Category: Stage Carpenters and Mechanics

Copyright © 2022 by Wendy Waszut-Barrett

Charles C. Craig worked as a stage carpenter at Sosman & Landis in 1895. He was part of the firm’s regional branch in Kansas City, Missouri. Craig’s association with the firm was mentioned in the “Kansas City Times” on February 20, 1895 (page 2). Charles Craig and Rufus Brainer were credited with constructing “A Day in the Alps,” described as “an attractive spectacle in miniature at the Gillis Theatre.”

The “Kansas City Times” article reported:

“Of the various side attraction at the World’s fair none were more popular than the miniature representation of cities on both sides of the ocean. Since then, some of these attractive little shows have been exhibited in various parts of the country, and always with widespread popular favor.

Mr. Charles C. Craig of this city, who has been for some time an attaché of the studios of Sosman & Landis, scenic artists of Chicago, and Mr. Rufus Brainerd, electrician at the Gillis Opera House of this city, have been spending their spare time during the past two months in constructing one of these spectacles, which is now completed and is being exhibited to their admiring friends at the Gillis.

It represents a Swiss Village in the Alps and is a marvelously beautiful work of art. The traditional cathedral and the ever present castle are there with the lofty mountain peak, the babbling brook, the dwellings, the bridge, and all accessories. By the manipulation of the electric lights they represent sunshine on the mountain, storm clouds, rain, and finally stars. During the day processions move over the bridge, and the whole comprises a panorama of rare excellence.

It is entitled a Day in the Alps, and so far as the casual observer can figure it out there is nothing missing to complete the picture.”

Before I explore the life and career of Craig, I am going to share a little information about electric scenic theaters produced by Sosman & Landis at this time. The firm initially produced “A Day in the Alps” in 1893 for the Columbian Exposition. Located in the Midway Plaisance, the alpine setting transitioned from day to night for each performance, and was purportedly seen by 300,000 people during the fair (“St. Louis Post-Dispatch” 13 Oct, 1894, pg. 2). The concessionaire for the Electric Scenic Theatre was Mr. Arthur Schwarz. Placards placed outside the theater’s entrance advertising, “Every phase of an Alpine Day is produced with startling realism,” “The Most Intellectual, Absolutely Interesting Spectacle of the Midway Plaisance,” and “Do not miss this chance of a lifetime.”  World Fair guidebooks reported, “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights. The scene represents ‘A Day in the Alps.’ Tyrolean warblers perform on their various instruments, and sing their tuneful lays. Their renowned ‘yodels,’ as sung at each performance, are applicable to the scenery. The entire scenic effects are produced by about 250 electric incandescent lamps, operated from in front of the stage, in full view of the audience, by switches. The interior of the theatre is handsomely furnished with comfortable chairs. There are nine electric fans, producing a permanent current of fresh air, keeping the whole room at a low temperature and as refreshing as a sea breeze, it matters not how hot it may be outside.”

Other description noted, “The scenic production begins with sunrise, and over the mountain top appears the ruddy glow of early sunlight. Then, as morning advances, and the volume of light increases, the beauties of the mountain become more apparent until their full glory flashes upon the beholder. The shepherd boys and girls are seen with their herds, and every feature of Alpine life is faithfully portrayed. Then a storm arises, and the effects here produced by electricity are surprisingly beautiful. After the storm dies away and the clouds vanish Nature smiles again. Then the day begins to fade, and at last it is night, with the stars brooding over all.”

A “Western Electric” article described that the mechanical apparatus used red, blue and white lamps that were arranged alternately (vol. 12, pg. 322). The article reported, “Each color and each locality in the setting was wired on a separate circuit, so that, by the introduction of resistance, it only becomes a question of skillful manipulation to give light of any shade or intensity desired. Of course, none of the lamps are visible, as they are arranged in the footlights and wings as well as overhead and behind the setting. The motion of the moon is produced by a tiny motor.”

So popular was “A Day in the Alps” that the attraction was immediately replicated, appearing in numerous venues across the country. On Oct. 13, 1894, the “St. Louis Post-Dispatch” published an advertisement for “A Day in the Alps,” featured in the Small Hall for Wheelman’s Day at the Exposition (page 2).

When the Columbia Exposition closed, Sosman & Landis leased the Masonic Temple Roof Garden in Chicago and constructed two new electric scenic theaters for the Masonic Temple Roof Garden in Chicago. At the same time, Sosman and Landis played integral roles in establishing the American Reflector & Lighting Co. (Chicago). They had a vested interested in manufacturing a variety of lighting equipment. During this period, C. D. Baker was identified as the firm’s master electrician and responsible for the electrical engineering at the Masonic Temple Roof Garden.

The Masonic Temple roof garden was described in a “Scientific American” article entitled “A City Under One Roof,” (Feb 10, 1894). The article reported, “The twenty-first story is properly the roof. It is a roof garden, and is devoted to purposes of observation, and may be used for commemorative or festival occasions. It forms a great platform, enclosed by walls and ceiling of glass, with oak panels, steam heated, and capable of accommodating 2,000 people at one time. It is the highest point of observation in the city, and gives grand views in all directions.”

On June 9, 1894, and article in “Western Electrician” further detailed “Electric Scenic Theaters in the Masonic Temple, Chicago (Vol. XIV No. 23). Pictures accompanied the article, showing the settings for each stage.

“The love of the American people for anything that is novel and pleasing to the eye was abundantly exemplified last year at the electric scenic theaters at the World’s Fair. These places of amusement were among the most popular places at the exposition, and they have since been widely imitated and reproduced, sometimes with extended improvements and with more attention paid to detail. Those in Chicago who did not enjoy the opportunity at the fair of seeing the scenic effects which were produced upon stage pictures by the aid of electricity, and who were not able to avail themselves of the chance offered by Steele MacKaye’s spectacle, the “World Finder,” at his suddenly terminated venture in the “Scenitorium,” may gratify their tastes for amusement of the sort in the recently opened summer garden on the roof of the Masonic Temple. The garden in itself, 302 feet from the ground, is a sufficient at traction to draw crowds. Interest, however, centers in the two scenic theaters which are located in small houses, reminding one/forcibly-in style of decoration of the general idea of the World’s Fair buildings. Each theater is designed to accommodate about 75 persons comfortably, and opera chairs to that number are provided. In the first theater an Alpine scene is presented, the scenery of which, although very pretty, recalls too forcibly the theaters which were made familiar last summer. A mountain stream forms the motive of the picture. Upon its banks the houses are built; a church stands nearby, while a mill in the foreground presents an opportunity for a waterfall, after the water has passed over the mill-wheel. A bridge spans the stream, over which villagers pass to and fro; upon a mountain side stands a castle ,while snow-capped peaks stand out in relief against the sky. The scene is called ‘A Day in the Alps’ and begins with midnight, by the tolling of the bell. The break of dawn and the heralding of day present a faithful resemblance to the original and is particularly well done. After the day has been begun, a thunder storm approaches and passes over, accompanied by vivid flashes of lightning and the roll of heavy thunder. The evening is accompanied by the lighting of the street and house lights, and the moon rises, until the clock again announces twelve…Back of the scenes a complicated mass of electrical apparatus explains many of the pretty atmospheric changes. It is not the intention of this article to describe in detail any of the devices employed, for many of them were devised to suit the requirements of this particular case, and the others have been already mentioned in the columns of this journal. Focusing lamps, rheostat boxes, switches, reflectors and many devices of a similar character are present in abundance and are confined in an extraordinarily small space for the many effects produced. The second theater presents as a stage setting the view of the Court of Honor at the World’s Columbian Exposition, looking northwest from the west end of the agricultural building, and is most perfect in point of detail. The scene is introduced in the morning, and the sunlight illumines the buildings, including the Palace of Mechanic Arts, Administration Building, Electricity Building, as well as the MacMonnies and the two Electric Fountains. The lagoon is well supplied with gondolas and electric launches, which, although stationary, add much to the scene. In detail the scene is perfect. The statues are faithfully reproduced, and one has but to close one’s eyes and listen to the music which accompanies the scene, to imagine that the band in the band-stand really is playing and that the crowds are not mere paste-board fancies, but are living beings admiring in a wondering way the beauties of the departed White City. The approach of evening presents the finest opportunity for a display of the resources of electricity in the presentation of this scene; as dusk advances the lamps scattered throughout the grounds are lighted, the stars begin to shine, now one building after another is illuminated, and soon the border of cornice lights, which extended around the Court of Honor and which was so much admired at night, adds its long lines of light to the scene.”

The two electric scenic theaters were still drawing crowds the next year. However, in the spring, the Masonic Temple Roof Garden venue was slightly rearranged. On May 20, 1895, the “Chicago Tribune” reported “TEMPLE ROOF GARDEN REOPENS.

Several Novelties Provided for Visitors to the Lofty Amusement Place.

The Masonic Temple roof garden reopened last night under the management of George A. Fair. Everything connected with the roof garden is new, and the visitor last night saw but little to remind him of the same place last year. The electric scenic theater still remains, but the other stage has been moved around to the northeast corner of the roof. The present location affords a good view of the entertainment from every part of the roof. Directly In front of the stage are 3,510 opera chairs. while the rest of the floor space is given up to refreshment tables. A new feature of the garden is the concrete walks built around the dome of the roof, where an excellent view of the city and surrounding country can be obtained. It is the intention of the management to remove part of the glass roof, affording the opportunity of enjoying the view and listening to the entertainment going on below. A large crowd gathered in the garden yesterday afternoon to listen to Brooks’ Second Regiment Band. and last night an excellent vaudeville entertainment drew another large crowd. The second part of the program is aimed to attract the after-the-theater crowd, as the roof garden expects to have its largest patronage after the regular places of entertainment have closed.”

Early in 1895, Sosman & Landis began manufacturing electric scenic theaters for other venues and events. 

On March 29, 1895, “The Times-Picayune” of New Orleans reported that “A Day in the Swiss Alps promises in itself much that is interesting. Such was the subject portrayed last night in the little electric scenic theatre opened at the old No. 156 Canal Street, near Baronne. The theatre cannot be well described, as it is unique in its way. The proscenium is very handsomely arranged, with an opening 10×9 feet in size. The set scenery occupies a space some 15 feet deep, and a specially designed drop curtain gives it the appearance of a regular theater, which, in fact, it is. A view of the Swiss Alps is presented, the mountains rising abruptly into snowy peaks. In  the foreground a village nestles beside a mountain stream, There is an antique Gothic bridge, battlemented, and with heavy castellated tower at one extremity. At the other rise the clustered roofs and steeples of the town. A purling brook leaps from the heights and falls into the main street, turning a millwheel as it goes. The action opens and hour before dawn, and the dim and heavy mists of night gradually brighten as the sun rises. The sky reddens; the cheerful day begins; people appear in the street, and a company of soldiers march over the bridge. A circus comes into town, and the crowds gather. The morning advances rapidly, and soon the clocks chime noon. A cloud appears on the horizon, a storm approaches and the reverberating thunder is speedily followed by a heavy rain. This, in turn, dies away among the heights, accompanied by very realistic lightning among the hills. The afternoon again grows bright. By-and-by evening comes on; the lights appear in the windows of the village; the busy millwheel stops. Soon the moon rises over the purpling heights, and the presentation closes in the mild light of the silvery orb. The scenery is effectively painted, and is artistic in the highest degree. It is the work of Sosman & Landis, of Chicago, and formed part of the electrical exhibit at the Columbian Exposition. The mechanical and electrical effects are manipulated with ample appreciation of the rare importance of light and shade, and the varying changes are each consummated in their proper order, producing an entertainment which is well worth seeing” (page 9).

On May 23, 1895, the “New Bern Weekly Journal” of New Bern, North Caroline, reported “At a meeting of the Committee on Privileges and Concessions, of the Cotton States and International Exposition, on last Friday, Messrs. Sosman & Landis, of Chicago, were granted the privilege of operating an electric theatre in the Terraces. They will erect a beautiful building if their own, in which will be reproduced, by electricity, a magnificent scenic panorama of a day and night in the Alps. There will be a fine perspective, showing the various moving features of the landscape, the trains in motion, sunrise, daylight, sunset in succession, by electrical effects. It will be one of the most beautiful features of the Exposition” (page 4).

“A Day in the Alps” was still being featured as an attraction in 1908.  It was listed in an advertisement for Kansas City’s Big Winter Garden at the Hippodrome (Kansas City Star 27 Dec 1908, page 21). Over the years Sosman & Landis continued to manufacture electric scenic theaters, including “A Day in Japan.” In 1908, it was featured at the Exposition in Pittsburg, Pennsylvania. Prior to the close of the exposition, Sosman & Landis listed the attraction for sale in “The New York Dramatic Mirror.”

On October 3, 1908, Sosman & Landis advertised:

“Electric Scenic Theatre For Sale.

A Beautiful entertainment called “A Day in Japan,” now one of the features of the Pittsburgh, Pa., Exposition. Can be seen there until October 24th. Suitable for an Amusement Park or Exposition of any kind.

Sosman & Landis Co.

236-238 So. Clinton St., Chicago. Ill.”

This provides a little context for Craig and Brainerd’s project at the Gillis Theatre in 1895.

Craig was born on Nov. 15, 1863, in Palmyra, Marion County, Missouri. For geographical context, Palmyra is located about 13 miles northwest of Hannibal, Missouri (or 120 miles northwest of St. Louis). He was the son of Charles H. Craig and Mary Agnes Stewart. I have yet to discover any information about Craig’s childhood or his introduction to theater. However, by 1880 Craig was living in Kansas City, about 200 miles east of Palmyra.  Craig was listed in the 1880 Kansas City Directory as a laborer, boarding at 405 E. 6^th St.  Sometime between 1880 and 1887, Craig became a stage manager.

In 1887 he had relocated to Wichita and was working as a stage manager at the Main Street Theatre. It was in Wichita where he met his future wife – actress Genevieve Lowell. On Jan. 6, 1888, “The Weekly Eagle” of Wichita announced, “Charles Craig, the stage manager, and Miss Minnie Lowell, a soubrette, both of the Main Street theater, were married yesterday” (page 6).

