The couple immigrated to New York City in approximately 1880 with Shean and his sister Miene. Miene, nicknamed “Minnie,” married Samuel “Frenchie” Marx in 1884; they were the parents of the later well-known Marx Brothers.

Moses would also work with the Marx Brothers on a project in 1926, although he was not impressed with the famous performers at all. Of them, Moses wrote, “Made several sketches for Marks Brothers. I have no faith in them. I think them very cheap.”

Gallagher and Shean partnered in 1910, the same year that Moses was hired to create the battleship scene. Each had begun their career as a small-time performer in burlesque and variety shows. Shean initially made a reputation for himself performing in “Quo Vadis Upside Down.”

Gallagher and Shean were later featured in the “Ziegfeld Follies” and other reviews, associated with the popular patter song “Mister Gallagher and Mister Shean.” That song included the lyrics: “Absolutely Mr. Gallagher? Positively Mr. Shean!” and was recorded after their 1922 Ziegfeld Follies performance. The lyrics were credited to Brian Foy with music by Shean.

Sheet music for the song “Mister Gallagher and Mister Shean.”

Sheet music for “Mister Gallagher and Mister Shean.”

Here is a 1922 recording of their song: https://www.youtube.com/watch?v=6bBvYO5FigI

From 1914-1920, the duo briefly parted, but reunited after the urging of Minnie Marx. Their reunion would not last long, however, with the partnership ending in 1925. The dissolution of their partnership was one in a series of challenges that Gallagher faced during the 1920s. Other obstacles included a prolonged dispute with Foy over song writes to “Mister Gallagher and Mister Shean,” difficulties with the Schubert Brothers, and a divorce from his third wife. Gallagher finally suffered a nervous breakdown and later died in a sanatorium in 1929.

Shean, on the other hand, went onto enjoy a successful career on both the stage and screen, appearing in 25 Hollywood films from 1934 to 1943. He would continue performing the patter song, partnering with Charles Einninger for the 1941 Ziegfeld Follies. Here is their performance in front of an Egyptian setting: https://www.youtube.com/watch?v=HkzAEGarl9Q).

To be continued…

Tales from a Scenic Artist and Scholar. Part 751 – Sosman & Landis in Guadalajara, Mexico, 1910

In 1910, Thomas G. Moses wrote, “We received a good contract from Guadlahara, Mexico. All Spanish correspondence. Some job getting it translated. Mr. Evans did most of it for us.”

Julius Cahn’s Official Theatrical Guide for the 1910-1911 season listed three theaters in Guadalajara. With a population of 101,208 at the time, the city government managed the Degollado Theatre. This venue had a seating capacity of 2,000 with a stage measuring 15×25 metres. The second theater listed in Cahn’s Guide was the Principal Theatre, managed by T. Davilla Suer and a seating capacity of 1,600. The Principal Theatre’s stage measured 8×12 metres stage. The third theater listed in Cahn’s Guide was the Apolo Theatre managed by C. Paniagua. It had a seating capacity of 1,400 with the smallest stage measuring 6×10 metres.

Of the three, it was the Teatro Degollado that underwent a significant renovation between 1909 and 1910. It was Roberto Montenegro who led the work, focusing on the reconstruction and decoration of the interior of the building. The project included the addition of a crystal lamp on the theater’s vault. Located in the central plaza of Guadalajara, on Belen Street between Hidalgo Avenue and Morelos Avenue, it is possible that Sosman & Landis received the contract for the new scenery. The grand opening for the newly renovated space was September 15, 1910. Here is a link for some history about the building: http://en.ofj.com.mx/teatro-degollado/

Postcard of the Degallado Theatre in Guadalajara, Mexico

Cahn’s Guide included an entire section on Mexico:

“Mexico affords many allurements to the operatic, vaudeville or spectacular class of entertainment, as the natives liberally patronize performances that appeal to the eye or, in case of opera, to the ears, as they possess a remarkable musical liking and will respond in large numbers.

Every city owns one or more Spanish papers, with editors who will gladly translate English notices into the Spanish language.

The established local rates in Mexico on the principal lines are on the basis of, first class three cents, second class two cents, third class one and one-half cents, plus two per cent. per kilometer, about five-eights of one mile. These rates in Mexican currency. The railroad lines in Mexico are disposed to be liberal in matter of rates and conditions of tickers for the transportation of theatrical companies, with a view to encouraging them to visit the country.

