Sosman & Landis – Page 30

Tales from a Scenic Artist and Scholar. Part 585 – John J. Murdock and the Olympic Music Hall

Part 585: John J. Murdock and the Olympic Music Hall

In 1908, Thomas G. Moses wrote, “We did a show for Murdock at the Olympic – a failure, scenery and play.” He was referring to the newly opened Olympic Music Hall in Chicago. The venue was previously known as the Olympic Theatre before the purchase and renovation by J. J. Murdock in 1908. The Olympic Music Hall opened on November 2, 1908.

John J. Murdock and his Olympic Music Hall, from the “Inter Ocean,” 8 Nov 1908, page 30

An article in the “Inter Ocean” reported, “The work of converting this famous landmark of amusement into a music hall is being carried on day and night, the men working in shifts of eight hours each. The playhouse is now under the control of J. J. Murdock, who successfully operated the Masonic Temple roof garden, and who had been at the head of the Western Vaudeville Managers’ Association. Mr. Murdock will adopt a policy along the lines of the Palace, or Tivoli, London, England, on a more elaborate scale” (Chicago, 25 Oct 1908, page 41). The mention of the Masonic Temple Roof Garden caught my eye.

The Masonic Temple roof garden and observatory was transformed into two electric theatres by Sosman & Landis in 1894. Advertised as Chicago’s first roof garn theatre, it included two electric scenic theatres that were design, constructed and operated by Sosman & Landis. An images of the Masonic Temple roof garden theatre was even pictured on an 1894 catalogue for Sosman & Moses. Although their control of this venue was short-lived, it provides an earlier connection between Murdock and Moses at Sosman & Landis. Murdock’s association with unique and innovative performance venues such as the roof top garden and music hall provides additional context.

High class vaudeville was to be the dominant feature at the Olympic. The “Inter Ocean” published an article on the new Olympic Music Hall (8 Nov 1908, page 30). In it, the question was asked, “When is a vaudeville theatre not a vaudeville theatre?” The response was “When smoking is permitted, then it is a music hall.” In Chicago, Murdock afforded patrons that privilege. The article continued, “Mr. Murdock is a connoisseur of everything pertaining to the entertainment of the public, and realizing that the great majority of men are addicted to the smoking habit, he conceived the happy idea of permitting the patrons of the Olympic Music hall to indulge in that pleasure.” The article noted, “The new Olympic will be different from other Chicago playhouses, in that smoking will be permitted. This innovation, new to Chicago, is familiar to London and Paris theater-goers, and Manager Murdock is convinced that this feature is destined to be as popular in Chicago as it is abroad.” Another “Inter Ocean” article described the smoked-filled music hall: “Blue smoke curled upward from full 500 cigars. Maybe 1,000 men lounged back comfortably in their theatre chairs. Beside almost blessed man of them sat his wife, or his sweetheart, or his dearest friend, or maybe only his sister. Toward a rose tinted ceiling smoke drifted cloudlike and then mysteriously, as an enchantment, suddenly disappeared.”

According to Julius Cahn’s Official theatrical guides, the original Olympic Theatre in Chicago had a seating capacity of 2,127, and new music hall had a seating capacity of 1584. The “inter Ocean” provided a further description of the Olympic Music Hall’s auditorium and stage:

“Immediately above the entrance to the auditorium a series of Swiss chalet windows, with stained glass and heavy stucco ornamentation, attract the eye. The theater proper also has undergone a thorough renovation. The color scheme is of gray damask, blending harmoniously with rose and old Roman gold. The ceiling and mural decorations consist of panels of exquisite design, bordered by stucco ornaments, tipped with gold and ivory. A massive new chandelier bearing hundreds of glistening prisms and scores of electric globes hangs just above the orchestra, while at the side of the boxes on both sides two tremendous light clusters have been placed. The balcony and gallery rails have been provided with strings of lights, so that the house is capable of illumination equal to the noonday sun.

The boxes, which formerly were most artistic, have come out of the hands of the decorators as veritable bowers of rich yet tasty beauty. They have been decorated with stucco ornaments, painted in consonance with the general color scheme and provided with heavy plush maroon curtains swinging on brass rods. The entrance to the boxes, above and below, are adorned with rich curtains, that insure at once privacy and real comfort. The proscenium has been decorated in Roman gold, the façade, doing away with the curtain drop, being especially tasty…the steel curtain has been repainted and a new olio drop provided.” The article continued, “The seating capacity of the theater has undergone no change, the safety of the patrons being Manager Murdock’s first consideration when this matter was taken up. The seats above and below have been provided with cushion seats and the framework of the chairs tinted in ivory and gold…More than $30,000 was spent by Manager Murdock in the beautification of the theater, and that the money has been expended to some purpose the admirable result are ample indication” (8 Nov 1908, page 30).

To be continued…

Tales from a Scenic Artist and Scholar. Part 566 – Nicholas J. Pausback

Part 566: Nicholas J. Pausback

In 1907, Thomas G. Moses split his time between Sosman & Landis’ 20^th Street studio and the main studio He wrote, “Did a great many scenes and drop curtains and we kept a good force at 20^th Street. I depended a great deal on Pausback to look after the work while I was away. Everyone seemed to work hard.”

Nicholas J. Pausback (1881-1953) pictured in 1928 as representing Pausback Scenery Co.

Nicholas J. Pausback in the last row (second to left). From the Chicago Tribune, 2 Dec. 1928, page 12

Moses was referring to the scenic artist Nicholas John Pausback Jr. (5 May 1881-13 May 1953), His obituary referred credited him as a “scenic artist de luxe”(Chicago Tribune 14 May 1953, page 36).