Another wedding announcement was published on Jan. 8, 1888, in Wichita’s “The Democrat”:

“Mrs. Genevieve Lowell, leading lady at the Main Street Theatre, and a great favorite with the patrons of this popular resort, was married Thursday to Mr. Charles Craig of this city. The Growler joins with the many friends of Mr. and Mrs. Craig in wishing them much joy and happiness” (page 5).

Years later, their meeting was described in Lowell’s obituary, published in “The Kansas City Star” on Nov. 3 1932 (page 2):

“[Craig] met Genevieve Lowell at Wichita in 1885. The road company she was with was deserted in that city by the manager, and Genevieve Lowell was befriended by Craig, stage manager for another theater. They were married that year. Genevieve Lowell was the daughter of a country doctor living near Hannibal, Mo. She was born in a summer cottage on an island in the Mississippi River near Hannibal. She married young and lived for a period in California. Her husband died and she arrived in New York a young widow in 1876, seeking a career on the stage. After months of work she became the understudy to the leading lady in a road show. Her first big chance came as Lady Audley in “Lady Audley’s Secret” and later she played Lady Isabel in “East Lynne.” Those were the days when actresses were correctly termed “leading ladies,” in the handbills and publicity.

Genevieve Lowell was Lady Mercedes in “The Count of Monte Cristo” and wore tights on the American stage for the first time as Queen Titania [sic]  in “The Black Crook.” In Chicago she played with Joseph Jefferson in “Rip Van Winkle.”

Historical records and newspaper accounts paint a slightly different picture of Lowell’s life before marrying Craig in 1888.  “Genevieve Lowell” was her stage name. Her maiden name was Isabella “Bella” Atherton Lyon. She was the daughter of Dr. John W. Lyon (1816-1866) and Sarah Heald (1828-1881). Dr. Lyon married his first wife, Julia Ann Dobbins, in Putnam County, Indiana, 1836, but I have yet to discover when she passed away, or when he remarried.

In 1850, however, John W. Lyon (37 yrs.) was living with his second wife, Sara B. Lyon (23 yrs.), and children Sugen Lyon (10 yrs., son) and Isabel Lyon (6 yrs., daughter). The Lyon family was living in Greencastle, Putnam County, Indiana. Isabel/Isabella (Genevieve) was the eldest of three girls; her younger sisters were Emma Douglas Lyon and Amanda Lyon. She also had a younger brother, Montiville “Mont” Adair Lyon. To recap, there are five Lyon Children: S. B. Lyon, Genevieve Lowell, E. D. Lyon, Amanda Lyon, and M. A. Lyon.

By 1861, the Lyon family moved from Indiana to Croton, Iowa, where John W. Lyon enlisted in the Union Army. As part of the 3^rd Calvary,. Mustering out on Jan. 8, 1962.  He returned to his family in Iowa, but passed away by 1866.  Shortly after his passing, Sarah Lyon remarried Joseph Hassler, becoming Sarah Hassler (also recorded as Hasler or Hesler in some records).  By 1870, the US Census listed that Sarah Hassler was living with two children from her first marriage (Emma and Montiville), her second husband and six step children in Farmington, Iowa. By the way Farmington was only 5 miles upstream from Croton, Iowa where Dr. John Lyon enlisted in the Union Army in 1861. The Hassler household included: Joseph (54 yrs.), Sarah (41 yrs.), Joseph (19 yrs.), Frederick (15 yrs.), John (13 yrs.), Charles (11 yrs.), Lewis (7 yrs.), Christie (4 yrs.), E. D. Lyons (“Emma” 15, Iowa) and M. A. Lyons (“Mont” 9, Illinois).

The 1880 Census listed the Hassler household included: Joseph Hassler (64), Sarah Hassler (50), Joseph L. Hassler (30 yrs.), John Hassler (24 yrs.), Charles Hassler (21 yrs.), Louis Hassler (17 yrs.), Christie Hassler (15 yrs.), Emma Lyon (24 yrs.) and Amanda Lyon (18 yrs.). By this time, their brother Montiville Lyon was living with his maternal uncle, William Heald, in Scotland County, Missouri.

Meanwhile, Genevieve married her first husband, Henry O. Derr, on June 15, 1862 in Clark County, Missouri. She was 15 years old. They celebrated the birth of a son, George W. Derr, three years later, on June 24, 1865 in Carroll County, Illinois. Birth records list his parents as Henry O. Derr and Bella Atherton Lyon, suggesting that her first name was Isabella. Again, “Genevieve Lowell” appears to be simply a stage name. When Genevieve Lowell planned for her passing in 1927, she built a mausoleum in Elmwood Cemetery, Kansas City. The “Kansas City Times” reported, “The mausoleum already contains the body of George W. Derr, a son by former marriage, who died Nov. 23, 1923, Mrs. Craig personally inscribed the tablet on his vault. Mrs. Craig is the wife of C. C. Craig, a stage mechanic at the Newman theater, who was a stage mechanic with road shows until his wife’s health failed” (5 Oct 1927 pg. 6.).

Back to the 1860s…

Henry, Bella and George Derr temporarily relocated from Illinois to California during the latter part of the decade. Henry Derr was last mentioned in the “Sacramento Bee” in 1869. By 1870, however, US Census records indicate that the Derrs had returned to Illinois and settled in Metropolis, Massac County.  That year, the Derr household included: Henry O. Derr (41 yrs.), Bella (25 yrs.), George (6 yrs.), George Taylor (24 yrs.) and S. B. Lyon (29 yrs.). S. B. was likely Bella/Isabel/Genevieve’s older brother, first listed in the 1850 census as 10-yrs.-old Sugen Lyon.

I have yet to discover when Henry Derr passed away, but it was likely during the early 1870s. His name was listed in “The Promulgator” on 19 April 1873 (pg. 1) for his Massac addition property; 1872 taxes were due and unpaid. By 1873, Bella and Geo. W. Derr had relocated to Cairo, Alexander County, Illinois. On April 4, 1875, the “Cairo Bulletin” announced, “Mrs. Derr, proprietress of the Railroad House, corner of Eighteenth Street and Commercial avenue is desirous of obtaining the services of a first-class colored cook. For particulars, apply to her.” They were still in town five years later. The 1880 US Federal Census listed that Bella and George W. Derr were still living in Cairo and boarding at 638 Cedar Street. By now, she was listed as 34 yrs. old. This remains consistent with an 1846-1847 birth date.

The last mention of her son in a Cairo newspaper was from Feb 4, 1882; George W. Derr was part of the Letter List from Jan 28, 1882. He later moved to Kansas City, marrying in 1898.

I have not located any records of Genevieve Lowell an actress before 1885. It makes me question whether she was performing under another name. Although later biographical accounts suggest that she moved to New York in 1876 and immediately began an acting career, I have no proof of that stage career. The earliest newspaper account that I have encountered is from 1885. That year she appeared in “Hazel Dell,” starring Helen Desmond, at the Dime Museum in Richmond, Virginia (Richmond Dispatch, 25 Jan 1885 page 2). By that summer, Lowell was touring with “Leah, the Forsaken,” starring Joan Cravan. The show at the Opera House was mentioned in the “Evansville Journal” of Evansville, Indiana on June 4, 1885 (page 5).

By 1886, Miss Genevieve Lowell, actress, was listed in the Kansas City Directory, rooming at 907 Wyandotte.  On August 13, 1886, the “Concordia Times” of Concordia, Kansas, reported that Genevieve Lowell, of the Simon Comedy Co. was joining a troupe in Kansas City (page 3). The new company that Lowell joined was the Little Duchess Combination Co., starring Matie Williams. Also billed as the Williams Company, in 1886 Lowell appeared in the combination company’s productions of “Little Duchess,” “East Lynne,” “All Fool’s Day,” and “Ten Nights in a Barroom.” Stops on their 1886-1887 tour included Fredonia, Howard, Ashland, Kansas, and Fort Scott, Kansas. By the summer, Matie Williams was reportedly struggling with throat and lung troubles (Fort Scott Daily Tribune and Fort Scott Daily Monitor 4 June 1887, page 8). At some point in 1887, Lowell became associated with the Main Street Theatre in Wichita, Kansas. On August 28, 1887, Wichita’s “The Democrat” announced, “Mrs. Ponteix in Naval Engagement at the Main Street Theatre” (page 5).  Lowell met her second husband Charles C. Craig at the Main Street Theatre, where he worked as the venue’s stage manager. At the time of their wedding in January 1888, Craig was 25 yrs. Lowell was fourteen years his senior, at 41 yrs. old This age gap greatly decreased over the years, with few ever knowing the actress’ age. At the end of her life, Lowell told reporters, “There won’t be any date of birth on the vault. The only persons who care about us when we’re dead are our friends, and they will know all of that. The inscription will simply say “Genevieve Lowell, died (date).”

The year before her marriage to Craig, Lowell received her first big break. By the fall of 1887, Lowell was performing in a supporting role in “Lady Audley’s Secret,” starring Mamie Earles, at the Main Street Theatre (Wichita Beacon 17 Oct 1887 page 4). On Dec. 10, 1887, the “Wichita Beacon” announced, “Miss Genevieve Lowell takes the leading roles, giving great satisfaction during the temporary absence of Miss Mamie Earles, at the Main Street Theatre.” This seems to have been Lowell’s transition to star status. On June 16, 1888, the “Wichita Star” announced that Lowell was relocating to Kansas City, leaving Wichita’s Main Street Theatre (page 4). Interestingly, Lowell soon returned to Wichita to star in “Outcast” at the New Musee (Wichita Star 10 Nov 1888, pg. 1).

By the beginning of 1889, both Lowell and Craig were working in St. Louis at different venues.  Lowell was part of the Pope’s Theatre company, while C. C. Craig became associated with People’s Theatre. Despite making St. Louis news, marital difficulties made Wichita news. On April 19, 1889, the “Wichita Eagle” reported, “In the district Court Genevieve Lowell Craig prays for a divorce from Charles C. Craig on the grounds of neglect and failure to provide” (page 8). In 1889, Charles C. Craig was still listed in the 1889 Wichita Directory, his residence listed as 214 S. Fern. Neither Craig nor Lowell were listed in the 1890 Wichita directory

The next few years remain a bit of a mystery. This is likely when Lowell made a name for herself. Both Craig and Lowell end up in Kansas City. By 1893, Genevieve Lowell is listed as an actress in City Directory, living at 522 East 12^th St.  By 1894, both Lowell and Craig were listed in the 1894 Kansas City Directory, living together at 520 East 12^th St. They would continue to appear in the City Directory, often living at the same address for over the next three decades. Lowell was consistently listed as an actress, while Craig shifted occupational listings from carpenter to stage carpenter to machinist to stage mechanic to electrician to stage manager. The couple’s addresses included 1301 Troost (1896-1897), 1815 Independence Blvd (1898-1900) and 1219 Denver Ave. (1901). Their final home was the Denver St. residence, each residing there until their respective deaths in 1932 and 1934.

Lowell’s health declined over the years. By 1927, she received bad news that prompted her to plan for the worst. Newspapers across the country published similar stories. On October 5, 1927, Ohio’s “Portsmouth Daily Times” reported, “Actress prepares for death; distributes souvenirs to friends.” The article continued:

“Kansas City, Oct 5.- Accepting the verdict of surgeons that she has but a short time to live, Mrs. C. C. Craig, stage star of 50 years ago under the name Genevieve Lowell, has started distribution of souvenirs of her actress days to friends. Included in the memoranda of her appearance in New York five decades ago, are several life-size paintings showing her as the queen in ‘The Black Crook.’

‘That was the only time I ever wore tights,’ Mrs. Craig explained. One of her favorite paintings shows her as Mercedes in ‘The Count of Monte Cristo.’ A scrap book recording events of the year she played opposite Oswald Tearle, father of Conway Tearle, motion picture actor, was sent to the movie star. While she was not finished classifying gifts for her friends at her home here, she has completed a mausoleum in Elmwood cemetery over which a bronze reproduction of the picture of Mercedes has been places. He husband, a stage mechanic with stock companies until his wife’s health forced her retirement continues to follow his trade at a local theatre” (page 5).

Meanwhile, Craig continued to work. The 1930 Kansas City Directory listed his occupation as property man at the Midland Theatre, still living with Lowell at 1219. Lowell’s listing as an actress continued to appear in the Kansas City Directory until her passing in 1932. C. C. Craig was listed as the informant in his wife’s death certificate. She passed at 10:10 PM on Nov. 2, 1932. Oddly, her father’s surname (Lyon) was listed, but no birthplace nor maiden name were provided. The primary cause of her death was reported to be “cancer of the uterus.” No known birthdate was provided.

On Nov. 3, 1932, newspapers across the country mourned her passing and carried similar articles of her meticulous preparation for the afterlife:

“Kansas City, Nov. 3 – One grand finale, and then the last curtain for Genevieve Lowell, star of “The Black Crook,” the famous production that entertained and shocked theatre-goers in the nineties.

Lying in the research hospital here, Miss Lowell issued the stage directions for her exit, and died, last night, as she desired.

“All the world’s a stage to Mrs. C. C. Craig, famous half a century ago as Genevieve Lowell, the star of America’s first musical comedy, “The Black Crook,” leading lady with Joseph Jefferson on “The Count of Monte Cristo” and Gretchen in “Rip Van Winkle.”

And a stage she would have at the very end.

“I’m ready. It will be my final role. All the plans are made – the stage is set,” she peacefully replies to doctors who warned of impending death.

Daily an intimate friend went to her bedside to dress her hair, to attend the details of the “makeup” for the final “Appearance.” Mrs. Craig selected the costume she would wear; chose pallbearers and honorary pallbearers, and notified them.

And in Elmwood cemetery she has built a monument, over which is a bronze figure of Mercedes, the part she played in “Monte Cristo” at the height of her career when she was 40 years old.

“There won’t be any date of birth on the vault,” she told friends. “The only persons who care about us when we’re dead are our friends, and they will know all of that. The inscription will simply say “Genevieve Lowell, died —.”

“The Daily Northwestern of Oshkosh, WI, announced her passing and added, “She was 85 years old.”