The duty on printed matter taken into Mexico is little or nothing. In some cases a small tax or nominal charge is levied.

Special mention should be made of the strict observance of rigidly adhering to showing every act or scene that is advertised in papers, boards or heralds, for every failure to produce as represented in billing is subject to a heavy fine or imprisonment. At every performance an official witnesses the performance to see that the performance lives up to the representations in advance.

The best time for a tour of Mexico is from November to March. The days are warm, but the nights are cool and warm clothing is essential in cities on the high table land in the interior. The duty is charged on all articles purchased in Mexico over $100 by any one person. Theatrical property, costumes, scenery, etc., can be placed in bond, the bond being cancelled upon return of property to the United States.

So called “Diverse Route,” or “Variable Route,” tickets can now be obtained from San Antonio, Texas, via Laredo and the National Railroad of Mexico, to the City of Mexico, returning thence via Mexico Central Railway to El Paso, or returning via the Mexican Central through Torreon and the Mexican International Railroad to Eagle Pass, Texas, or vice versa, at very reasonable rates, this touring embracing nearly every important theatrical city in Mexico.

The prices of admission in Mexico run from 25c. to $3. The value of the Mexican dollar is now stable, being equal to 50c. in the United States currency.”

Cahn’s Guide listed theaters in the following cities: Aguas Caliented, Celaya, Chihuahua, City of Mexico, Ciudad Juarez, Durango, Guadalajara, Guadalupe, Guanajuato, Lampazos, Leon, Monterey, Morelia, Pachuca, Puebla, Queretaro, Saltillo, San Luis Potosi, San Miguel de Allende, Tampico, Toluca, and Zacatecas.

To place this project within some historical context of the times, I am including a brief article published in the “Boston Globe” on November 14, 1910. The article was entitled “Mutual Concern” and reported the following:

“Confronted by a more delicate situation than ever as a result of the occurrences of the past few days, the governments of Mexico and the United States were making every effort to restrain their citizens from acts of violence and to smooth over the difficulties. The already serious problem before the two nations, resulting from the burning at the stake in Texas of Antonio Rodriguez, and the riotous demonstrations against Americans in Mexico City and elsewhere, was further complicated during the past 48 hours by the shooting of Jesus Loza by Carlos B. Carothers, an American, at Guadalajara, Mexico, and the assassination of Chief of Police W. C. Temple of Anadarko, Oklahoma, by a Mexican. Ambassador De La Barra presented today to the state department the dispatch from Foreign Minister Creel in which Pres. Diaz addressed satisfaction with President Taft’s assurance that he would do all in his power to punish those guilty of the death of Rodriguez. Pres. Diaz in this message, said the Mexican government had instituted proceedings against the persons responsible for the misdemeanors in Mexico and expected to repress, with all the vigor of the law, all offenses whatsoever against Americans who live there.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 750 – Indianapolis’ Murat Theatre, 1910

Murat Shrine Theatre postcard featured scenery by Sosman & Landis in 1910

In 1910, Thomas G. Moses wrote, “Closed with the Murat Theatre of Indianapolis for $4,000.00.” The equivalent purchasing power today is $107,599.16, a sizable scenery project for the time. The building was named after the Nubian desert oasis Bin Murat. Bin Murat was named after Napoleon’s general, Joachim Murat, during his Egyptian campaign; an interesting nod to past French Masonic heritage.

The Murat Shrine building was located at the corner of Massachusetts Avenue and New Jersey Street. The Shrine Theater 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). Here is the article in its entirety:

“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.”

What is interesting about this theater is that the Shrine is using the stage for their ceremonials, but also leasing the house and generating a significant amount of income, a win-win situation. 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.

Photograph of the Murat Shrine building in Indianapolis, Indiana

The Murat Theatre was a Moorish-revival style structure, with the building featuring minarets, terra cotta trim, and brown and yellow banding. In 1922, the structure was expanded to include an Egyptian-themed auditorium. Interestingly, it was planned prior to the discovery of Tutankhamen’s tomb that same year. The 2,500-seat auditorium offered a secondary performance venue, to the original 1,800-seat concert hall. Between 1948 and 1963, the venue was primarily used by road shows. In 1963 it became the home for the Indianapolis Symphony Orchestra. In 1968, the building was expanded; the addition collapsed after a fire in 1988.