Nicholas J. Pausback’s grave marker at St. Mary Catholic Cemetery.

Pausback stayed in the theatrical scenery business for 45 years, not retiring until 1947. He became the founder of Pausback studios, a company that lasted for exactly twenty years, from 1927-1947.

Prior to his work for Sosman & Landis in Chicago, Pausback worked in St. Louis, Missouri. Records show that his two eldest children were born there during 1905 and 1906. By 1907, Pausback is working with Moses in Chicago. In 1908, Pausback is noted as a shop manager at Sosman & Landis, taking charge of their 20^th Street studio studio by 1911. In 1916, Pausback installed New York shows with Harry Nailer, stage carpenter. Pausback founded Pausback Scenery Co. Living at 6606 Woodlawn Ave., in Chicago Illinois during the late 1920s His scenery company was located at 3727 Cottage Grove Ave., Chicago (Chicago Tribune 2 Dec. 1928, page 2).

In 1928, Pausback also wrote a book on Stage Craft (Dec. 17, 1928). Trying to track down a copy now! The following year, Pausback Scenery Co was credited with a modern idea to meet the requirements of gigantic Christmas trees – spangles in various shapes and sizes, some that measured 10 inches in diameter! (Chicago Tribune 9 Dec. 1929, page 3).

“Wings of a Century” production for the Century of Progress in 1933. Credit was given to Pausback Scenery Company for providing props.

Props are provided by Pausback Scenery Co.

His company pops up again in several internet searched during the 1930s. In 1934, the management of the Century of Progress world fair in Chicago thanked Pausback Scenery Co. for providing properties for Wings of a Century. I have included the entire program as it is quite interesting in itself. Toward the end of his career, Pausback was also working with Art W. Oberbeck (Blue Island Sun Standard Archives, 15 June 1944, Page 6). Oberbeck and Pausback has worked at Sosman & Landis during the same time. Oberbeck started as a paint boy at the studio in 1904.

Pausback was also an amateur magician. As a member of the International Brotherhood of Magicians and the American Society of Magicians, he was known as “Nicodemus, the Magician” (Chicago Tribune 14 May 1953, page 36).

Pausback passed away in 1953 and was buried in St. Mary Catholic Cemetery. He was survived by his wife Ottlia Groebl Pausback; daughters Elvira Pausback Howard, Mrs. Mary Crescentia Pausback Welsh and Mrs. Therese Pausback Curtis; sons the Very Reverend Nicholas Albert Pausback/Father Gabriel of the Carmelite Order, Raymond Joseph and Lawrence; and nine grandchildren.

Acme Carsen and Pausback advertisement in back matter of Educational Theatre Journal 11, no. 1 (1959)

From Educational Theatre Journal 11, no. 1 (1959)

By 1959 there would be advertisements for ACME CARSEN PAUSBACK scenic studios (“Back Matter.” Educational Theatre Journal 11, no. 1 (1959): I-Xxxviii. http://www.jstor.org/stable/3204606.). The three names caught my attention. In regard to ACME studio, several disgruntled Sosman & Landis employees for Service Studios in 1920. Service Studios soon became ACME studios in Chicago. I have an ACMR studios sales book and they simply replicated existing Sosman & Landis Scottish Rite designs.

The Carsen of Acme Carsen Pausback Studio was Robert W. Carsen. He a scenic artist and stage mechanic, working as over hire at J. C. Becker & Bros. Carsen also ran his own studio, Robt. W. Carsen, advertising as “constructors and painters of theatrical scenery.” His studios were located at 1507 North Clark Street, and he was hired to build some Masonic scenery for the Moline Scottish Rite during 1930.

Invoice from Robt. P. Carsen to Becker & Bro., for the Moline Scottish Rite scenery installation, 1930. From the collection of Wendy Waszut-Barrett.

By the 1950s, Acme Carsen Pausback, were delivering stage curtains for Chicago area schools, including an elementary school in district 7 of Chicago.

To be continued…

Tales from a Scenic Artist and Scholar. Part 564 – Thomas G. Moses at the Jamestown Exposition, 1907

Part 564: Thomas G. Moses at the Jamestown Exposition, 1907

Postcard of the Jamestown Exposition, 1907

Map of the Jamestown Exposition grounds, 1907

1907 was a busy year for Thomas G. Moses at Sosman & Landis studio. However, he managed to get away for short trip with his wife Ella. They traveled east to visit the word fair in Norfolk and stayed for a few while so that Moses to do some sketching in West Virginia. Their travels included New York, Trenton, Philadelphia, Washington and Norfolk. They visited the Jamestown Exposition on September 27; it ran from April 26 to November 30 that year.

The Jamestown Exposition commemorated the 300th anniversary of the founding of Jamestown in the Virginia Colony on May 13, 1607. It was held at Sewell’s Point on Hampton Roads in Norfolk, Virginia, and celebrated the first permanent English settlement in America. The 367-acre site featured a port that hosted the rendezvous of more than 50 warships from around the world. Fourteen Nations were represented at the International Military & Naval Celebration. Sixteen warships from President Theodore Roosevelt’s newly modernized fleet were also in the harbor. On June 28, 1917, President Woodrow Wilson bought 474 acres for the base, including 367 acres of the exposition grounds. The site of the Jamestown exposition became part of the Hampton Roads Navy Base after World War I.