The “Kansas City Star” named her active pall bearers as James A. Raily, Louis W. Shouse, Ray Severance, Roy Severance, Frank E. Benson and George B. Denzel. Lowell’s honorary pallbearers were Dr. W. J. Frick, Anthony P. Nugent. Joseph McCormick, B.N. Simpson, Joseph Walton, Otto Doide, Walt Filkin, W. A. Repp, W. H. Tindall, D. Austin Latchaw, Dr. A. R. Greenlee, and M. P. Yates. Of the latter list, Missouri Poet, Walt Filkin wrote the passage for her gravestone. Although I am unable to transcribe the entire epitaph in a www.findagrave photo, the last portion reads:

“She sees the golden footlights shine

Beneath the stage of his playhouse divine

And then she will arise, again appear

To fill each soul with joy as she did here

To add her share of light, she knew the way

To make one’s earthly pathway smooth and gay.

-Walt Filkin.

The 1940 Us Federal Census listed Charles C. Craig as 76 years old, living with his 50-yrs. old housekeeper, Julia Perria, at 1219 Denver Ave. Craig passed away on Dec. 9 1944 at KC General Hospital. The cause of death was reported to be bronchopneumonia due to benign hypertrophy of prostate.  At the time of his passing, Craig’s occupation was listed as “stage employee.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Harry Naile worked as a carpenter at Sosman & Landis in the 1920s. He bridged the transition between the first and second iterations of the company, personally assisting Thomas G. Moses on projects between 1922 and 1925. This was after Moses and Fred R. Megan purchased the firm’s name in 1924.

Harry Elmore Naile was born on June 15, 1879 in Pierceton, Indiana. He was the oldest of five children born to Louis Phillip Naile (1855-1918) and Mary Elizabeth Orr (1854-1900). His parents were married on Sept. 21, 1878. The 1880 US Federal Census listed a ten-month old Harry living with his parents in Pierceton, Indiana. At the time his father was listed as a house carpenter. The couple’s five children were Harry (1879-1930), Charles Frederick “Fred” Naile (1884-1929), Roy Naile (b. 1886), Alta Grace Naile (b. 1891) and Ralph Brian Naile (1897-1958).

Harry’s mother passed away in 1900, and his father remarried a much younger woman named Nora A. Phipps. Nora started out as a servant in the Naile household in Pierceton, listed in the 1900 census as caring for the three youngest Naile children, ages 13, 8 and 2. She was a year younger than her stepson Harry, having been born on May 5, 1880. Nora and L. Phillip were married in Chicago on August 6, 1902, but did not stay long in the city. It was around this time that Louis Phillip Naile began going by his middle name, and began listing himself in directories as L. Phillip. By 1906, the L. Phillip, Nora, and all of their children moved to Kalamazoo, Michigan. That year they celebrated the birth of their only daughter, Loretta A. Naile.

Prior to the move, Harry and his younger brother Fred had briefly moved to North Dakota. The 1900 US Federal Census listed Harry E. Naile and his younger brother Fred living in Pleasant Lake and boarding at the Lester Holbrook farm. There was a third border staying with the Holbrook family, Peter Hobeny, but he doesn’t appear to have had any affiliation with the Nailes. In 1900, Naile was working as a printer. Fred, only 15 yrs. old at the time, was listed as a laborer.

By 1906, Harry and L. Philip Naile were listed in the Kalamazoo City Directory, each working as a carpenter and living at 118 E. Vine Street. Neither were listed in the city directory the year before or after; their stay in Kalamazoo was short. None of the Nailes were listed in the 1907 Kalamazoo Directory, but they were again listed in 1908, all living at 803 S. Park Ct.

In 1907, Harry headed west to Colorado. That year he was listed in the Colorado Springs Directory as and employee at “The Zoo,” and boarding at 1008 Cheyenne Road. During the summer of 1907, Harry married Georgia Evelyn Robinson (1888-1975) in Colorado Springs on June 1. Georgia was the only child of William W. Robinson (1863-1926) and Mary A. “Mamie” Rogers (1869-1954), born in Kansas. Georgia’s father was a well-respected sign painter in the area and likely the reason for her meeting Harry Naile.

By 1908, Harry and Georgia moved to Kalamazoo, Michigan. The couple lived with Harry’s father and stepmother at 803 S. Park Court. The extended Naile household also included Harry’s siblings, A. Grace, C. Frederick and Roy E.

The extended Naile family did not live together for long. Harry, Georgia and C. Frederick moved to Chicago by 1910. The 1910 US Federal Census listed his father’s household was still in Kalamazoo at 830 S. Park; it included L. Phillip, Nora A., Ralph B. and Loretta. Interestingly, the Kalamazoo City Directory that year listed Roy E. Naile as boarding at his parents’ home. During this time, L. Phillip worked as a contractor.

The 1910 US Federal Census listed Harry Naile as a carpenter in the theatre industry, living at 6146 S. May Street in Chicago. He and Georgia were living with two other couples: George R. and Nellie Buckley, as well as William R. and Louisa Church. Buckley was also working as a sign painter, whereas Church was listed as a “collector” in the “installment house” industry. I have no idea what that means. Regardless, Harry and Georgia did not stay in the Midwest for long They returned to Colorado Springs that year. I have yet to locate a definitive explanation for their departure, but it coincided with the death of Harry’s stepmother.

On Feb. 9, 1911, Harry’s stepmother died from complications after having an abortion. Nora was only 30 yrs. old when she passed away at the Borgess Hospital in Kalamazoo. Harry’s little stepsister, Nora’s only child Loretta, was 3 yrs. old at the time. The second oldest Naile child, Charles Frederick, moved home with his new wife Leona in 1912. Charles was employed as a motorman at M U Traction that year. That situation did not last for long, as both Charles and Leona moved out by 1913. By now, the youngest Naile boy from the first marriage, Ralph, was old enough to work and employed as a messenger.

By 1914, Phillip Naile married his third wife, Lucy Hedges (b. 1862), and Ralph moved out. Ralph began boarding at the Y.M.C.A. in Kalamazoo. His father’s third marriage did not last for long. L. Phillip Naile passed away in 1918.

During all of this, Harry and Georgia pretty much stayed to themselves. In 1910, the couple moved from Chicago to Colorado Springs. It appears that Harry initially purchased his father-in-law’s painting business, W. W. Robinson & Co., after the move. Robinson planned to relocate to California, but he never left the state.  Instead, he simply opened another painting business in La Jara, approximately 150 miles southwest of Colorado Springs (as the crow flies).  

W. W. Robinson placed a series of ads after his move to La Jara in 1910. On May 20, 1910, Robinson placed an advertisement in “The La Jara Chronicle,” announcing, “W. W. Robinson. Formerly of Kansas City, Mo., but for the past 14 years located at Colorado Springs, Colo., doing a general painting business, recently sold out and was expecting to locate in California, but after looking over this beautiful valley, has decided to locate here. HE DOES All Kinds of Painting both plain and decorative. Also Paper Hanging. He employs only first-class workmen and guarantees their work. Give Him Your Work and he will finish it to your satisfaction. Mr. Robinson can be found either at office of Chas. Magnes, or at Seyfer’s Drug Store, until he can secure a suitable building.” On July 1, 1910, another advertisement in “The La Jara Chronicle,” stated, “W. W. Robinson HE DOES All Kinds of Painting both plain and decorative. Also Paper Hanging He employs only first-class workmen and guarantees their work. HE WILL BE ABLE TO HANDLE WORK IN Romeo, Manassa, Sanford, Richfield AND THE SURROUNDING COUNTRY ON SHORT NOTICE Mr. Robinson can be found at Seyfer’s Drug Store or Office of Chas. Magnes, La Jara. Give him your work and he will finish it to your entire satisfaction” (page 3).

Robinson’s stay in La Jara only lasted a few years. He was back in Colorado Springs by 1912, running a new iteration of W. W. Robinson & Co. W. W. Robinson and H. E. Naile were listed as the proprietors. Interestingly, it was no longer a painting firm at all, but a tailor shop. This surprised me and I can’t imagine what happened to prompt a painter and carpenter to open a tailor shop, unless it was their wives’ business.  At this time, it was still fairly common men to appear as proprietors on a business run by women; a business that they had nothing to do with.

Advertisements for W. W. Robinson & Co. in  the “Colorado Springs Directory” announced:

W. W. Robinson & Co. The K. C. Cleaners. Tailors for both men and women. All garments made to individual measure. Suits and Coats for men and women range in price from $15 to $50. Alterations of all kinds done on short notice. Cleaning, pressing, dyeing and repair work called for and delivered, Phone Main 595, 128 Nevada Ave., Colorado Springs, Colo.”

The tailor business, like Robinsons’ stint in La Jara, was short-lived. Harry and Georgia moved back to Chicago in 1913 where Naile resumed work as a theatrical carpenter. In 1913 Polk County Directory in Colorado listed, “Naile, Harry E. (Georgia), removed to Chicago, Illinois.”

By 1914, the Chicago Directory listed Harry E. Naile as a carpenter, living at 3635 Vincennes Ave. The 1915 Chicago Directory listed Harry E. Naile as a carpenter, living at 3641 Vincennes Ave. In 1917, Harry E, Naile was still listed as a carpenter, but now living at 514 E. 42^nd St.

By 1918, Naile is listed as a stage mechanic at the Chateau Theatre, 3810 Broadway in Chicago. He and Georgia are now living at 514 E. 42nd Street. On his WWI draft registration card that year, Naile was described at 5’-7” with a slender build and blue eyes. Interestingly, no hair color was listed on the registration. In regard to the Chateau Theatre, it was built in 1916 with a seating capacity of 1800. The Chateau Theatre later became known as the Vogue Theatre.

Sometime within the next four years, Naile began working at Sosman & Landis. It was tumultuous time for the Nailes. On Jan. 1, 1920, the “Chicago Tribune” published a notice placed by Naile (page 36): “PERSONAL – AFTER THIS DATE I WILL not be responsible for any debts contracted by anybody except myself. Harry E. Naile.” I have to wonder what was going on to prompt such an announcement. Maybe it simply concerned his father’s estate and unpaid bills from 1918. Regardless, he and Georgia were living in the South Tower at 57 East Van Buren Street, South Town Chicago. This multi-family complex was home to dozens of theatrical technicians and performers.  The 1920 US Federal Census, however, only listed Harry as living in the South Tower. Georgia was also living in Chicago though, so it may have been an oversight.

An obituary for Georgia’s grandmother confirms her residence in Chicago that year. Oct. 22, 1920, “The Jacksonville Dily Journal” reported, “Tuesday, October 9. Mrs. H. M. Lansing passed the 86^th milestone in her journey of life, and the event was fittingly observed at her home, 802 North Diamond street, Mrs. Lansing received several nice presents as reminders of the day. A splendid dinner was prepared under the skillful supervision of her daughters, Mrs. Eva A Coker, of Pisgah, and Mrs. Mamie Robinson of Colorado Springs, and granddaughter, Mrs. Georgia Evelyn Naile of Chicago. The day was one of much enjoyment and those who were present joined in wishing the venerable hostess many more such happy days. Mrs. Lansing was remembered in a very substantial way by her highly esteemed son-in-law, Will W. Robinson, of Colorado Springs, Colorado”  (page 6).

Naile was repeatedly mentioned by Moses in his memoirs from 1922 to 1925. Projects completed by Moses, with Naile’s assistance as a stage carpenter, included scenery for the Little Rock Scottish Rite Theatre (Arkansas), Tacoma Scottish Rite Theatre (Washington), Binghamton Scottish Rite Theatre (New York), the Pasadena Scottish Rite Theatre (California) and the San Jose Scottish Rite Theatre (California).

In 1922, Naile and Moses delivered new scenery to the Scottish Rite Theatre in Tacoma, Washington. Of the project, Moses wrote, “Harry Naile showed up the latter part of February.  We then started to get things into the Temple, and it began to look like a job… On the completion of our contract and on the eve of our departure, the trustees gave us a dinner in our honor, which was attended by Harry Naile, it was very fine – we certainly felt honored.”

Naile and Moses then headed to San Francisco for a few projects, including scenery for a Shrine Circus, and then head on to Oakland, California, for more work.

In 1923, Naile assisted with the removal of the old scenery and installation of the new scenery for the Little Rock Scottish Rite Theatre. In a letter from Charles E. Rosenbaum to Sosman & Landis on April 23, 1923, Naile was mentioned by name. Rosenbaum wrote, “As time is now limited in which this work must begin and be finished, we must insist that Mr. Naile the expert stage carpenter will be here not later than May 20th next, to begin to dismantle our present stage and make preparation for equipping the new one. Mr. Moses is to either come when Mr. Naile does, or as soon thereafter that is necessary in order not to delay the work of painting, constructing and erecting the scenery.” Of Nailes work on the project, Moses wrote, “Naile and his men are not giving me full service and I am getting desperate, as to my ability to pull the contract through with profit.”

Despite Moses’ concern in Little Rock, he requested that Naile be on site for the Binghamton Scottish Rite project. Moses wrote,  “I insisted on having Naile on the job, so Hunt allowed me to send for him.  He and Mrs. Naile arrived on the 1st of October and we then proceeded to get things going.” 

By 1925, Moses and Nail were working at the Scottish Rite Theatre in Pasadena, California. The Pasadena Scottish Rite had purchased a used scenery collection from Little Rock, Arkansas, that needed to be touched-up, supplemented, and installed. Nail was in charge of both the used stage machinery and scenery installation. Of the work, Moses wrote, “Harry Naile is coming along with his work fairly well, and we will finish on time without a doubt.” Naile was also mentioned in “Pasadena Evening Post” on Feb. 14, 1925 (page 16).  The article reported, “The final work of hanging and installing the curtains will be under the supervision of Harry Naile, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Naile was brought from Chicago so that no mistake in installation could be made”

After the Pasadena Scottish Rite project, Moses and Nail worked in San Jose. Of that endeavor, Moses wrote, “I started for San Jose on March 27th and found Naile had everything in good shape.” It was in the midst of the San Jose project that Moses’ health began to fail. He was unable to complete the job, relying heavily upon Naile and Fitch Fulton to finish everything up. Moses later wrote, “The members of the studio were very kind to me, and my room was filled with flowers; the studio boys did not forget me.  I here realized what brotherly love meant.  Fulton and Naile went to Los Angeles to do the Fullerton job which was carried through without a hitch.  Walter handled the payments in Los Angeles, and everything was done on time and highly satisfactory, and was settled for promptly.” Moses does not mention Naile again in his memoirs.

