Stage Innovation – Page 3

Tales from a Scenic Artist and Scholar. Part 287 – Grace Wishaar and Harry W. Bishop

Grace N. Wishaar painted scenery for a variety of venues along the west coast after leaving New York 1902. In Seattle, she was photographed painting with Sheridan Jenkins, the scenic artist for the Third Street Theatre. The following year, she began working in California. Even though she married for a third time in 1906, she continued to paint under her maiden name. Her first two husbands were Whitney Irving Eisler (1897) and Oscar Graham Peeke (1902).

On August 14, 1906, Wishaar married her third husband, John Bruce Adams. However, the marriage was short lived and in 1907 the Oakland Tribune reported, “Mrs. Grace Wishaar Adams is in Matrimonial Trouble” (July 17, 1907). Adams deserted Wishaar and left a lot of debts in her name. At the time her marriage with Adams ended, she was painting all of the scenery at Ye Liberty Playhouse and Idora Park.

In California, she also worked at San Francisco’s Majestic Theatre and few other performance venues in San José. One of her greatest supporters was Harry W. Bishop (1872-1928), considered to be one of “the pioneers of California theatredom” (Oakland Tribune, 15 June 1928, page 33).

Harry W. Bishop’s obituary photo from 1928. Bishop employed Grace N. Wishaar as his scenic artist at Ye Liberty Playhouse in 1904.

Bishop was the adopted son of Walter M “Bishop” (1849-1901), otherwise known as Walter Morosco, the proprietor of Morosco’s Royal Russian Circus.

Harry W. Bishop’s obituary reported that he “began his career as a showman in San Francisco and ended it brokenhearted and poor as a sometime real estate operator.” But the story couldn’t be that simple. Oliver Morosco adopted Walter and Leslie Mitchell, orphaned sons of Sir John Mitchell and Dora Esmea Montrose of Utah. Some sources reported that Walter ran away from home at the age of 17 to join the circus as an acrobat.

After Walter left his circus career, he took over the Howard Street Theatre in San Francisco and started his new venture as a producer and manager. He later took over the Burbank Theatre in Oakland, as well as the Union Hall and the Grand Opera House in San Francisco. It was at the opera house that Harry W. Bishop began his career and Oliver Morosco was the treasurer. Fire destroyed the historic opera house in 1906, two years after he constructed another theatre – Ye Liberty Playhouse.

Harry W. Bishop’s Ye Liberty Playhouse (Oakland, California) where Grace N. Wishaar was the scenic artist (1904-1909).

Harry W. Bishop opened Ye Liberty Playhouse in 1904, boasting the first revolving stage in the western United States. By 1905, Bishop managed the San Francisco’s Majestic Theatre, Central Theatre, the American Theatre and Bell Theatre. In Oakland, he managed Ye Liberty Playhouse, where Wishaar began as his scenic artist. Bishop would later build what became known as the Fulton Theatre too. His obituary reported that “he won a reputation as a star-maker and while his productions, both dramatic and stock, concert and musical were famous, he was not in the commercial way. Throughout his career he remained a dreamer and his sole use for money was to return it to the theatre in the way of more lavish productions and finer casts until the profit was reduced to a minimum.”

Bishop was ahead of his time, not only offering Wishaar the opportunity to paint at his theaters, but also offering other women positions as ushers and ticket takers. There was another aspect to Bishop that I find fascinating as it would have greatly affected the venue where Wishaar worked. Bishop was an inventor, filing for patents relating to theatre design and stage construction.

In 1908 Bishop filed for a patent. His invention was “to provide a theater structurally arranged to permit the elevating or lowering of the main stage; to provide a vertically movable stage, horizontally ‘revoluble,’ and means for accomplishing this action; to afford a stage adapted to be bodily raised or lowered and simultaneously revolved if so desired, or lowered, and have a portion of its area revolving in one direction while another portion is rotating reversely.” Bishop stated that it was also “desirable to raise or lower certain scenes, suspended from or secured to the rigging-loft.” It goes onto describe that the principal advantages of his invention was in “the possibility of setting up all the scenes each completely, on the surface of the stage, the area of which may be divided into scenes as desired, and of suspending all the drops, hanging pieces, ceiling borders, ceiling pieces and border and other overhead lights that may be used, for all the scenes each completely, from the gridiron or rigging-loft, and of then revolving the stage and the rigging loft in a horizontal plane so that each scene is, in its proper sequence, aligned proximate to the proscenium.” He proposed that there was incentive “to devise a theatrical structure that will admit of building or setting scenes of as nearly normal and natural effect as is possible to attain, by elevating or lowering all of the visible matter within the proscenium.

Here is the link: https://www.google.com/patents/US1136860?dq=ininventor:%22Harry+W+Bishop%22&hl=en&sa=X&ved=0ahUKEwi1772s46fYAhWM5YMKHXT_Du8Q6wEIMTAB

In 1914, Bishop also engineered a new and improved proscenium opening and structure. The ultimate purpose of his invention was “to produce upon the mind an impression of the picturesque, unmechanical production and to eliminate the rigidness given by architectural ornamentation common to arch work and prosceniums.” This was enhanced by “providing a curtain movable just behind the rear edge of the frame and which may be decorated with a scene harmonious and introductory to the arrangement of property on the stage so that when the curtain rises the transition is a continuation of the introductory scene on the curtain.” Lights were placed in a concavo-convex contour at such a depth that it projects somewhat in front and behind the wall.”