Final attendance numbers were recorded as 2,758,692 for total attendance, with 1,401,409 paying for entry. Admission prices were fifty cents for adults and twenty-five cents for children. Newspapers reported that actual attendance numbers did not meet anticipated projections. There were both logistical and financial problems, as with many world fairs in America; the fair did not generate the expected revenue and a government loan was required to finish the preparations. Toward the end, there was a bustle of activity, and as the opening deadline approached construction materials became scarce. This necessitated the erection of a sawmill on site. Unlike previous world fair delays where the opening was pushed back a few days, the arrival of the ships in the harbor meant there was no option for any postponement.

On the fairgrounds there was an amusement area was known as the “Warpath,” with the tag line “Meet us on the warpath!” Attractions included a wild west show, cycloramas of Gettysburg and Manassas, the “Temple of Mirth,” the “Beautiful Orient,” “Streets of Cairo,” Ferrari’s Wild Animal Show, “Destruction of San Francisco,” Baby Incubator, Deep Sea Diving, the “Klondike Gold Mine,” Princess Trixie and Paul Revere’s Ride, the Old Mill, “Fair Japan,” Colonial Virginia, the Ostrich Farm, American Monorail Exhibit, plus an Intra-Mural and Miniature railway concession. In 1975, twenty of the remaining exposition buildings were placed on the National Register of Historic Places as an entire historic district.

Of their visit to the Jamestown Exposition, Moses wrote, “Took the boat from Washington to Norfolk and had a delightful trip immensely, excepting that we found no art gallery in the exposition.” By this time, Moses was a member of both the Salmagundi Club in New York and the Palette & Chisel Club in Chicago, continuing with his fine art work. Previously on the trip, Tom and Ella visited the Carnegie Art Gallery, This was Moses’ first time to the Carnegie Art Gallery and he was delighted with the various artworks.

To be continued…

Tales from a Scenic Artist and Scholar. Part 561 – Sosman & Landis and Jamestown Flood for the White City

Part 561: Sosman & Landis and Jamestown Flood for the White City

I continue with the amusement park attractions described in White City Magazine. One article included information pertaining to the Johnstown Flood attraction with scenic contributions by Sosman & Landis studio.

The Johnstown Flood attraction entrance at White City Amusement Park in Chicago. The scenic spectacle was created by Sosman & Landis

The Johnstown Flood show initially appeared at the Pan-American Exposition in 1901. An article from “Snap Shots on the Midway” for the Buffalo Exposition advertised the Johnstown Flood attraction as “a scenograph, the logical evolution of the cyclorama, the diorama and the scenic theater, accomplishes the illusion, which is set on an ordinary stage and is in reality a performance in pantomime, where all the actors are what would be called in stage parlance, “properties.” It was transported to Luna Park at Coney Island where it was featured from 1902-1905. When White City was planned, key figures visited Coney Island during the planning phase to identify specific attractions that they would replicate for their own amusement park. One was the Jamestown flood, initially designed by Harley Merry. Other amusements parks also featured the Johnstown, such as White City in Louisville, Kentucky and Electric Park in Baltimore.

Johnstown Flood attraction in Baltimore, Maryland

The Johnstown flood attraction at White City in Louisville, Kentucky

Many amusement park attractions were based on staged versions of disasters. On May 31, 1889, a dam near Jamestown, collapsed and flooded the valley with twenty million tons of water. There was virtually no escape as everything was destroyed in the water’s path. Prior to destruction, Jamestown was one of the most prosperous manufacturing towns in Pennsylvania. Including its suburbs, the city had a population of 35,000 persons. Situated at the convergence of the Conemaugh Rover and Stony Creek, the reservoir was approximately fifteen miles northeast from Johnstown. After many days of heavy rain, the dam burst, spilling the entire contents of the reservoir and annihilating the entire town; thousands of lived were lost.

The entrance to Johnstown flood at White City, Chicago. The entrance is arch on the right.

For the White City Amusement Park, Sosman & Moses provided the scenery and effects for the simulated disaster. The White City Magazine included an article on the Johnstown Flood, advertised as “a special feature of the White City, “the most impressive and realistic of all scenic productions and constructed on a gigantic scale. A triumph of scenic art and startling realism.”

Here is the article in its entirety:

“Johnstown Flood. Grandest and Most Spectacular Scenic Production Ever Shown.

The Johnstown Flood, pronounced to be the greatest scenic production ever offered to the public, will be seen at White City.

It was first shown at the Pan-American Exposition at Buffalo, and it proved to the greatest success of many attractions of this great Fair. It is pronounced by experts to be far superior to the Galveston Flood shown at St. Louis.

The Johnstown Flood, which will be located in White City is a new one, with the scenic work by Sosman & Landis, and will be an improvement over the one at Buffalo. The entire city of Johnstown is shown, with the hills and great reservoir in the distance. This is not a painting, but each of the buildings of the city of Johnstown is truthfully reproduced in miniature. The production opens with the peaceful city of Johnstown with its citizens, commerce, and industry. Men and women are seen going about their pursuits, trains pass through the city, and teamsters are seen transferring freight, while pleasures vehicles drive through the streets. Then comes a storm, and the flood.

Small at first is the stream of water which trickles down the mountains in the distance; the alarm is given, and those who are fortunate enough to apprehend their danger are seen rushing for the hilltops. With a rumble that forebodes the death for hundreds of souls, the walls of the great reservoir give way and down into the valley rushes the tremendous volume of water which submerges the city and crushes great buildings like egg shells. Hundreds of persons are caught in the tremendous torrent and within a few minutes the city is devastated.

The production is correct in all details, the buildings being actual reproductions of those which crumbled beneath the great tidal wave.