Naile’s departure from Sosman & Landis may have had something to do with the death of his father-in-law in 1926. In 1925, William W. Robinson was still listed as a painter in the Colorado Springs Directory. The next year, he was listed as a salesman, living at 22 N. Chestnut. In 1927, the Colorado Springs Directory simply listed, “Robinson, Wm. W. died Aug 21 ’26 age 63.” To date, I have only located one official notice for his passing; it was in a newspaper in Jackson, Illinois. On August 22, 1926, “The Jacksonville Daily Journal” reported, “Will Robinson Dies in Colorado Springs. A telegram was received Saturday by Clyde C. Swales of this city telling of the death of his cousin, Mrs. Georgia E. Naile’s father, Will W. Robinson. Mr. Robinson died at his home in Colorado Springs yesterday. He had been ill but a week. Mrs. Robinson is a sister of Mrs. George Swales of this city” (page 5). To date, this is the only obituary notice that I have located for Robinson. His widow, Mary A. Robinson, soon began working as a housekeeper, living at 1418 N. Royer.

I have yet to come across any other information about the Naile’s from 1926-1929. However, Harry E. Naile is listed in the 1930 US Federal Census, living at the Kenmore Beach Hotel, at 552 Kenmore Avenue in Chicago. Naile’s occupation was listed as “superintendent” at a theatrical supply company, although it remains unclear as to which firm he was working for. If more information comes to light, I will update this post.

Naile died shortly after the US Federal census was taken that year, passing away on September 15, 1930. He was only fifty years old at the time and I have not located any death record or obituary notice. Only the Colorado Springs directory noted his passing: “Naile Harry L. E. died Sept 12 ’30 aged 51”. Naile was buried in Evergreen Cemetery, Colorado Springs, El Paso County, Colorado (plot T-077).

Harry Naile’s gravestone in Evergreen Cemetery, Colorado Springs, Colorado.

Georgia was left a widow at 46 yrs. old. Like her mother, she never remarried. Of Georgia’s own passing 45 yrs. later, Colorado Springs’ “Gazette Telegraph” announced, “Mrs. Georgia Naile, 2612 W. Cucharras, passed away Tuesday at a local nursing home. Arrangements later”  (12 March 1975, page 4). Both Georgia and Harry are buried in Colorado Springs’ Evergreen Cemetery.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

George H. Brown was a foreman carpenter at Sosman & Landis. He supervised construction at the studio and installed counterweight rigging systems on site.

His passing was recorded in the memoirs of Thomas G. Moses. In 1911, Moses wrote, “Mr. Brown, our foreman carpenter, died February 27^th, very suddenly.” 

On Feb 28, 1911, George H. Brown was listed in the obituary section of the “Chicago Tribune”:

“BROWN – George H. Brown. Feb 27, 1911, beloved husband of Mary Brown, father of Annie and George, at his residence 2901 Edgewood-av. Funeral notice later. Member of Harrison council No. 527, National Union and International Alliance Local No. 2 Stage Employee” (page 5).

Brown was born in New York, sometime during the month of October 1849. He was the son of Robert B. Brown (1820-1888) and Elizabeth Pague (1824-1900). George H. Brown grew to adulthood in Chicago during the 1860s. The Brown family had moved west by 1857, briefly staying in Wisconsin where George’s youngest brother, William, was born. By 1860, the Brown family was living in Chicago and George was twelve years old.  The 1860 US Federal Census reported that the Brown household included: Robert B. Brown, 40 yrs. old (born in New York); Elizabeth Brown, 39 yrs. old (born in New York), Robert T. Brown, 14 years old (born in New York); George H. Brown, 12 years old (born in New York); Mary E. Brown, 9 years old (born in New York); and William Edwin Brown, 3 years old (born in Wisconsin).

George’s father initially worked as a bookbinder in Chicago. He continued this occupation until 1867 when he was listed a broom maker in the “Chicago Directory,” living at 350 W. Indiana in the rear portion of the building. At some point between 1864 and 1867, Brown went blind and left the bookbinding industry. George would have been between fifteen and eight years old when his father went blind.  There is a great likelihood that George began as an apprentice somewhere or simply moved out to reduce the overall household expenses, sending money home to his family.

His father continued to work as broom maker until his passing in 1888. However, by 1869 he  also began reseating chairs. On July 1, 1869, the ”Chicago Evening Post” reported, “Robert B. Brown, a blind man, residing at 553 Fulton street, supports his family by reseating chairs, and will be grateful for any work of this kind that may be sent to him, or he will send after and return chairs to ant part of the city” (page 4). The Brown family continued to reside at 553 Fulton for the next two decades, until after Robert’s passing.

The two oldest Brown boys, George and Robert, moved out of the family home by 1870. The census that year listed Robert and Elizabeth as living with Mary and William, now ages nineteen and thirteen. By 1880, there were still two children at home, but this time it was William Brown and Robert T. Brown. Various members of the Brown family continued to live at 553 Fulton until shortly after Robert’s passing.  Robert B. passed away on Sept. 12, 1888, but his widow Elizabeth was still listed as living at 553 Fulton in the 1889 “Chicago Directory.”

George has been almost impossible to track due to his name. There are simply too many George Brown’s working as carpenters across the country at this time in the mid- to late-nineteenth century. The title “stage carpenter” was also not commonly used in city directories or census reports, reducing the accuracy of any search. There are even TWO George H. Browns listed as “foreman” in the Chicago City Directory in the 1880s and 1890s, with no indication of the industry that they worked in at the time.  To date, I have only located two records pertaining to a “stage carpenter” Brown, the likely candidate for Sosman & Landis’ foreman carpenter.

The US Federal Census 1900 listed a stage carpenter named George Brown living in Chicago at 619 Humbolt Street. He was fifty years old, married and living with his two children. The report listed that George and Mollie Brown were married in 1889. Extraneous information pertaining to their children, Anna and George Jr., provide a little more information about the Brown’s life after George leaving his parents’ home.  

George’s wife Mollie was born in Missouri, sometime during November 1867. Their first child, Anna, was also born in Missouri, sometime during October 1885. This suggests that George worked in Missouri during the 1880s, met Mollie and married her and started a family there. However, I have yet to locate any marriage records for the couple that states a particular county in the state.  My best guess is Kansas City, especially since two Sosman & Landis stage carpenters, Claude Hagan and Joe Wikoff, worked in in Kansas City at this time. For context,  Sosman & Landis established a regional branch in Kansas City during the mid 1880s.  

George’s youngest child, George H. Brown, Jr., was born in Chicago in April 1895, suggesting a return north prior to this time. I suspect that he was employed as a stage carpenter at Sosman & Landis, but have yet to locate a definitive connection. In between Missouri and Illinois, I think he worked in New York.

After completing what felt like thousands of online searches, delving deep into newspaper article, census reports, city directories and other public records, I was only able to locate one bit of information that may have indicated Brown’s whereabouts in 1892. Stage Carpenter Brown was present when the Metropolitan Opera House in New York was destroyed by fire. I am going to include the article in its entirety. This provides a possible motive for George Brown’s return to Chicago at this time.

On September 1, 1892, the “Carlisle Weekly Herald” reported the following news from New York (Carlisle, Pennsylvania, page 4):

“WORK OF THE FLAMES.

The Metropolitan Opera House of New York Destroyed. A Boy and Girl Burned to Death.

The Most Beautiful Place of Amusement in America Burned in an Hour – A Paper Box Factory in Flames – The Augusta Chronicle Office Also Destroyed.

“New York, Aug. 29. – The magnificent Metropolitan Opera House, burned by Braodway, Seventh avenue, Thirty-ninth and Fortieth streets, one of the finest and most expensive of modern play-houses, with an auditorium of greater idmensions than any other in the world, a structure believed to be absolutely fire-proof, lies in ruins, Fire gutted it with a loss of $400,000.

About 9:30 o’clock in the forenoon Stage Carpenter Brown, his assistant, Engineer Scatterwood and Cornelius Horan, a boy, the only persons in the immense opera house, were startled at beholding a fierce mass of flames burst suddenly forth through the giant stage and spread with marvelous rapidity. The flooring laid over the orchestra at the time of the Christian Endeavor convention in July last for the chairs for the delegates, had not yet been removed, and this once ignited carried the flames quickly to the main entrance. The engineer turned the crank to the large water tank above the stage, and let its hundreds of gallons of water crash down upon the flames, but the water produced no visible effect. There were twenty-five lines of hose in the building, and the stage carpenter turned one of these in the flames, but in a moment was obliged to fly for his life.

Nothing But the Walls Standing.

When the steamers responded the entire interior was a fiery furnace. Within half an hour the roof had been burned through and the flames and smoke shot up in the air. This rent, however, and an east wind, sweeping the flames back toward Seventh avenue, assisted the firemen in saving the Broadway front, in which are located the Bank of New Amsetrdam and Zancheri & Gazzo’s restaurant, surmounted by six upper stories occupied as apartments. The stage and everything from the proscenium arch to the 127-foot-high rear wall on Seventh street has been entirely swept away, leaving only bare brick walls standing. In the auditorium the five tiers that rise above the orchestra still remain, but all the trappings of the boxes, the upholsterings of the chairs, the frescoes of the walls and dome have vanished. In the boxes and the tiers above the iron frames of the chairs alone remain. The flames burned fiercely here, but they did not make their way through the roof and still remain at. This point. Further than the entrance doors to the auditorium the flames did not succeed in making their way.

A Boy Meets His Death.

The boy Horan who was employed by Albert Operti, the scenic artist, was hemmed in by the flames on the third floor. Groping his way to one of the windows overlooking Thirty-ninth street he leaped down to a storm door shed on the ground floor. He was so badly burned that he died at the Bellevue hospital shortly after. When Operti arrived, distracted, he saw vanishing in smoke all the works of art which he had been painting for use at the Columbian celebration to occur in this city in October, and new scenery for Daly’s and Casino and the Academy of Music, all of which will be a total loss.

The estimated loss on the Opera House fixtures is $250,000. The damage to the building is $150,000. The loss is covered by insurance and Secretary H. M. McLaren declares that a meeting of the stockholders will be immediately called and the work of refitting the Opera House be begun as soon as the water will permit. The interior of the theatre had been overhauled and thoroughly fitted for the opening of the season. Abbey, Schoefle & Grau had leased the Opera House for the season.”

Now, if this is the same stage carpenter Brown as the one who worked at Sosman & Landis, it places him back in Chicago at the perfect time to be employed at Sosman & Landis when Masonic scenery and stage machinery production begins to dramatically increase. It is also about the same time that the firm’s head stage carpenter, Charles S. King, passed away in 1894. In the past, I have tried to track down the development of a rigging system known as “Brown’s Special System.”  Brown’s Special System was installed by Sosman & Landis as dozens of Scottish Rite theaters, beginning about 1902. Here is a past post from 2018 about the system: https://drypigment.net2018/08/10/tales-from-a-scenic-artist-and-scholar-part-475-browns-special-counterweighted-system/’

I suspect that George H. Brown was associated with the design and became the primary installer of the system. Brown’s Special Counterweighted System allowed more drops to be crammed into a limited amount of space on stage, resulting in the increased sale of scenery and stage machinery.

Marketed by M. C. Lilley, Sosman & Landis was subcontracted to manufacture and install rigging systems in dozens of Masonic theaters across the country during the first two decades of the twentieth century. Extant examples include Scottish Rite theaters in: Portland, Oregon (1902); Little Rock, Arkansas (1902, now in Pasadena, California); McAlester, Oklahoma (1908, now in Salina Kansas) Wichita, Kansas (1908); Santa Fe, New Mexico (1912) Tucson, Arizona (1914); and Grand Forks, North Dakota (1915), just to name a few.

The key figure in the marketing of this system was also a man named Brown – Bestor G. Brown, M. C. Lilley’s western sales representative in Kansas City, Missouri. He formed an alliance with the fellow Scottish Rite Mason, Joseph S. Sosman, a founder of Sosman & Landis in Chicago. For Masonic theater projects, Sosman & Landis provided all of the design, manufacture and installation of both painted scenery and stage machinery. Their rigging system was designed to be operated by a non-professional stage crew; a variety of Masonic members who came from various backgrounds, most without any prior backstage experience. For context, Scottish Rite members, and not professional stage hands, ran all backstage activities and scenic effects during Scottish Rite productions at Scottish Rite Reunions twice a year. The Scottish Rite productions served an educational purpose, like morality plays.

I first came across the designation, “Brown’s Special System,”  in a series of letters between Bestor G. Brown, and the Austin Scottish Rite. In the correspondence, Brown explained that there was only one stage carpenter who superintended the installation at Scottish Rite theaters.

Salesman Brown, however, was mistaken given credit as the namesake of the design. Over the years newspapers would erroneously refer to Bestor G. Brown as a “Masonic stage Carpenter.” An article from 1903 even credited Brown as the individual who “created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States.” This mistake is understandable if the studio designer and salesman share the same last name.

By the time, George H. Brown arrived at Sosman & Landis, there were at least two other stage carpenters responsible for installing scenery and machinery across the country. W. H. Clifton superintended installations at opera houses, theaters and Elks auditoriums. The first mention of Clifton working for the company is 1889, and he continues into the first decade of the twentieth century. Newspaper articles report that Clifton was sent to superintend the work, requiring him to spend time on site – often about four weeks. His duties on site included fitting the stage carpets and conducting a final run through of all items with the client.

Charles S. King (1839-1894) was another individual in charge of installing scenery and stage machinery for Sosman & Landis. King began his career in 1859, and by 1887 had installed 200 stage systems. In 1889, he was credited as working at Sosman & Landis for fifteen years; this makes him one of the firm’s earliest employees.