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. There are currently nine areas for hosting events, including the Egyptian room, the Corinthian Hall, the Corinthian annex, the Corinthian meeting room, the Great Hall, the Imperial Lounge (formerly known as the “Crowne Room”) and various lobby areas.

In terms of the Fraternity, the Ancient and Arabic Order of the Nobles of the Mystic Shrine was organized in Indianapolis during 1882, receiving a charter on June 4, 1884. Regular meetings were held at the old Scottish Rite at the Townsley and Wiggens Pork House; a space that I have written extensively about in past posts (see installments # 199-201, and 237). As a side note, Henry C. Tryon was the scenic artist responsible for the earliest scenery in the Indianapolis Scottish Rite where the Murat Shrine initially met; Tryon was later on the staff at Sosman & Landis and an asset to their Masonic projects at the time.

By 1909, the Indianapolis Shrine began the construction of the Murat Temple. Considering the reputation garnered by Sosman & Landis in 1909 and their connection with Tryon, it is not surprisingly that they received the contract for the Murat stock scenery collection. In terms of the architecture, the William P. Jungclaus Company used the designs of Murat Shriner Oscar D. Bohlen.

The theater opened on February 28, 1910, with Murat nobles and ladies treated to opening night; this became a tradition while the Schuberts leased the building. The theater had a seating capacity of 1,950 (lower floor, 1155, balcony, 624, and boxes, 24). Located on the ground floor, the space was illuminated with electricity (110-220 D.C., 1,500 Amp.). The proscenium opening measured 40×36 ft. with a depth of 40 ft. from the footlights to the back wall. There were 91 feet between the side walls and a 3 ft. apron. It was 76 ft. from the stage to rigging loft and 31 ft. from the stage to fly gallery. The Cahn-Leighton Official Theatrical Guide for 1912-1913 Season listed the theater as the “Schubert-Murat Theatre” managed by Fred J. Daily.

Here is an interesting link to the Murat Shrine: https://www.muratshrine.org/PP_history.php

To be continued…

Tales from a Scenic Artist and Scholar. Part 749 – The Aborn Opera Company at McVickers, 1910

In 1910, Thomas G. Moses wrote, “We did an elaborate set for Mme. Butterfly for the Aborn Opera Company at McVicker’s.” The “Gibson City Courier” noted the production’s “special scenery of unusually beautiful design” (6 May 1910, page 6).

Detail from a program featuring the Aborn English Grand Opera Company, 1912

On May 6, 1910, “The Daily Herald” reported, “ ‘Madame Butterfly,’ the most popular of the modern reperatory of operas, will be used by the Aborn Grand Opera Company to inaugurate their season of grand opera in English at McVicker’s Theatre, Chicago, Sunday night, May 8” (Arlington Heights, Illinois, page 9). Other shows that season included “Il Trovatore,” May 15; “Faust,” May 22, and “Aida,” May 29.

The “Daily Herald” also noted, “ Edward Temple, stage manager at the wonderful New York Hippodrome for three years, and for many seasons stage director at the Metropolitan Opera House in New York, has been engaged to stage the grand operas in English, which will be heard at McVicker’s Theatre, beginning Sunday, May 8, with a production of Puccini’s ‘Madame Butterfly” (15 April, 1910, page 5).

The cast included Dora De Fillippe in the title role, with Joseph Sheehan playing the role of Pinkerton. Other performers in the cast included Ethel Dufre Houston, Ottley Cranston and Chevalier N. B. Emanuel.

The “Daily Herald” reported, “There has never been an attraction in Chicago which has received such an enthusiastic praise as has the Aborn Grand Opera Company in its performances of grand opera in English at McVicker’s Theater, Chicago…The critics of Chicago, without exception, have talked of the wonderful orchestra, the complete mise-en-scene, the splendid principals, the adequate scenic production and the excellence of the big chorus employed by the Aborn company.”

Prices for the production in Chicago were the standard 25 cents, 50 cents, and 75 cents with $1 options.

The Aborn Opera Company was active from 1895 until 1922. Founded by Milton and Sargent Aborn in New York City, the company toured extensively across the country. The two brothers began as theater managers in 1885.

To be continued…