The scenic effects are excellent and may be said to be a triumph of stage craft.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 547 – The New Auditorium at the Immaculate Conception Academy, 1906

Part 547: The New Auditorium at the Immaculate Conception Academy, 1906

In 1906, Thomas G. Moses recorded that Sosman & Landis provided scenery for “a big contract for Davenport, Iowa.” He was referring to the new auditorium at the Immaculate Conception Academy. This was the Catholic girls’ high school established by the Sisters of Charity of the Blessed Virgin Mary in 1859. In 1906, a new building joined the main building on the north, replacing the old frame conservatory building. Located at Eighth and Main streets, the new three-story brick building included an auditorium, conservatory of music and gymnasium.

Immaculate Conception Academy in Davenport, Iowa.

The Quad-City Times,” reported, “The superbly appointed hall, with its stage equaling in width that of the Burtis Opera house and beautiful scenery, painted by the firm Sosman & Landis, of Chicago, delighted the eyes of the patrons of the institution” (Davenport, Iowa, 17 May 1906, page 9). For the opening, the seating hall of the new hall was “taxed to the utmost” with a crowd of 600 or more.

On May 13, the “Quad City Times” noted, “There will be a very fine entertainment given at the Immaculate Conception, on Main Street, Wednesday evening, May 16, for the benefit of the furnishing of the new auditorium. The pupils of the academy and the sisters have gone to much trouble to make this one of the best entertainments ever given, and all who attend will be amply repaid. The staging for the classical drama, ‘Margaret of Anjou,’ which will be given, is very fine, the scenic painting having been done by Sosman & Landis Scenic company of Chicago, and the chief artist put his best efforts in the work, feeling a personal interest in its success, as his wife is a graduate of the Immaculate Conception academy” (13 May 1906, page 12). “The sisters in their choice of scenery for the stage, have secured the best that is available, and the effects in stage setting in the production last evening were beautiful. Sosman & Landis of Chicago painted the scenes” (The Daily Times, 17 May 1906, page 7). There new scenery installation included a garden scene, a fancy interior, two parlors, and other scenes that were installed after the opening. The fancy interior was used as a royal house in France for their first production.

Of the auditorium, the newspaper reported, “The whole top story is given over to the spacious entertainment hall which for nicety of arrangements in regard to acoustics and scenic equipment and for seating an audience, except for the professional play houses, stands unexcelled in the tri-cities and will compare favorably with the auditoriums of an institution of its size. The body of the house is an inclined plane, thus permitting and unobstructed view of the stage, no mater where one is seated” (Quad City Times, 22 May 1906, page 7). The “Daily Times,” provided additional information about the auditorium, reporting, “From the rear of the room to the foot of the stage there is a pitch of some five feet, and the stage floor is four feet above the lowest point in the auditorium (17 May 1906, page 7).

There were 535 opera seats “of the latest pattern, complimenting” the walls that were painted in dark green with gold and white accents. The newspaper noted that “The stage is a model of its kind. Equal to that of the Burtis opera house in width, 58 feet, with a corresponding depth, with electric footlights and are lights, it presents fitting conditions for the presentation of any amateur theatricals or the conducting of any school exercises. The main curtain and other scenery, which equipment is complete in every respect is hard to be surpassed in artistic workmanship, as their chief artist requested that the entire work be entrusted to him as his wife is a former graduate of the academy.”

The same year that Immaculate Conception Academy’s Hall was built, the Burtis Opera House was remodeled, also by involving Sosman & Landis. Local newspapers reported that F. W. Chamberlin & Charles T. Kindt were to purchase the theater originally constructed by J. J. Burtis (1811-1883) in 1867. Burtis built the 1600-seat opera house in Detroit 1867. “The Daily Times” reported , “Theater will be completely remodeled from stage to foyer” (Davenport, Iowa, 16 March 1906, page 6). Manager Kindt, was quoted saying, “The Burtis will be completely remodeled. In fact, when it is improved, it will be practically a new theatre. Everything that is in it will be removed, and it will be fitted up in modern shape throughout.”

Interior of the Burtis Opera House, 1910. This set appears to be for a magic show.

Changes included altering the size of the proscenium, although the boxes were to remain (The Daily Times, 24 March 1906, page 12).

Clamberlin, Kindt & Co, formed in 1894, and began managing the Burtis Opera House (Quad City Times, 10 Dec. 1906, page 10). The firm continued to expand, controlling over 25 theatres on the Illinois-Iowa circuit. Their theatres were located in Marshalltown, Rock Island, Ft. Madison, Burlington, Oskaloosa, Davenport, Galesburg, Monmouth, Muscatine, Rockford, Grinnell, Keokuk, Kewanee, Creston, Sedalia, Quincy, Peoria, Boone, Joliet, Elgine, Waterloo. Chamberlain passed away by the end of the 1906, a severe blow to Kindt and the company. That same month J. R. Lane, C.T. Kindt and Isaac Deutsch purchased the Burtis property, consisting of the Burtis Opera House and Kimball House for $55,000 (The Dispatch, Moline, Illinois, 13 Dec 1906, page 4).

To be continued…

Tales from a Scenic Artist and Scholar. Part 540 – Thomas G. Moses and the Topeka Scottish Rite, 1906

Part 540: Thomas G. Moses and the Topeka Scottish Rite

In 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.”

Illustration of the Topeka Scottish Rite stage published in the Topeka Daily, 21 Feb, 1906, page 5

Illustration of the Topeka Scottish Rite audirorium published in the Topeka Daily, 21 Feb, 1906, page 5

The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5).

Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka, allowing candidates to be conferred in full form during the spring reunion of 1906 (The Topeka Daily, 23 April 1906, page 2). For the event, there were 200 candidates, the largest class ever assembled in the state. The reunion took place over the course of three days (The Topeka Daily, 23 April 1906, page 7). Two of the candidates were Dr. F. O. Hetrick and A. Haggart from Ottawa, Kansas. Their local newspaper, “The Evening Herald” reported that the two men “went to Topeka this morning to attend the twenty-sixth semi-annual reunion of the Ancient and Accepted Scottish Rite Bodies of the Orient of Kansas, Valley of Topeka. Both gentlemen are going to take degree work” (24 April 1906, page 3). This notice is not unusual, and often newspapers would list all of the candidates in a Scottish Rite class. Articles would also describe which degrees were conferred and communicated; conferred often meant that the degree was theatrically staged. Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. It says a lot about the size and prominence of the organization at the time. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity.

Grand Commander James D. Richardson, published in the Topeka State Journal, 27 Oct 1906, page 16

For the Fall Reunion in Topeka, Grand Commander James D. Richardson and his associates in the Grand Commandery were in attendance. They were attending various Scottish Rite Reunions. After Topeka, they would visit Reunions in Denver, Colorado, and Salina, Kansas. Richardson was a well-known national legislator; for twenty years he served in congress from Tennessee, concluding his service on March 4, 1905. The article reported, “He gave up a brilliant political career to devote his time and energies to the interests of Scottish Rite Masonry and is now one of the highest Masons in the land. He is sovereign grand commander of the supreme council for the southern jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry.” By the end of the fall Reunion, the “Topeka State Journal” published a picture of Richardson and an article titled, “He Likes Topeka. James D. Richardson, ex-Democratic Leader, Visiting Here.” He was quoted saying, “You have a fine city here and there are evidences on every hand that it is in a most flourishing condition.” When questioned about things political, Richardson replied, “Politics and Masonry do not mix, and I will never mix them, so you will have to excuse me from discussing any phase of politics.”

An article in the Topeka State Journal listed the activities at the Fall Reunion in detail,” Sessions yesterday were devoted to the registration of classes and preliminaries and the festivities will close Saturday evening with a reception and banquet in honor of James Daniel Richardson, of Washington. D. C., sovereign grand commander and his associates and the members of the consistory. Arrangements have been made to use the large room on the first floor of the Masonic building formerly occupied by the Topeka Athletic Association, as a banquet room during the reunion. Congressman Richardson of Tennessee is one of the orators. A condensed schedule of the work which will be accomplished during the four days of the reunion is as follows:

WEDNESDAY, OCTOBER 24

Afternoon and evening, registration of class

THURSDAY, OCTOBER 25

9:00 a.m., 4 deg. Secret Master, conferred

9:45 a.m., 5 deg. Perfect Master, conferred

11:00 a.m., 6 deg. Provost and Judge, communicated

1:30 p.m., 8 deg. Intendant of the Building, conferred

2:00 p.m., 9 deg. Elus of the Nine, conferred

3:15 p.m., 10 deg. 11 deg., 12 deg. And 13 deg., communicated

4:00 p.m., 14 deg. Perfect Elu, conferred

7:15 p.m., 15 deg. Knight of the East, conferred

8:30 p.m., 16 deg. Prince of Jerusalem, conferred

FRIDAY. OCTOBER 26

9:00 a.m., 17 deg. Knight of the East and West, conferred

10:00 a.m.,18 deg. Prince Rose Croix, conferred

1:00 p.m., 19 deg. communicated

1:15 p.m., 20 deg. Master of the Symbolic Lodge, conferred

2:00 p.m., 21 deg. Noachite, or Prussian Knight, conferred

3:15 p.m., 22 deg. Knight Royal Axe, Prince of Libanus, conferred

4:00 p.m., 23 deg. And 24 deg., communicated

4:15 p.m., 25 deg. Knight of the Brazen Serpent, conferred

4:45 p.m., 26 deg. 27 deg. And 28 deg., communicated

5:00 p.m., 29 deg. Scottish Knight of Saint Andrew, conferred

7:30 p.m., 30 deg. Knight Kadosh, conferred.

SATURDAY, OCTOBER 27

9:00 a.m., 31 deg. Inspector Inquisitor, conferred

2:00 p.m., 32 deg. Master of the Royal Secret, conferred

6:30 p.m., Reception and banquet

(The Topeka State Journal, 24 Oct. 1906, page 8).

The reunion either ran like a well-oiled machine, or it was one chaotic mess. With 100 drops and 17 of the 29 degrees staged, a lot occurred over the course of three action-packed days. The members and the money just kept rolling into Kansas. They were really the first state to soar in the southern jurisdiction.

Scottish Rite degree team from Siloam Lodge No. 225, Topeka, Kansas, 1920

During November of 1906, the Topeka Scottish Rite again broke ground again for a $100,000 addition to the building. The second floor that contained the stage and auditorium remained unaltered, but the Fraternity needed more space if the membership continued to increase at the same rapid rate (The Wichita Daily Eagle, 13 Nov. 1906, page 6).

To be continued…

Tales from a Scenic Artist and Scholar. Part 538 – W. H. Clifton and the Elks Opera House

Part 538: W. H. Clifton and the Elks Opera House

Elks Opera House in Prescott, Arizona. Image located at www.prescottelks.org

1905 there were two articles about the Sosman & Landis stage Carpenter, W. H. Clifton, in the “Weekly Journal-Miner” (Prescott, Arizona, 1 Feb. 1905, page 2). In February 1905, Clifton finished installing “the curtains and scenery” at the Elks Opera House in Prescott, Arizona. The theater was located in the Elks Building at 117 East Gurley Street. Clifton’s next Sosman & Landis installation was scheduled in North Carolina.