David A. Strong (1830-1911) was a scenic artist and stage mechanic who specialized in Masonic work. Thomas G. Moses even credited him as the “Daddy of Masonic Design” in his memoirs. We know that Strong was a member of the Theatrical Mechanics association and the in same Theatrical Mechanics Association Chicago Lodge No. 4 as John Bairstow, who worked on the stage house for the Chicago Auditorium. However, as Strong grew older he was limited to studio work, and this is why I think that Brown was brought on board. In the end, both Strong and Brown passed away the same month; Strong died February 11 and Brown died Feb. 27.

George Brown was actively employed as a stage carpenter at the time of his passing in 1911. The 1910 US Federal Census report listed his occupation as “carpenter” in the “theatre” industry. That year he was living with his wife Mollie and their two children at a home on Edgarwood Avenue. At the time of his passing in 1911, George was sixty-two years old. His children, Anna and George Jr., were ages twenty-six years old and sixteen years old, respectively.

George H. Brown’s gravestone at Forest Home Cemetery in Forest Park, Illinois.

Brown was buried at Forest Home Cemetery in Forest Park, Cook County, Illinois. His gravestone says 1856-1911, but his death certificate on file listed Brown’s birth as Oct. 28, 1855. This contradicts other historic records.

A decade later, George Brown Jr. is listed as a stagehand in the 1920 US Federal Census, still living with his mother, but now at 1549 Central Park Avenue in Chicago.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Will H. Clifton worked at Sosman & Landis from approximately 1889 until 1905. He is not to be confused with other William Clifton’s who worked as actors and producers during this same time. Clifton was a stage carpenter and stage machinist. His projects for Sosman & Landis included: the Wallace Opera House in Sterling, Illinois (1889), the Washington Opera House in Maysville, Kentucky (1899), the Gennett Theatre in Richmond, Indiana (1899), and the Elks Opera House in Prescott, Arizona (1905).

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). On April 3, 1899, “The Sterling Gazette” reported,  “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.”(page 2). Keep in mind that Sterling was the hometown of Thomas G. Moses, likely the scenic artist who painted the Wallace Opera House scenery.

After completing his work in Sterling, Clifton headed east to Michigan. On May 10, 1889. The “News-Palladium” in Benton Harbor, Michigan, reported, “The scenery for the new opera house arrived from Chicago by boat this morning, and Mr. W. H. Clifton, an expert stage machinist of that city, is here to superintend putting it in position”(page 1).

By June 14, 1889, the “News-Palladium” announced the completion of Yore’s Opera House, reporting, “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” (page 3).

There is a gap from 1889 until 1899, when Clifton’s name does not appear in newspapers, yet later sources confirm that he was working for Sosman & Landis at this time. It is possible that all of his work was completed in the main studio and not on the road, however, his name was not included in the Chicago Directory. This is perplexing.

A decade later, Clifton represented the firm at the Washington Opera House in Maysville, Kentucky. After fire destroyed the original opera house in January 1898, plans were implemented for its immediate replacement. The second Washington Opera House opened on February 9, 1899. The Sosman & Landis scenery arrived only a few days before the official opening, causing public concern. On Feb. 6, 1899, the “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). 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 remained in town for all of the opening activities and made sure that everything worked properly, then returned home. Julius Cahn’s Official Theatrical Guide for the 1900-1901 season noted that the height of the scenery was 18 feet, with the height to the rigging loft as 66 feet.  There were no grooves, suggesting primarily flown scenery.

The same year that Clifton installed the Washington Opera House scenery, he also installed scenery at the Gennett Theatre in Richmond, Indiana. On Dec. 29, 1899 the “Richmond Item” reported, “Last night the Gennett scenery was shown for the first time, under the direction of Mr. Clifton of the Sosman & Landis Co., who has been here putting it up” (Richmond, Indiana, page 4). The Gennett Theatre was built in 1899 at N. 8th Street and N. A Street on the site of the Bradley Theatre which had burned down in 1898.

The last article that I have located connecting Clifton with Sosman & Landis is from 1905. That year Clifton installed scenery in the Elks Theatre in Prescott, Arizona, at 117 East Gurley Street. On January 25, 1905, the “Weekly Journal-Miner” reported, “W. H. Clifton, stage carpenter with Sosman & Landis, of Chicago, yesterday completed the work of putting up the curtain and scenery for the Elks’ Theatre. Mr. Clifton is an experienced workman in this line having been with the above firm nineteen years. He has just four days getting the Elk’s job finished. In conversation with ta Journal Miner representative yesterday he stated that he had never been sent out to do work for the firm in any place where he had enjoyed it so much as this. He thinks Prescott has an ideal climate and he said if he had a job here that would pay him a salary equal to that which he is receiving he would like nothing better than to remain here. In addition to being an expert in the work of putting up stage scenery and curtains Mr. Clifton is a genial and pleasant gentleman whom it is a pleasure to meet” (page 7). On February 1, 1905, the “Weekly Journal-Miner” reported, “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.”

I have uncovered very little about Clifton’s personal life, either before or after his association with Sosman & Landis. The earliest listing for Clifton that I have located is in the 1885 Chicago directory; William H. Clifton was listed as a carpenter, likely the same Clifton. That year, he was living with Hal D. (Harry) Clifton at 358 Loomis. The two would continue living together in Chicago until 1888, their home located at 98 Gilpin.  Although there were a few gap years, by 1890, the two were still living together, now at 5713 LaSalle. William was again listed as a carpenter, with Harry as a bookkeeper. Harry D. Clifton worked his way up from a clerk to the president at the Union Wallpaper Co. in Chicago, and then switched careers, becoming an appraiser. In the gap year that William Clinton did not live with Harry in 1889, he was listed as a painter in the Chicago Directory, boarding at 44 Centre. Interestingly, this was the same year that he began working at Sosman & Landis.

Unfortunately, I have yet to locate any birth, death, or marriage records. He also is absent from census records, even after trying to locate him through Harry D. Clifton’s records.  I am not suggesting that there weren’t census records listing men named William Clifton, just not the correct Clifton who worked as a carpenter and lived in Chicago from 1889-1905.  Much of the problem seems to be that unless Clifton were married, or listed a permanent home, he likely  found lodging in whatever town he was working in. Furthermore, if a father, brother, or distant relative were living in Chicago, there may have been no need to rent his own home between 1891-1905, especially if he were working for Sosman & Landis as an installer. All this being said, he may have intentionally remained in the shadows. Then, as now, some people don’t want to be found, whether their reason is marital or legal concerns.

I have located one possible record that suggests Clifton left Sosman & Landis after completing the Elks Theatre in Arizona. In “Julius Cahn’s Official Theatrical Guide” for the 1906-1907 and 1907-1908 seasons, W. H. Clifton is listed as the stage carpenter for the Lewis Opera House in Canton, Pennsylvania. It had just reopened after being closed for a season. On May 9, 1905, the “Canton Independent” announced, “Mrs. E. M. Lewis, owner of the Lewis Opera House, will not take out a theater license this year, and the opera house will be closed.  The reason for this is the fact that theatrical performances do not draw sufficient crowds to pay the expense, let alone a profit. Mrs. Lewis did a very handsome thing for the town in erecting such an elegant opera house, which in every[articular is superior to those usually found in the larger cities and the fact that it is to be closed will cause great regret” (page 12). Sosman & Landis were already connected with the town, having delivered the scenery for the Rink in 1885 (Canton Independent-Sentinel 3 July 1885, page 1).

I’ll post more if anything else pops up.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Joseph Wikoff was a stage carpenter associated with Sosman & Landis in 1890. That year his work for the firm included building stages and scenery for opera houses in Ogden, Utah, Spokane, Washington and Dubuque, Iowa. By 1895 he died from complications after falling forty feet to the stage floor at the Lyceum Theatre in Memphis, Tennessee; the paint bridge collapsed in Dec. 1894.  Of the horrific incident, Thomas G. Moses wrote, “The bridge broke and poor Wikoff was so badly hurt that he died a few weeks after the accident.” At the time, Wikoff was working for Moses, and not Sosman & Landis, although he was likely still associated with the Chicago-based firm in 1894.

Very little is known of Wikoff beyond a couple newspaper articles, a few city directory listings and two census reports.  The earliest mention of Wikoff as a stage carpenter is in the 1889 Kansas City Directory. He was previously listed as a carpenter in Kansas City between 1886-1888. Sosman & Landis established a regional office in Kansas City by 1884 that was managed by Lemuel L. Graham, who also ran his own scenic studio in the city. In 1887, Claude L. Hagen was listed as the western machinist for the firm, but also worked for Graham. It is possible that Wikoff worked with Hagen at either the Gillis Opera House, Warder Opera House or any of the Kansas stages constructed by Hagen in the 1880s. 

The first article that I have located about Wikoff’s work for Sosman & Landis is from the spring of 1890. He was part of a crew that delivered stage machinery and scenery for the Grand Opera House in Spokane, Washington. The Sosman & Landis crew in Spokane consisted of Thomas G. Moses, Howard Tuttle, Edward Loitz and Joe Wikoff. Moses arrived on site March 29, 1890 and wrote, “The theatre was also very cold.  We managed to get over the work.  The first week we ate in a tent, in which they had stoves.  It was very long, possibly one hundred feet, including the kitchen… We finished our work on April 16^th.  Tuttle and I went East. Leaving Loitz to finish the asbestos, which was not in our contract, and Loitz took it as an extra.  I arrived home April 20^th. “

The project consisted of twenty sets of scenery with all of the exterior drops measuring 28’h x 40’w. As the stage carpenter for the project, Wikoff arrived before the scenic artists and stayed after the painting was completed to finish the installation. Surprisingly, his work was detailed in the “Spokane Falls Review” on April 3, 1890 (page 4). An article about the new stage reported, “The building of the framework for the scenery, putting in the grid-iron fly rails, paint frames and bridges, star, vampire and Hamlet traps, two sectional bridges, rain box, wood crash and thunder runs is all being done by Joseph Wikoff, of Chicago, and he is a master of his business, having had many years of experience in the leading theaters of the east. The framework of the interiors is so built that it is much heavier at the bottom so that they may be easily handled. The work on the traps, etc., is very intricate, and the utmost care is taken so that they will run smoothly and not catch, as an accident of that kind would spoil a whole act. We feel assured that when the stage is completed, we will have one of the finest in the country. The stage it 39 feet deep and 65 feet to the rigging. The opening is 33×33 feet, and from wall to wall the distance is 61 feet. Mr. Wikoff expects to have the work completed by middle May.”

The next new stage credited to Wikoff was for the Grand Opera House in Dubuque, Iowa.  On August 15, 1890, the “Dubuque Daily Herald” reported, “The stage is supplied with a fine line of scenery from Sosman & Landis, of Chicago, and was put in under the superintendency of their stage machinist Joseph Wikoff…The stage is 66 ½ feet wide inside, wall to wall; 60 feet to rigging loft; 35 feet curtain opening; 36 feet in depth; 23 ½ feet under fly galleries…Over 28,000 feet of rope were used to hang these scenes and there are thirty complete sets for special scenery brought by traveling troupes” (page 1).

The next stage constructed by Wikoff was for the Opera House in Ogden, Utah. Again, Wikoff worked with Moses and Loitz. Of the project, Moses wrote, “I worked at the studio until November 4^th, and then was off again for Denver [Broadway Theatre] to complete my contract.  Loitz went to Ogden, Utah, to start that contract.  Joe Wikoff came on from Chicago and went with Loitz.  We worked every night and hustled it through December 31^st.”

And then Wikoff disappears from both Moses memoirs and newspaper article until 1894 when paint bridge collapses at the Lyceum Theatre in Memphis, Tennessee. The Lyceum Theatre was not a Sosman & Landis project, but one independently contracted by Moses. This suggests that Moses continued to sporadically work with Wikoff between 1890 and 1894. Keep in mind, that Sosman & Landis staff were encouraged to supplement their income with outside work, as long as it did not compete directly with the firm. Moses did not always follow this directive and was occasionally at odds with his employer. Of the Lyceum Theatre project, Moses wrote, “The firm wanted this badly, but the architect insisted on my work.” When Moses secured contracts independent of the firm, he continued to utilize the Sosman & Landis staff. Therefore, it is likely that Wikoff was still working for the firm in Chicago.

Of the 1894 Memphis project, Moses wrote, “The job proved to be a “Jonah.” The bridge broke and poor Wikoff was so badly hurt that he died a few weeks after the accident.  Some of the other boys were hurt, but all recovered.” The accident made headlines across the country, as seven men who were working on the paint bridge plunged forty feet to the stage floor. Newspaper listed the injured: “Al Morris, scenic artist, from Chicago, arm broken; Charles Wallace, scenic artist, from Des Moines, Ia., head gashed and arm broke; Joseph Wikoff, stage carpenter, Chicago, cut on head and ankle sprained; John Vorhees, scenic painter, Chicago, severely bruised; A. E. Well, colored, Memphis, arm broken and ankle sprained; John Wiley, colored, Memphis, leg broke.” Newspaper article also reported, “The victims of the accident were removed at once in an ambulance to St. Joseph’s hospital. The collapse of the scaffold was due to defective timber and framework.” My guess is that Wikoff either died at St. Joseph’s or at his temporary residence in Memphis. Regardless, I have yet to locate a death certificate or grave for Wikoff. It is doubtful that his remains left Memphis. He was unmarried with his only relations living near Paducah, Kentucky.

It was his Paducah relations employed counsel to file suit against the New Lyceum Theatre claiming, “the deceased was injured and killed by accident said to have occurred during the erection of a part of said building, that said counsel Col George Gautt, have requested petition to qualify as administrator of deceased estate, that said suit might be brought.” The Memphis Probate court appointed Lee Thorton as administrator of Wikoff’s estate in March 1895. He remained in that capacity until being discharged on July 1, 1901, after the case was lost and nothing was recovered for damages.

Although Wikoff’s relatives from Paducah remained unnamed, it helped uncover a little more information about Joseph’s early life in Paducah.  Census reports suggest that Wikoff was adopted and raised by William R. Wikoff and Mary D. King Wikoff. Joseph’s adoptive parents were born in Pennsylvania (William R. Wikoff) and Tennessee (Mary D. King), whereas census reports list Joseph’s birth parents as being born in Wales (father) and Kentucky (mother). Furthermore, his adoptive parents were married in 1864 (Lyon’s, Kentucky) three years after Joseph was born. I highly doubt that Joseph’s biological father from Wales shared the last name of Wikoff. “Wikoff” was likely taken when he was adopted by William and Mary Wikoff sometime after their marriage in 1864. That being said, Joseph was raised by a carpenter and apprenticed as a carpenter. William R. Wikoff had worked as a carpenter since the age of 18 yrs. old when he was growing up in Pennsylvania.

The first census report that lists Joseph living with William and Mary is in 1870. That year Joseph was nine years old and the couple had been married for six years. All three were living in  Paducah, Kansas.  At the time, his adoptive father was listed as a carpenter. William Wikoff was also listed as a carpenter in the Paducah city directory in 1869.  The 1880 census listed 19-yrs.-old Joseph Wikoff as a carpenter’s apprentice, but sill living with William and Mary Wikoff in Paducah, Kentucky. By 1886, Joseph had Wikoff had worked his way from Paducah to Kansas City, Missouri.

In 1886, Joseph Wikoff was listed as stage carpenter in the Kansas City Directory.  It remains uncertain as to Wikoff’s employment between 1881 and 1885, or where else he worked during this time. Much of the difficulty is the constant misspelling of Wikoff in historic records and city directories. Even newspaper accounts surrounding the collapse of the paint bridge at the Lyceum theatre misspelled his name, with variations ranging from Wikpupt to Wikuft.  However, Wikoff was the correct spelling used on paperwork filed with the Memphis probate court, as well as the memoirs of Thomas G. Moses. Furthermore, Wikoff was the spelling for articles listing his work for Sosman & Landis.

When Joseph died after the paint bridge collapse, I believe that it was his adoptive parents hired Lee Thorton to act on their son’s behalf in Memphis. Sadly, Mary passed away in 1898. By 1899, William became ill and never seems to have recovered. He eventually passed away in 1904.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

C. L. Hagen was the western machinist for Sosman & Landis during the late 1880s. At the time, he was in his mid-20s and a rising start in the technical theater world. By the time he was forty-eight years old, Hagen was internationally recognized as a brilliant stage architect, master mechanic, and technical director. Hagen represents the caliber of technicians working at Sosman & Landis during the late nineteenth century. Although newspaper articles and public records occasionally list the alternative spelling of “Hagan,” I am solely using “Hagen,” as that was the spelling that was repeatedly listed on his patents.

On Feb. 2, 1911, the “Daily Times in Philadelphia” included a lengthy article about Hagen’s technical contributions to the theatre, entitled “Hagen, Leading Wonder Worker of the Stage” (page 2). After listing all of Hagen’s accomplishments, the article reported, “With such a theatrical record it would seem as if Mr. Hagen must have been literally born on the stage. Instead, he was a native of Chicago and spent his boyhood in Minneapolis, Philadelphia and Kansas City. Hagen settled in Kansas City by 1879 and designed several stages for Kansas City.”  The article continued, “…arriving in the Missouri burg in 1879, when, to use his own words, the town ‘was practically a brickyard.’ But he entered the theatrical business there and erected several theaters for capitalists during his stay. Then he began his wanderings, which have carried him all over the United States and into foreign countries as well.” Hagen’s portrait was attached to the article, an article that was repeatedly published in newspapers across the country.

Hagen’s portrait in the newspaper did not convey his physical size, as he was a very tall man.  When Hagen applied for a passport in 1902, his physical appearance was described in detail, listing his height as 6’-2”, extremely tall for the time. His application also noted, dark brown hair, grey eyes, high forehead, round chin and a medium complexion. When Hagen applied for a passport, he was traveling with the “Ben Hur” company as their master machinist. It was his design for the famous chariot race on stage that partially propelled him to stardom.  On March 23, 1902, the “Boston Globe” reported, “Claude Hagen, who has invented more mechanical effects for use on stage than all the other men of his class in this country, and who is responsible for most of the machinery and electrical apparatus used in the production of “Ben Hur,” is now in London supervising the work prior to the presentation of Klaw & Erlanger’s magnificent spectacle at the Drury-Lane theatre” (page 34). In 1911 the newspapers would recall Hagen’s London’s reception seeing his “Ben Hur” chariot race at Drury Lane Theatre: “it scored an immediate success. So great was the enthusiasm that Mr. Hagen was given the singular honor of being the only man in his line of business during the house’s 140 years of history who had been forced to appear before the curtain in response to the demands of the audience to personally show their approval of the wonderful mechanism that spelled success for the Lew Wallace dramatization” (Daily Times, Philadelphia, 2 Feb 1911, page 2).

The life and career of Hagen career could easily fill a book. It is incredibly hard to briefly summarize his mechanical contributions, but I will make the attempt and try to convey the greatness of man who first made a name for himself in Kansas City.

Little is known about Hagen’s early life before his arrival to Kansas City in 1879. A 1940 census lists that this highest level of education was 8^th grade. None of his early theatrical training is known before 1882. There is only the brief mention of his growing up in Chicago, Minneapolis, Philadelphia and Kansas City, leaving a poor trail of breadcrumbs. I have yet to locate the names of his parents, although he twice listed the birthplace of his father as England and the birthplace of his mother as Michigan. What I do know is that Claude Lavrain Hagen was born in Chicago on Jan. 1, 1863. I discovered his middle name of “Lavrain” in a later patent.

By the age of sixteen years old, he was living in Kansas City, Missouri. It is really in Kansas that the first information about Hagen surfaces in newspapers. At the age of twenty, Hagen was responsible for the stage at the Gillis Opera House in Kansas City. He had already toured with the Hanlon Bros. the previous season. On September 3, 1883, the “Kansas City Star” announced the opening of the Gillis Opera House (page 1). Hagen was credited with the stage machinery.  The article reported, “As stage carpenter, Mr. Claude Hagen, one of the most expert in his profession in the country, has been engaged. He has been employed in the best theaters in the country for years and last year he traveled with the Hanlons who required the most complicated stage machinery. He superintended the setting of the Gillis stage, and it is said that what he don’t know about the stage isn’t worth knowing. Mr. Lem Graham is the scenic artist and known who see the scenery exhibited at the Gillis will for a moment doubt his ability.”

1882-1883, the season that Hagen purportedly worked as a stage carpenter for the Hanlons, was the year that the Hanlon Bros. toured with their wildly popular, “Le Voyage en Suisse.” “Le Voyage en Suisse” was a three-act pantomime jam packed full of scenic “tricks” and illusions. Newspapers raved about one particular effect from the second act – the train scene.  On Jan. 30, 1882, the “Baltimore Sun” reported, “The second act is the European compartment car, and the fun is fast and furious. The Hanlons impersonate servants, custom-house inspectors and gentlemen. The car is a wonderful piece of mechanism; it is seen in motion, and the scenic effect is perfect, and every detail is closely worked as when it passes through a tunnel. The explosion, and complete destruction of the car, at the end of the act was greeted with tremendous applause. The curtain was raised; then the Hanlons, were called before it, and last the stage manager, and again the Hanlons had to answer the call before the audience would be satisfied.” Hagen’s work as a stage carpenter with “Le Voyage en Suisse” explains his early training that contributed to his abilities to design the Ben-Hur chariot race almost two decades later.

Hagen continued to travel with various touring productions in the early 1880s, yet continued to remain associated with the Gillis Opera House. On Jan. 15. 1884, the “Kansas City Times” reported, “Mr. Claude Hagen, stage machinist, of the Gillis Opera House, returned home Sunday morning after having spent four weeks with the “Romany Rye” combination” (page 2). “Romany Rye” was a melodrama and well-known for its mechanical effects and advertised as “unequaled in stage setting” (“Kansas City Star, 27 October 1884, page 2). The show was billed as a “Grand Spectacular Melodrama” with scenic displays that included a Gypsy encampment, Craigsnest by moonlight, the Hampton Race-course and the wreck of the Saratoga (Baltimore Sun, 1 April 1884, page 1). It was the “Wreck of the Saratoga” that made headlines in newspapers across the country. The scene was “admirably presented and evoked hearty and deserved applause” (Gazette, Cedar Rapids, Iowa, 3 Jan. 1884, page 4).

In 1884 and 1885 Hagen remained associated with the Gillis Opera House as stage machinist for the venue. On March 1, 1885, the “Kansas City Times” included an advertisement for “Monte Cristo!” at the Gillis Opera House (page 12). The bottom of the ad stated, “It is a conceded fact that no other stage in the west is a well-adapted to the production of spectacular pieces like MONTE CRISTO as the Gillis, and it is further a matter of record that the stage crew of the Gillis, under the control of Mr. C. L. Hagen, is unexcelled in the west.” Hagen’s work at the Gillis was so popular that he was publicly recognized for his scenic contributions. On January 27, 1885, the “Kansas City Times” announced, “Mr. Claude L. Hagen, master machinist of the Gillis, was last evening presented by the attaches of the Gillis with a very beautiful gold medal” (page 8). Other accounts note that the
gold medal was actually a gold watch.

It was about this time that Hagen’s work was noticed by Sosman & Landis in Chicago. On August 24, 1885, the “Kansas City Star” reported, Claude L. Hagen, master machinist at the Gillis Opera House, left Saturday for Marion Dakota to fit up an opera house” (page 2). It is highly likely that this is when Sosman & Landis began to subcontract Hagen before bringing him on staff. By 1887, Hagen was listed as the western machinist for the firm. He built the stage and installed Sosman & Landis scenery at the Bonham Opera House in Clay City, Kansas. On April 16, 1887, the “Evening Times” in Clay Center, Kansas, reported on the progress of the new Bonham Opera House. The article reported, “The stage machinist at the Bonham Opera House finished his labors this morning, and that grand amusement temple is now ready to throw open its portals to the public. An introduction to C. L. Hagen, the machinist, enables THE TIMES scribe to give the principal  features of the stage, at present the point of interest to the public. It is provided with five large entrances, and four sets of grooves with a capacity of nine scenes each. The grooves are the latest pattern, skeleton and double-jointed, The latter feature enables companies traveling with their own scenery to adjust the same to this stage in case it should be in a larger scale than the scenery of the house. The ’gridiron’ is forty-eight feet above the stage floor, and the ‘pocket’ terminates sixty feet above the stage floor, thus enabling the drop curtains to go up bodily. There are two of these drops, on an act curtain, with a fine Antwerp scene, and the other an advertising curtain. They are both gotten up in the very highest style of the art, painted on Russian linen, and hung with counterweights. The house scenery consists of ten complete sets, 18 by 26 feet as follows: Fancy Centre Door, Palace Arch, Two-door Chamber, Kitchen, Prison, Street, Landscape, Rocky Pass, Ocean Horizon, and a Garden. Also, a Set Cottage, Bridge Masking, Balustrade, Statues and vases, Set Waters, Fore-grounde, etc. The scenes are fifteen with flat shives [sic.]. The ‘grand drapery’ is arranged with tabs and sections, and can be enlarged to match with the most extensive scenery traveling. The scenery was painted by Sosman & Landis, of Chicago. The same firm fitted the Gillis Opera House, Kansas City, and the Grand Opera House at Topeka. Mr. Hagen is their western machinist, and also does the same work for L. L. Graham of Kansas City. He is clever at his profession, if we may judge by the smoothness which characterizes his work in Clay Center.”

On April 21, 1887, “The Times”of Clay Center reported again, “The scenery was painted by Sosman & Landis, of Chicago. The same firm that fitted the Gillis Opera House, Kansas City, and the Grand at Topeka. Mr. Hagen is their western machinist, and also does the same work for L. L. Graham of Kansas City.”  Lemuel L. Graham operated his own scenic studio in Kansas City, but also represented Sosman & Landis on many projects, working as a western agent for the firm. Graham’s studio was a western affiliate to Sosman & Landis in the same way that New York Studios was an eastern affiliative to the firm. In 1887 Graham represented Sosman and Landis for work on the Opera House in Winfield, Kansas.

By 1888 the Kansas City Directory listed Hagen as the stage manager at the Warder Grand Opera House. Hagen’s work at the Warder Grand Opera House and life in Kansas City, however, came to an end that year when bigger and better opportunities presented themselves. It was shortly after working at the Warder Granbd Opera House with Booth and Barrett on “Julius Caesar” that Hagen moved to Philadelphia, He briefly became the master machinist at the Broad Street Theatre. The Booth and Barret production was one of his last productions at the venue. On September 11, 1888, the “Kansas City Times” reported, “The effect of last night’s production was very much enhanced by three beautiful and elaborate stage settings, all of which are stock scenery of the Warder Grand designed by Mr. Claude L. Hagen. The senate scene was especially striking, including the full depth of the stage – fifty-seven feet. The tent scene was also beautiful and realistic.”  On Dec, 29, 1888, the “Kansas City Star” announced, “Mr. Claude Hagen, for many years master machinist of local opera houses, will leave on Monday night for Philadelphia to accept a position in the Broad Street Theatre” (page 1). Interestingly, in 1889 Kansas City Directory listed Hagen as “moved to Chicago.” On August 11, 1889, the “Kansas City Times” reported, “Claude L. Hagen, who was superintendent of construction for the Warder Grand Opera House and stage manager under J. L. Buford’s management will go to Chicago in a few weeks to assist in preparations for Lawrence Barrett’s production of “Ganelon” early in September. Mr. Hagen will travel with the Barrett company during the season” (page 10).

By 1891, Hagen was living in New York, listed in the city directory as a machinist and working at 1215 Broadway. At the time, he was residing at 245 W. 25^th and working with a variety of scenic artists, including former Sosman & Landis employee, John H. Young. On Jan. 11, 1891, the Pittsburgh Dispatch” included an advertisement of Planquette’s New Opera Comique, “Paul Jones’” (page 14). Hagen was credited with the stage mechanism, and Young the scenic art.  The two continued to work together in this capacity for the next four years. On July 28, 1895, Young and Hagen were credited with the scenery for “Fortuna,” a new “spectacular operatic extravaganza” (page 18). The article cited, “John H. Young and Claude Hagen” of the 5^th Ave. Theatre.”