The Elks Opera House in Prescott, Arizona with scenery by Sosman & Landis, 1905.

As a Sosman & Landis stage carpenter, Clifton quickly traveled from one location to another, installing the stage machinery and hanging painted scenery for each theater. In 1905, Clifton was on site to superintend the installation and arrangement of the scenery after it was shipped from Chicago to Prescott, Arizona.

Pin rai and paint bridge at the Elks Opera House in Prescott, Arizona. Photo by Brian Piper – www.prescottelks.org

Elks Opera House in Prescott, Arizona – Photo by Brian Piper – www.prescottelks.org

Prior to Clifton’s departure for another theater, he exhibited the scenery for the Prescott clients. Here is the 1905 Weekly Journal-Miner article in its entirety:

“W. H. Clifton, stage carpenter for Sosman & Landis of Chicago gave a private matinee yesterday afternoon for the Elks’ theatre which was attended by about forty or fifty people. The entertainment consisted of an exhibition of all the curtains and scenery of the opera house and was given for the purpose of giving the building committee an opportunity to see what they have purchased and to check it up on the list in order to demonstrate that they have received all that they have paid for. The curtains, scenery and all the stage appointments are certainly up to date and quite handsome. Mr. Clifton is an expert also in the manipulating of them. The Elk’s seem to be well pleased with their purchase. The opera house, when completed, will without doubt be one of the finest in this territory, and a few, if any in the southwest will surpass it. There may be larger buildings of the kind but none more complete in its furnishings and all of its appointments” (Prescott, Arizona, 1 Feb. 1905, page 2).

The Elks Theatre initially hosted minstrel shows, balls, plays and theater performances. Silent films soon dominated the theater by 1915, transitioning to “talkies” by 1929. It remained a movie house until the 1980s. After the theatre changed hands multiple time, it was turned over to Arizona Community Foundation during the early 1980s. The City of Prescott purchased the theater in 2001. The Foundation in partnership with the City of Prescott began the restoration with the lobby, green room, dressing rooms and other parts of the building. Restoration of the Elks theater was completed in 2010. The stage now displays tri-layered vinyl backdrops, based on original black and white photographs. Yes, I re-read the sentence twice too – “tri-layered vinyl backdrops, based on original black and white photographs.”

Postcard depicting the original Elks Opera House in Prescott, Arizona. Image posted at www.prescottelks.org

The newly restored Elks Opera House in Prescott, Arizona.

Image published in the Daily Courier, depicting the new -tri-layered vinyl scenery at the Elks Opera House

As regard to Clifton, it appears that he left Sosman & Landis to take another stage carpenter position in Pennsylvania the after completing the 1905-1906 season. In Julius Cahn’s Official Theatrical Guide for the 1906-1907 and 1907-1908 W. H. Clifton is listed as the stage carpenter for the Lewis Opera House in Canton, Pennsylvania. Although there were many W. H. Clifton’s at the time, I believe that this particular one was born in 1853, passed away in 1926, and married to Eugenia Clifton (1855-1920). This information is not confirmed yet, just pieced together.

To be continued…

Tales from a Scenic Artist and Scholar. Part 537 – W. H. Clifton and the Washington Opera House in Maysville, Kentucky

Part 537: W. H. Clifton and the Washington Opera House in Maysville, Kentucky

Postcard of the Washington Opera House in Maysville, Kentucky

In 1899, Sosman & Landis had a project in Maysville, Kentucky. Maysville is located just down stream of Cincinnati along the Ohio River. W. H. Clinton, a Sosman & Landis’ stage carpenter, in the city to install scenery and stage machinery in the new Washington Opera House. The original Washington Opera house from 1851 had recently been destroyed by fire during January 1898. As with many communities of the time, as soon as one opera house down, plans were implemented for its replacement. Theaters were a significant part of many communities. The new Washington Opera House in Maysville was a combination Opera House and Fire Department. The “keeper of the keys” became the President of the Washington Fire Company, and not the theater manager. Interestingly, he was also the Editor of the local newspaper –Thomas A. Davis.

According to Harry Miner’s Dramatic Directory from 1884, the original Washington Opera House had a seating capacity of 600. At the time, Mayville also had a 500-seat Court House and 300-seat hall, both listed as available for touring shows in Miner’s directory. The size of the original stage was 36×47 and included a “full set of scenery.” Julius Cahn’s Official Theatrical Guide from 1896 provides a little more information about the the 1851 Washington Opera House. The proscenium opening was 26 feet wide by 22 feet high and had five sets of grooves. The height of the grooves accommodated painted wings that were 13 feet high. The size of the stage was listed as 38×45, and the height to the rigging loft was 24 feet. This venue likely used a wing and shutter system, with a few roll drops thrown in for good measure.

The Washington Opera House in Maysville, Kentucky

The new opera house boasted a rigging loft 66 feet above the stage floor with fly scenery, or drops that could be flown in and out during a production instead of rolled. By 1901, Julius Cahn’s Official Theatrical guide noted “no grooves” at the second Washington Opera House, reinforcing that the venue was an up-to-date performance venue for touring shows.

Advertisement for the opening of the Washington Opera House, from the Public Ledger, 23 June 1899, page 1

The 1899 opening weekend for the second Washington Opera House was on February 9^th, 10^th, and 11^th (Maysville, Kentucky, 23 Jan. 1899, page 1). The first program included a series of tableaux vivant presented by Maysville women and a Corps Drill by men from the Commandery Knights of St. John No. 89. There was one nail-biting moment during opening week, however, and that was the scenery was delayed in its arrival.