Between 1891 and 1895, Hagen’s reputation for innovation and mechanical precision continued to increase, with his work becoming nationally recognized and contracted by Klaw & Erlanger. He also began filing patents for his stage inventions. On June 11, 1895, Claude L. Hagen patented the toggle shoe. He placed advertisements in the premiere issue of “Julius Cahn’s Official Theatrical Guide” (1896). His advertisements stated, “My invention relates to an improved Shoe for the frame of stage scenery, and has for its object to provide simple, inexpensive and efficient means for securely fastening and rigidly bracing together the different portions of the frames in such manner as to avoid weakening any part of the frames’ to provide said Shoes with means for the attachment of the braces employed for holding the frames in an upright position; and finally, to so construct the Shoe that rails having rounded edges may be employed whereby liability of the canvas being cut or the paint abraded is avoided.” Other patents filed by Hagen include: Construction of Theatre, patented on Sept. 17, 1895, No. 546,528 (filed 1895); Theatrical Appliance, patented on  July 17, 1900, No. 653,997, (filed 1900); Aerial Centrifugal Way, patented on Sept. 8, 1903, No. 738,434, (filed 1903); Observation-Train, patented on March 28, 1905, No. 786,117, (filed 1904); and Attachment for Stage Scenery Braces, patented on Dec. 29, 1908, No. 907,996, to name a few.

By 1896, Hagen’s advertisements stated that he was a “master machinist” offering “High grade modern construction,” adding “Those intending to have Scenery made will find it in their interest, and are cordially invited, to visit my shop where an inspection of work in course of construction, together with my facilities for handling high grade work, will demonstrate the superiority of my methods over others’. I use only the best materials, and with my exceptional facility for handling the same. I am able to furnish the highest class work at reasonable prices. All estimates included the use of my patents and appliances. All work undertaken guaranteed to be perfect and practical.”   Hagen’s office was in the Fifth Avenue Theatre in New York City, with Hagen’s shop and studio adjoining the theater. Ernest Albert was listed as the “Lessee of Paint Frames.”Past projects cited by Hagen as references in 1896 included: Fannie Davenport’s “Gismonda;” Augustin Daly’s “Two Gentlemen of Verona;” Julia Marlowe Taber’s “Henry IV,” “Romeo and Juliet,” and “Romonia;” Nat Goodwin’s “Ambition;” Wm. H. Creane’s “Pacific Mail,” “His Wife’s Father,” and “Governor of Kentucky;” Richard Mansfield’s “King of Peru;” J. C. Duff’s “Leonardo;” H. C. Miller’s “Shore Acres” and “Human Hearts;” Klaw & Erlanger’s “Patriots” and “Jack and the Beanstalk;” Kirk Lashelle’s “Wizard of the Nile;” Prof. Herman’s “Artist’s Dream” and “Noah’s Ark;” E. E. Rice’s “1492;” Edward Vroom’s “For the Crown;” Joe Jefferson’s “The Rivals” and “Rip Van Winkle;” Prof. Kilyani’s “Panoramic Pictures” model; Francis Wilson’s “Half a King” and all of the productions for the American Theatrical Syndicate.

On August 13, 1895, Hagen was listed as the President for the National Association of Theater Stage Employes in the “Washington Times.” The article reported, A special meeting of Local, No. 22, National Association of Theater Stage Employes, was held at their headquarters , No. 1316 E. street last evening to hear the report of Mr. J. B. Fenton, the delegate to the national convention, T. S.E., which met in Boston on July 8. The following national officers were chosen: President, C. L. Hagen, New York; vice-president J. Kelley, Cincinnati; treasurer, P. Maloney, Boston; general secretary , J. Hines, New York;  national executive committee, J. Kelly, Cincinnati; T. Murray, Philadelphia; B. J. Ryan, New York; and J. B. Fenton, Washington, D. C. A resolution inviting all non-union men of the craft to join was unanimously adopted. The resolution set forth that as the N.A.T.S.E. was organized for the protection of stage employes, we believe it to be our duty to publicly invite our efforts to better our condition, and by so doing you will help to further the aims and objects of organized labor” (page 4).

Although Hagen’s reputation continued to grow, it was his work for New York’s Grand Opera House that brought him contact with another stage carpenter named P. J. McDonald. In 1895, Hagen was credited with building the scenery for the “Patriots” at the Grand Opera House on Broad and Montgomery Ave. In 1899 Hagen partnered with P. J. McDonald, and was listed as, “C. L. Hagen, formerly at the 5^th Avenue Theatre.” McDonald remained associated with the Grand Opera House throughout their business venture. The two soon established the scenic concern of “McDonald & Hagen, Contractors and Builders of Scenery.” Their shop and office were located at 536, 538, 540 and 542 West 26^th Street in New York, between 10^th and 11^th Avenues. McDonald & Hagen advertisements listed: “Scenic productions Masonic and Mystic Shrine Paraphernalia; Scenery for Theatres, Balls and Private Theatricals; Mechanical Effects; Pageants and Celebrations; Tricks and Illusions; and Scrimed Profile and all Supplies for the Trade. The two separated by 1902 and McDonald again advertised independently as “P. J. McDonald, Scenery and Stage Construction, Mechanical Effects and Intricate Devices.” McDonald’s shop was again listed at the Grand Opera House, 320 West 24^th Street, New York. The separation may have been the cause of Hagen’s quick rise to stardom between 1898 and 1900.

Hagen designed and built the stage for the Klaw-Erlanger Co.’s Crescent Theatre in New Orleans. On Feb. 3, 1898, the “Times Picayune” reported, “Mr. Claude Hagen, the famous builder of theatrical stages, and whose work is found in the newest and best theatres of the north, answered a telegraphic summons to come to New Orleans to confer with Sully, Burton and Stone, architects and builders, and to plan the stages for the two new theaters that Klaw & Erlanger are building in this city. This inquires such commodious and perfect stages with all modern appliances and improvements, as New Orleans has never seen. Mr. Hagen will arrive from New York to-day” (page 8).   For the opening of the Crescent Theatre that fall Hagen was featured in an article. On Sept. 25, 1898, the “Times-Picayune” reported “The stage itself was designed by Claude Hagen, the famous expert and stage builder, who came here for that purpose,” including a portrait of Hagen (page 19). His career began to sore, especially as opportunities increased with Klaw & Erlanger.

On September 29, 1900, Hagen was internationally recognized and featured in “The Era” (London, England, page 14). He was featured in an article entitled “American Stage Effects” that described Hagen’s stage machinery for “Ben Hur.”  The article described scenic effects that were invented by “Mr. Claude L. Hagen, of the firm of M’Donald and Hagen, New York city, who is also the master mechanist of the production.”

On a personal note, Hagen was also married by 1900, his wife included in a Federal Census Report that year.  This is the earliest census that I have been able to locate for Hagen, who was thirty-seven-years-old. Annie, later listed as “Anna,” continued to be listed as his wife until the 1930, when Hagen was listed as a widower. The 1920 census noted that Annie was an actress. Coincidentally,  there was an Anna Hagen who passed away in Manhattan on Jan. 3, 1924, however, there were many Ann/Anna/Annie Hagens living in New York during the early 19^th century. The only information that I have really gleaned about Annie, is that she was born in Pennsylvania and her parents were from Germany. Other than some brief mentions of charitable work in New York, little is known of Mrs. C. L. Hagen.

On March 23, 1902, the “Boston Globe” reported, “Claude Hagen, who has invented more mechanical effects for use on stage than all the other men of his class in this country, and who is responsible for most of the machinery and electrical apparatus used in the production of “Ben Hur” is now in London supervising the work prior to the presentation of Klaw & Erlanger’s magnificent spectacle at the Drury-Lane theatre” (page 34). Hagen’s success with “Ben Hur,” in addition to his work for Klaw & Erlanger, prompted him to secure other entertainment projects, such as various attractions on Coney Island. One of Hagen’s earliest designs the bicycle loop-the-loop at Luna Park (Brooklyn Citizen, 16 Aug. 1903, page 10). Unfortunately, is relationship with Frederick Thompson soon soured. In 1904, he sued Thompson & Dundy for breaking a five-year contract.  The article reported, In Thompson & Dundy’s defense Hagen refused to obey orders and had performed services for another amusement manager.” Regardless of the defense,  Hagan won the case and received a nominal verdict of $100.

The newspapers absolutely loved Hagen and repeatedly published his accomplishments across the country. Hagen’s name made news in even the smallest western towns. On Sept. 17, 1905, the “Butte Miner” reported, “Eight years ago the attention of Klaw & Erlanger was drawn to General Lew Wallace’s interesting  novel ‘Ben -Hur,” and negotiations started toward dramatizing it. Gen Wallace was like the man from Missouri, ‘he had to be shown;’ that is, he would not agree to his work being dramatized unless the chariot race could be realistically presented as his description in the book. It is here the creative American machinist showed his capacity, for Klaw & Erlanger commissioned everyone of prominence in this country to furnish practical working models of this big scene, and the prize was won by Claude Hagen. It cost thousands of dollars experimenting, but a rich reward has been reaped, for in the six years that ‘Ben-Hur’ has been before the public, a profit of over $2,00,000 has been earned” (page 12). That article was continually republished over the years until the profits were listed as $4,000,000.

In 1907, Hagen was associated with another popular attraction – “Fighting the Flames, or The Fireman’s Christmas Eve.” On Oct. 20, 1907, the “San Francisco Call” described Hagen’s show as “the first silent fire story on record, whose sole purpose is to lead up to the actual incidents of a real fire, will receive its first production at the Chutes theater this afternoon” (page 26). The article continued, “It was built and invented by Claude L. Hagen, who also contrived the effects for the chariot scene of ‘Ben Hur,’ and was produced by him originally at Euston Palace, London, in 1903 and subsequently Proctor’s Twenty-third street theater, New York city and at Coney Island where it enjoyed extraordinarily ling run.”

On Jun 7, 1908, the “Brooklyn Daily Eagle” included an article on Coney Island, that credited Hagen in the section entitled “Changes in Waterfront, Bowery and Surf Avenue” (page 21). The article reported, “Among the larger individual attractions on Surf Avenue are Hagen’s  Fire Show and Herbert A. Bradwell’s ‘Deluge.” The fire show, otherwise known as the ‘Fireman’s Christmas Eve,’ is nearly opposite the Culver railroad terminal. In this show is portrayed a pathetic Christmas story, which according to its author, Claude L. Hagen, is woven around the fire department of New York City and was suggested by Christmas Even incidents on the East Side which came under his personal observation. The story is a thrilling one and told by means of real characters, mechanical, electrical and scenic devices and trained horses, introducing the run to a fire with the  same mechanical devices that were used in the chariot race of ‘Ben Hur,’ and which was invented by Mr. Hagen. The fire engine is a real one and the burning building with its attendant excitement and rescues is given all appearance of reality.

Hagen produced similar attractions for other venues. One was entitled “Fire Fighters on Ship and Shore” for the Ohio Valley Exposition in 1910, where he was listed as Construction Superintendent for the Expo  (Cincinnati Enquirer, 4 Sept 1910, page 37).  Other newspapers listed Hagen as “the amusement director” for the Exposition (Cincinnati Inquirer, 12 April 1910, page 8). It was not always fair-weather sailing for Hagen. Big projects involve even bigger monetary risks.

On April 3, 1908, the “Boston Globe” listed Hagen in the section entitled, “Business Troubles,” reporting, “Claude L. Hagen, theatrical engineer, 173 S. Botolph St, is a voluntary petitioner in bankruptcy. He owes $4879 to four unsecured creditors, the principal of whom is Mrs. Madeline Barber, New York City, $3694 for money advanced and open account. The assets are estimated at $6500, of which $5400 is represented in debts due on an open account and $110 in promissory notes” (page 13). He seems to have recovered, but shortly after the incident assumes a new title role, replacing master mechanic with technical director in listing and newspaper articles.

On Dec. 5, 1909, the “New York Tribune” featured Hagen in a full-page article entitled, “Generous Scenic Resources of the New Theatre” (page 57). The new stagehouse, designed and built by Hagen, included a massive revolving stage, 200-feet wide cyclorama, and 125 lines hung from a huge gridiron. The article explained that the New Theatre’s cyclorama was the largest of its kind in the world and that the three sets curtains, grading from bright red to dark plum, and­­ weighing respectively 2,000, 1,500, and 1,00 pounds were “the only ones of the kind in the country.” The article reported, “Further inquiry about the manufacture, manipulation, storage, etc., of the scenery at The New Theatre leads one into meeting Claude L. Hagen, the technical director, who is in many ways a most remarkable man. Mr. Hagen is an engineer who has devoted the greater portion of his life to the physical side of the production of plays. He is the inventor of most devices to use on the stage at The New Theatre. Mr. Hagen gave to the Tribune’s representative facts about the scenery which could not be obtained from any other source.” Mr. Hagen said, “The staging of a play at the New Theatre is a different proposition from what it is elsewhere in this country because we have a ‘drehbuhne,’ or revolving stage. Most of our plays are staged on the drehbuhne, and all we have to do is revolve the stage to present the next act. That is the reason the intervals between the acts are so short…The stage is sixty-four feet in diameter, and it completes a revolution in a minute.”

I am also including Hagen’s comment on fireproofing scenery, as it is so rare that the adverse effects to the scenery are even mentioned. In the same article, Hagen stated, “The effect of fireproofing on scenery? That is one of the worst things we have to contend with. It destroys the color and the texture of cloth. It has such an effect on Italian blue, for example, that we cannot use the color. It causes the braids to drop off of our curtains. It has caused our great cyclorama to fade from tints and shades of blue into almost white. It causes the stitches to rot of where the strips of cloth are sewed together. But everything has to be fireproofed, so there you are.”

His contribution to the New Theatre was publicly acknowledged on multiple occasions. When J. P. Morgan delivered the principal address for the New Theatre’s dedication, he thanked three people: the “faithful administrator” H. C. Ingalls; “able engineer” Owen Brainerd; and  Claude L. Hagen who was “ingenious in stage construction” (Brooklyn Daily Eagle, 7 Nov 1909, page 6).