On Monday February 6^th, only three days before opening, he “Public Ledger” reported, “The scenery for the Opera-house arrived Saturday and was immediately started for its proper place on stage. This statement is made so that any misgivings as to the opening Thursday night may be dispelled” (6 Feb. 1899, page 4). I am sure that this delay caused quite a bit of anxiety, especially for the local performers. However, on Sunday, February 13, “The Evening Bulletin” reported “Mr. W. H. Clifton, the stage carpenter who put up the scenery at the opera house, left for home in Chicago Sunday” (Maysville, Kentucky, 13 Feb 1899, page 4). Clifton stayed for all of the opening activities to ensure the scenery all worked properly and then immediately headed home.

A local newspaper reported the final cost of the New Washington Opera House (The Public Ledger, 20 Feb. 1899, page 1). Of the $23,543.28, Sosman & Landis were paid $1474.99 for “scenery and stage equipment.” The 1000-seat Washington Opera House included a proscenium opening measuring 28 feet wide by 26 feet high. Julius Cahn’s Official Theatrical Guide for the 1900-1901 season noted that the height of the scenery was 18 feet and the height to the rigging loft was 66 feet. There were no grooves, suggesting leg drops for masking. The depth under the stage was 12 feet with 3 traps. The Washington Opera House is listed as the fifth oldest performing arts theatre in the United States.

To be continued…

Tales from a Scenic Artist and Scholar. Part 536 – W. H. Clifton, Yore’s Opera House, and Bell’s Opera House in Benton Harbor, Michigan

Part 536: W. H. Clifton, Yore’s Opera House, and Bell’s Opera House in Benton Harbor, Michigan

This is the second post installment about Sosman & Landis employee W. H. Clifton. In 1889, the “News-Palladium” reported on the completion of Yore’s Opera House in Benton Harbor, Michigan (Benton Harbor, Michigan, 14 June 1889, page 3). Clifton was mentioned as the Sosman & Landis stage machinist sent to superintend the installation.

The News-Palladium article noted, “Messrs. Sosman & Landis of Chicago, furnished the scenery and stage fixtures – Will H. Clifton, stage machinist, having been sent here by the firm to superintend the work some four weeks ago. He has just finished up this task of fitting the stage carpets – one green and the other red.

“The stage is admirably appointed. There are seven compete sets of scenery, namely, Parlor, Kitchen, Open Wood, Garden, Prison, Water View and Street, and all accompanying wings, borders, box scenes, etc., necessary to a first class theatre. All the doors and windows in scenery are “practicable: instead of being blind, as is usual in small theatres. There are also a number of “set” pieces – set rocks, set water, balustrades, a set house, a pair of garden vases, etc. The drop curtain is a handsome work of art and is unsurpassed in Michigan outside of Detroit and Grand Rapids, the scene being “The Hudson River from West Point.” Size of curtain 42×30 feet.

“Three traps, stage braces, stage screws and other stage paraphernalia complete Sosman & Landis’ branch of the work, which has been done in first-class shape. The proscenium opening is 36x24feet; depth of stage, 30 feet; 75 feet wide and 33 feet in length, with full set of grooves; flats 18×26; depth beneath stage, a little over 7 feet; sets of grooves, four; two roomy fly galleries. There is a special scenery entrance in the rear and also a private stage entrance. The stage will be brilliantly lighted by two rows of border lights, the footlights and numerous other side lights – electric” (Benton Harbor, Michigan, 14 June 1889, page 3). The seating capacity for the opera house was 1,027.

The fate of the Yore’s Opera House. From the “Herald Palladium,” St. Joseph 19 Jan 1994, page 44

In 1896, the first Yore Opera House caught fire, sometime after manager J. J. Simon closed the theater around 11 p.m. This immense blaze threatened the entire town of Benton Harbor and calls of distress were sent to fire department of St. Joseph (The Herald-Palladium, 19 June 1992, page 44). Eleven firefighters lost their lives battling the flames when a theatre wall collapsed; a twelfth firefighter died from complications a few days later. The Yore opera house became an example in the dangers of firefighting in the area. However, like many theaters destroyed by fire during the late-nineteenth century, another was constructed in its place and the community soon anticipated the completion of their “new, modern, first-class playhouse” (News-Palladium, 15 August 1899, page 4).

In regard to the necessity of an opera house in Benton Harbor, the “News-Palladium” reported, “An opera house? Of course we need one. No city of any enterprise or importance but can boast of a large auditorium where meetings, conventions, and entertainments of whatever nature, political, religious or educational, can be held with comfort and convenience. One of the most forcible illustrations of our need of a large auditorium was the funeral of the brave boys who dies to save the Yore’s opera house. There was no room in the city that could hold the Congregations” (5 Sept. 1899, page 1). Several plans for a new building were proposed, but all failed, until Dr. John Bell and George A, Mills entered the picture.

On the August 14, 1899, a franchise was granted “for the construction of an electric road to connect various resorts about the city, and as soon as it was given the promoters of the road surprised the alderman by showing plans of a $25,000 opera house that they have arranged to build” (Owosso Times, 18 August 1899, page 3).

Proposed opera house in Benton Harbor, Michigan, from the “News-Palladium,” 2 Sept 1899, page 1

John Bell and George A Mills, from the “News-Palladium,” 10 May 1900, page 1

On November 11, 1899, the “News-Palladium” reported “The new auditorium, which is being constructed by Dr. John Bell and Geo. A Mills, was obtained in a novel way. The promoters of the opera house desired to know whether of not the citizens really wanted the play house and in order to see what encouragement they would receive, Dr. Bell and Mr. Mills offered to erect a modern building if the business men would buy 1000 tickets for the opening performances at $5 each. The citizens responded generously and in a few days the tickets were sold” (News Palladium, 11 Nov. 1899, page 3). The article also reported, “Representatives of Sosman & Landis a scenery firm of Chicago, are here today making estimates for the scenery and scenic supplies.” But the contract was not awarded to Sosman & Landis, instead the work went to Armbruster of Columbus, Ohio; accidentally published as “Ambrewster & Company on opening night.” By that fall, the cornerstone of the new Bell Opera House was laid and fraternal orders planned a grand celebration for the occasion. On Wednesday, May 9, 1900, the Bell Opera House was dedicated.

The Bell Opera House in Benton Harbor, Michigan

Architect C. A. Brehmer of South Bend, Indiana, planned Bell’s Opera House after the famous Harrigan’s of New York City. In speaking of the opera house, Mr. Brehmer said, “There are two points which no play in the entire country can excel – its points for egress in case of fire or other necessity and the superior arrangement of the seats” (News-Palladium, 10 May 1900, page 1). On opening day, the “News-Palladium” provided detailed descriptions of the new building (0 May 1900, page 1):

“The auditorium is lighted by 450 incandescent lights and the beautiful blue tinted dome is brilliantly illuminated with 99 electric lights. The system of lighting was planned by James W. Pearl and the wiring done by the English brothers under the supervision of Henry Mason. The switch board for the main part of the building is located on the stage and is so arranged that any number of lights may be turned on or off as the occasion demands. The switch board for the lights in the halls and ticket office is in the box office, Both boards are of the latest pattern. The stage is 9 feet longer and 2 feet wider that the stage of the burned Yore auditorium and the height of this part of the building is 60 feet from the stage to gridiron, giving accommodation for any spectacular performances played in the larger cities. The theatre is fully equipped with its own scenery of the latest patterns, including slide drop curtains, side scenes, flies, and other stage setting. The scenery was painted and manufactured by Armbruster & Company, or Columbus, Ohio. The stage has fourteen dressing rooms with all improvements and conveniences.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 535 – W. H. Clifton, Stage Carpenter for Sosman & Landis

Part 535: W. H. Clifton, Stage Carpenter for Sosman & Landis

In 1905 there were two articles about a Sosman & Landis stage carpenter in the “Weekly Journal-Miner” (Prescott, Arizona, 1 Feb. 1905, page 2). In February, W. H. Clifton finished installing the curtains and scenery at the Elks Opera House in Prescott, Arizona. It was a name that I had not encountered before and decided to do a little digging. By 1905, Clifton had worked at Sosman & Landis for fourteen years.

The earliest mention of Clifton working for Sosman & Landis was in 1889. That year the “Sterling Gazette” reported, “Mr. W. H. Clifton of Sosman & Landis, stage furnishers and scenic artists of Chicago, returned to Chicago this morning after completing his work in the Wallace Opera House. He has been engaged for the past two weeks in fitting up an entirely new outfit of scenes and stage appliances, and has done his work well. The Opera House now has, for its size, one of the best furnished stages in the state outside Chicago” (19 April 1889, page 3).

Thomas G. Moses grew up in Sterling, Illinois, before moving to Chicago where he became a scenic artist. In 1878 Moses returned to Sterling to paint scenery for various of venues. His incentive to return home was to marry his childhood sweetheart Ella Robbins. Moses continued to work as a scenic artist in Sterling after his marriage, painting an advertising drop and later some scenery for a “barn storming company.” Soon he was employed to both decorate Sterling’s Academy of Music and paint ten full sets of new scenery for the theater. But there wasn’t enough work in Sterling to keep him there.

Moses returned to Sterling again in 1886 to repaint many of the Academy of Music scenes; this was the same year that his daughter, Lillian Ella Moses, was born. In 1886 Moses wrote that he was in Sterling “to repaint the work I did eight years ago. It didn’t look good and I soon made an improvement over the old stuff.” The Academy of Music was a 900-seat theater illuminated with gas and electricity. The proscenium measured 35 feet high by 30 feet wide. The depth of the stage was 40 feet from the footlights to the back wall. The height of the grooves was 16 feet. A decade later in 1896, Charles J. Kennedy was listed as the scenic artist for this venue in Julius Cahn’s Official Theatrical Guide.

Harry Miner’s American Dramatic Directory for the season of 1884-1885 listed the Wallace Opera House as being a 1000-seat theater with a 21×23 stage, and “fair stock scenery.”

“The Sterling Gazette reported that same year, “The opening of the Wallace Opera House, tomorrow, promises to be one of the great theatrical events in the history of Sterling. The house has been thoroughly renovated and equipped with new and costly scenery, painted by Sosman & Landis, of Chicago, which is being put into place today, under the personal supervision of this celebrated firm of scenic artists. The attraction selected for the opening could not be better. The Gorman’s Spectacular Minstrels, is one of the leading recognized legitimate attractions on the road and that the opening will be a proud success there can be no doubt, as manager Lawrie has pledged the hearty support of our leading citizens. He has also received word from Prophetstown, Prairieville and Milledgeville that goodly crowds will come from those places. The Gorman’s have made it a feature to cater to the better classes, and this fact being so well known the wealth and culture of Sterling will be fully represented. The sale of seats has been very brisk and lovers of refined merriment of the very high order of excellence should procure seats as early as possible and avoid the rush which is sure to be at the door at night. This house will be opened to stay and the management and its support promise to furnish theatre-goers with nothing but the very best attractions” (The Sterling Daily Gazette, 3 April 1889, page 2).

Wallace Opera House advertisement from the “Sterling Daily Gazette,” 3 April 1889, page 2

To be continued…