His work at the New Theatre resulted in a patent for improvements in theatrical stages. On Dec. 12, 1912,  a patent of Hagen’s was published in “Moving Picture News” (Vol VI, No. 25, page 22):

“Patent No. 1,045,398 issued to Claude L. Hagen , of New York City, is for improvements in theatrical stages, the object of the invention being, not only to construct a stage which as a whole may be rotated , but to provide one of a number of sections , which may be united on the plane of the stage floor and rotated, or individual sections or groups thereof may be lowered , moved forward or backward on the plane of the stage floor or below it, one section taking the place of another as desired . The sections may follow each other into position like the sections of an endless conveyer , yet they are free to rotate on the stage floor and to change relative positions . In short, the object is to provide a sectional rotatable stage wherein any section may be moved into any part of the rotatable whole . By this means a scene may be set on each one of the four quarters of the stage, or on any other division, and the stage rotated to present the new scene to the audience a moment or two after lowering the curtain and the stagehands may remove the rear scene and reset the same during the act which is going on the front section. The vertically movable rectangular stage sections may be lowered on their cradles to provide “ sinks. ” Or before the play two scenes may be set. After the first scene is acted and curtain lowered, the stage is rotated to present the second scene to the audience. During the playing of the second scene the rear section may be lowered with the first scene thereon, the scenery removed, and a new scene set, and so, the possible combinations being numerous.”

Hagen’s celebrity status diminished by the WWI. I have to wonder if his engineering genius was contracted by the US government.  Such was the case with many theatre professionals who found themselves involved in military projects as part of their patriotic duty during wartime. Whether it was camouflaging ships or illustrating bomber equipment, scenic artist and stage mechanics began second careers that often lasted after wars ended. Hagen’s skills would have been an asset.

Regardless of wartime projects, Hagen continued to be listed as a technical director in census reports from 1915 and 1920, but his name almost disappears from the newspapers. By 1925, he is simply listed as a stage carpenter> Keep in mind that this listing is solely dependent on who was providing information to census takers. The 1930 Census lists Hagen as an engineer in the theatre profession, and by 1940, he is living alone at the Hotel Flanders in New York City. In 1941 files for Social Security and slowly fades from the scene.

Hagen died on March 17, 1945 in Islip, New York. His wife Annie predeceased him by 1940. On March 18, 1945, the ­­­“Daily News” reported, “HAGEN- Claude L. Officers and Members, you are requested to attend the funeral of your late brother Claude L. Hagen, from the Austin Gordon Funeral Chapel, 7 Columbus Ave, on Monday, March 19, 1945 at 2 P.M. Fraternally yours, Joseph Dwyer, president; John C. McDowell, secretary.” (page 81). Dwyer and McDowell represented the Theatrical Protective Union No. 1.

Hagen’s legacy continued in the theatre work of others, his many students made names for themselves over the years, but always remembered Hagen. In 1903, a lighting engineer named Mr. Sohlberg credited Hagen with his early training. Solhberg was mentioned in an article entitled, “New Theatre Invention. Kansas City Man perfects and automatic spotlight” (Barre Daily Times, Vermont, 2 May 1903, page 3). I am including this article in its entirety for the sake of the subject, as well as the mention of Hagen at the end. It seems an appropriate way to end this article.

“A device for operating lights in theaters from stage has just been invented by Edward W. Sohlberg, stage manager of the Orpheum, in Kansas City, who has applied for a patent on it, says the Kansas City Star. The ‘spot’ light is strong white light which is used upon dancers and others when the rest of the house and the stage are in darkness. Heretofore it has been necessary to have a man in the balcony to operate it. This resulted in the blocking of the view of a number of people in the audience and caused the rays of strong light to strike others in the face. By Mr. Solberg’s invention, the light is fastened on the front of the balcony below the vision of the audience and above the heads of those in the parquet. It is handled by the same man who controls the other lights and switches on the stage, and it follows the dancer’s movement about the stage automatically. It is the first of its kind, and no other opera house in the United State has one. Mr. Sohlberg used it recently for the first time during the engagement of Louise Montrose and Florence Bindley, the girls with the diamond dress. It was in use every night and gave satisfaction. In connection with the ‘spot’ light is a color wheel which contains seven different colors, each of which just covers the ‘spot’ light. This wheel is on a ball bearing axle and is controlled by the same man, who simply presses the button, and the wheel revolves to the desired color. The colors are put in the wheel in the order in which they are to be used, and the need of slides and a ‘boomerang’ is done away with. Mr. Solhberg is a Kansas Cityan and received his mechanical training under Claude L. Hagen, one of the best-known men in the mechanical world.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

From 1882 until 1886, C. W. Corey was associated with the Sosman & Landis Scene Painting Studio. He built stages and installed scenery during the 1870s and 1880s. Newspaper articles listed Corey as a stage architect, stage carpenter and master mechanic. His title varied from one project to the next. By 1882, Corey was linked to several stage projects with scenery by Sosman & Landis. He was an asset to the firm, arriving with ample experience and national connections. Although Corey’s permanent residence remained in Chicago, his projects ranged from Pennsylvania to Florida, and stretched westward to Kansas. By 1886 Corey began representing Sosman & Landis, listed as a master mechanic for the firm. He also worked for Lemuel L. Graham’s studio, a Sosman & Landis affiliate in Kansas City, Missouri. Some of the earliest projects completed by both Corey and Sosman & Landis were located in the southeast in 1882 -Alabama and Florida.

On September 2, 1882, the “Montgomery Advertiser” listed Corey as the stage architect for a new theatre in Montgomery, Alabama. The article reported, “The owners of the Theatre are putting it in thorough repair. They have made a new stage with all the modern improvements, so that combinations and spectacular performances can now be exhibited with ease and to the greatest advantage. They are also placing in the house an entirely new and complete set of very handsome scenery, eighteen feet in height. The stage is being constructed by Mr. C. W. Corey, one of Chicago’s best stage architect’s; and the scenery was made and put in by Messrs. Sosman & Landis, scenic artists of Chicago. When finished the Theatre will be first-class in all of its appointments” (page 4).

On Dec. 1, 1882, the “Pensacola Commercial” reported, “Mr. C. W. Corey, stage carpenter, of Chicago, Ill., arrived in the city last Wednesday, and has gone to work with a good force on the stage of the new opera house, and will have it ready for Ford’s company, who have an engagement here beginning on the first of January” (page 3).

Corey was again linked with the scenic studio of Sosman & Landis in 1884. The new opera house proprietors in Vicksburg, Mississippi, Messrs. Piazzo & Botto, hired Mr. Corey as the stage carpenter to build the new stage when the opera house was renovated. They also contracted the firm of Sosman & Landis to provide the new set of scenery for the stage.  Both were from Chicago. On July 10, 1884, “The Vicksburg Herald” reported, “Mr. Henry C. Barrow, scenic artist, representing the big scenery house of Sosman & Landis, of Cincinnati, arrived here yesterday, to contract with Messrs. Piazza & Botto, proprietors of the opera-house, for a new set of scenery for that building.” On September 23, 1884, the “Vicksburg Evening Press” announced, “Mr. Charles W. Corey, of Chicago, the stage carpenter engaged by Messrs. Piazza & Botto, arrived by this morning’s train. He is much pleased with the appearance and arrangement of our new Opera-house, and says it will make decidedly one of the handsomest places of amusement in the South. He says it is one of the nicest arranged places for an Opera-house he has seen anywhere South. Mr. Corey will proceed with work at once, and says that there will be no delay whatever from now on in pushing the work to a rapid and satisfactory completion. The managers of the Opera-house state that Mr. Corey has a big reputation as a stage carpenter, and that they are charmed with his favorable opinion of the house, because his opinion is that of a man who has had splendid experience in such matters and knows what he is speaking about” (page 1).

In the fall of 1884 Corey built three stages: Vicksburg, Mississippi, Aberdeen, Mississippi, and Gadsden, Alabama. On October 4, 1884, the “Vicksburg Herald” reported, “Yesterday morning, Mr. C. Corey, the stage carpenter employed by Messrs. Piazza & Botto of the opera house to arrange the stage of the new house returned here from Gadsden, Alabama, where he arranged the stage of a new theatre. Mr. Corey says that he will finish his work in a week or ten days, and by that time it is thought the house will be ready for opening. The chairs and railings have been shipped from New York and will arrive here in ten days” (Vicksburg, Mississippi, page 4). On October 16, 1884, the “Aberdeen Examiner” reported, “Mr. Corey, the representative of the stage fitting contractors in Chicago, is busily employed in erecting the scenery in the Masonic Temple Opera Hall, in our city. His zeal in the work is worthy of thanks and commendation of our people, for he is crowding two weeks labors into the one, in order that the hall shall be ready for Monday night and they shall not be disappointed” (page 3).

By 1886, Corey was recognized as a master machinist with Sosman & Landis. He was part of the staff that focused on western installations by the mid-1880s.  On March 6, 1886, the “Titusville Herald” in Titusville, Pennsylvania described the scenery in the new Emery Opera House (page 4). After a fire destroyed the Parshall Opera House, Capt. Emery decided to remodel the Armory. The article reported, “The scenery was furnished by the well-known firm of Sosman & Landis, of Chicago, and consists of two drop curtains, a double drop curtain and eleven sets of scenes. The principal drop curtain depicts a view in Palestine and was painted by the celebrated Tom Moses of Chicago. The work has been excellently done and has been put up in good shape by the competent master machinist of the firm, Mr. C. W. Corey.

On September 19, 1886, the “Fort Scott Monitor” included an article mentioning Corey entitled, “The Opera House.” The newspaper reported, “The fresco work in the remodeled opera house was completed last night and the painters left for their homes in Topeka. Carpenters were busy at work until late in the night fitting up opera chairs in the dress circle. Mr. W. C. Corey, of Chicago, who represents the firm of Sosman & Landis, the most extensive scenic firm in the United States, is busy getting up the finest set of scenes in the western country. When the house is completed it will be one of the neatest in the state. The gas company have just completed a table on the stage that gives the operator control of the gas in all parts of the house. The large looking glass light that hangs in the center of the house spreads its light in brilliant rays to almost every nook of the house. Mrs. Morse deserves much credit for the completeness of the lighting facilities of the house” (page 5).

The “Fort Scott Monitor” article was the last newspaper article that I have located for Corey prior to his passing two years later. Corey passed away in 1888 with very little fanfare or recognition of his stage contributions.

Here is what I have discovered bout this evasive master mechanic:

Charles William Corey was born in Long Island New York, in 1830. He was the son of Charles F. Corey (1810-1869) and Hannah S. Jackson.  There is precious little out there about his early life, or how he was introduced to the theatre. Corey did marry by the age of twenty, soon heading west. On  October 13, 1850, he married Cynthia “Anna” Leeds (1833-1899) in New London, Connecticut. At the time Anna was seventeen years old and the daughter of a hotel keeper. The 1850 Census lists that her father was running a hotel in New London, and the Leeds household was composed of parents Cary and Mary Leeds and siblings: Janetta (15 yrs.), Albert (11 yrs.), Adelaide (8 yrs.), Lodovick (5 yrs.), and Alonzo (2 yrs.).

After Charles and Anna married, they soon left Connecticut and headed west, celebrating the birth of three children: Mary H. Corey Beldon (1852-1927), Joseph Leslie Corey (1858-1913) and Addie (1860-?). The Coreys had moved to Arlington Heights, Wisconsin, by 1858; that is where their son was born. They moved to Illinois and were living in Chicago by the time their youngest daughter Addie was born. “Little Addie Corey” became an actress and toured with Lemuel L. Graham in Lord’s Dramatic Company as a child.

By 1862, Charles W. Corey was listed in the “Chicago City Directory,” working as a carpenter and living at 33 Prairie St. Soon after the start of the Civil War, Corey enlisted in the Union Army on August 5, 1862. By August 25, 1862, he mustered out as a private in Company K of the 89^th Illinois Infantry. Corey was captured at Chickamauga, Georgia, and imprisoned on Sept. 19, 1863. Two years later he was paroled and mustered out in Nashville, Tennessee.  Military records indicate Corey’s physical appearance as 5’-10” with brown hair, blue eyes and a sandy complexion. After returning to his family in Chicago, Corey resumed work as a carpenter. A decade later he was still working in this capacity, now living with his family at 491 S. Halsted St. By 1875 the Coreys were living at 623 S. Canal Street.

1880 Federal Census included Charles and Anna living at 88 S. Green Street with two of their three adult children: J. L. (22 yrs. old) and Addie (20 yrs. old).  Interestingly, they lived on the same block with sign writers, mechanics, carpenters and other tradesmen. It was not until 1882 that Charles W. Corey was listed as a stage carpenter in the city directory. This does not mean that he started working as a stage carpenter in the 1880s, it simply indicates that some listings became more descriptive as formats changed.  In 1882, the Coreys was living at 813 W. Madison. Over the course of the next three years, C. W. Corey was repeatedly mentioned in newspaper articles as a stage carpenter, stage architect and master mechanic.

On Dec. 4, 1888, Corey died at his residence on 520 W. Harrison St. (19^th Ward) Chicago. He was buried at Rose Hill Cemetery, only 58 years old at the time of his death. Corey’s obituary was published in the “Chicago Tribune” on Dec. 5, 1888 (page 8). It simply stated:

“COREY – Dec. 4. Charles W. Corey. Service in Company K, Eighty-ninth Illinois Infantry; member of Gen. George A. Custer Post, No. 40 G.A.R. Funeral from late residence, No. 520 West Harrison St., at 11:30 a.m., Thursday, 6^th inst., to Wells-st. Depot, thence by 1 p.m. train to Rosehille. Members of G. A. R. invited.”

After her husband’s passing, Anna Corey moved to Boone, Iowa, where she lived with her son and his family. Anna remained in Boone for the rest of her life and is buried near her son. Upon her passing in 1900, her obituary stated, “Mrs. Anna C. Corey, mother of J.L. Corey died at the home of her son, 1612 Marshall street, Monday afternoon at 4 o’clock. The deceased was 67 years of age has been an invalid for a number of years. She was born in New London Conn., and has resided in the state ten years. One son and two daughters survive. The funeral was held Wednesday afternoon at 2 o’clock from the late residence, Rev. L.B. Wickersham officiating and the remains interred in Linwood. Buried in Boone Park Cemetery in Boone, Iowa.”

To be continued…