Here is the link: https://www.google.com/patents/US1008886?dq=ininventor:%22Harry+W+Bishop%22&hl=en&sa=X&ved=0ahUKEwievLW83afYAhWe8oMKHYRTC0gQ6wEIODAC

In 1918, Harry W. Bishop lost the majority of his fortune including his home in the exclusive Piedmont residential district. Wishaar had also lived in Piedmont with her family. A decade later Bishop passed away, leaving his widow Florence and five children: Mrs. George Stimmel, Lester K., Walter K., Dalton, and Beverly Bishop. By 1928, Wishaar was still in Europe and continuing on with her own adventure that had begun in 1914. California remained far behind her.

To be continued…

Tales from a Scenic Artist and Scholar. Part 239 – Thomas G. Moses in York, Pennsylvania

Thomas G. Moses returned to the Sosman & Landis Studio during June 1891. This was after working on the Lyceum Theater scenery in Duluth, Minnesota, during March, April, and May. He enjoyed some work at the studio for only a few days before going on the road again. As usual, Ed Loitz was sent ahead to set up the on site shop and prepare the space for painting. Sosman & Landis had a painting project in York, Penn, but Moses’ typed manuscript fails to mention the venue.

Postcard view of railroad depot in York, Pennsylvania. Thomas G. Moses traveled to York by rail to paint the opera house scenery.

I discovered that Moses was in York to paint the scenery for opera house on N. Beaver Street. Built, originally in 1881 at a cost of $38,000. By 1891, the York Opera House was an extremely popular attraction ready for an upgrade. In 1891, Moses was in York to paint scenery after a massive renovation. The venue was being reconfigured to include a fly tower! The York Opera House was replacing their current collection of roll drops with fly drops.

A view of the original 1881 York Opera House before renovation in 1891.

The June 10 issue of the York Daily (Vol 65. No 6405, page 1, second column) included an article titled, “The Opera House Improvements.” The article noted, “The curtain will not be raised by rolling as is the usual custom, but will be lifted bodily. This will prevent the cracking off of the paint and also make it impossible for any creases to appear. To make the proposed change, the roof of the house will be cut out and an addition built on the same which will allow the curtain to be lifted in the manner adopted.” Sosman & Landis were promoting a superior product; unlike roll drops, painted scenes on fly drops would not crack or crease. This identifies an problematic issue with roll drops and an opportunity for scenic studios to make the sale of a “new and improved” product.

Another view of the renovated York Opera House.

Playbill from the York Opera House, 1897.

The article continues to describe the scenery contracted by Sosman & Moses:

“In addition to this there are seventeen complete sets of scenery of one hundred and thirty five pieces. These sets will be painted here by the artist who, with his assistant when they leave here, will paint all of the scenery of the new “Alpha” theatre at Pittsburgh, PA. To give an idea of what is to be done here, we enumerate the sets. They are a “kitchen,” a “plain chamber,” an “oak chamber,” a “center door fancy,” a “two door fancy, “ a “prison,” a “palace,” a “modern street,” an “ancient street,” a “garden,” a “dark wood,” a “cut wood,” a “horizon” (ocean view), a “rocky pass,” a “landscape,” “cottages,” and “castles.” Not only will all the above be procured, but as complete a set of new drops, “set” pieces and stage properties to be obtainable will be added. All of the stage carpets will be entirely new. These improvements will cost with the new addition over $2500, and will be finished about the middle of August, n time for the opening of the next season. On account of the large expenditure necessitated by these improvements, and the short time at the disposal of the management, the proposed changes of the seats, and other changes will not be undertaken until early next spring. The season will be closed early for this purpose. The management should be congratulated on the extensive first steps towards the complete remodeling of our beautiful opera house.”

The newspaper noted that Mr. Perry Landis of the firm Sosman & Landis, scenic artists of Chicago, Illinois, was in the city to meet with directors about the “proposed changes in stage appointments.” The article explained that Mr. Landis attended the board of directors meeting. The Sosman & Landis model was received “with most gratifying success.” After the board examined the designs, they unanimously agreed to give Sosman & Landis the contract to furnish an entire new set of scenery and new drop curtain for the York Opera House. The article noted, “The new drop curtain will be painted in their Chicago studio, who execute no other kind of work. It will be in imitation of white satin with plush drapery. The design on it is entitled the “Witch’s Daughter,” after a celebrated painting and is a beautiful conception.”

The following month, Moses’ family left Chicago to join him on location in York. Moses wrote, “Ella got the children ready and we left for York on the 7^th of July. Arrived on the 8^th. After some trouble we found very good accommodations at the Central Hotel – a new addition to the hotel had just been completed and we were given two brand-new outfits.”

Postcard depicting scenes from York, Pennsylvania.

While working in York, Moses also “found plenty of good sketching.” The countryside was beautiful and Moses was always trying to improve his artistic skills with plein air painting and sketching. Moses wrote, “One week we went to Gettysburg and over the famous battlefield. The whole country is very picturesque and we more than enjoyed our stay.”

A livery stable owner next door to the theatre became interested in Moses’ work. Everyday he would drop on by to watch the scenic artists at work. That first Sunday in York, Moses hired a rig from him so that Ella could take the children out during the week. They stayed for about three weeks and the livery bill was only $10.00. The Central hotel was $21.00 per week, three adults and four children. Moses wrote, “Pretty cheap. I don’t see how they could do it.” I do. Moses captivated people with both his personality and talent. This was one more way to display appreciation for a new found friend and his contribution to the community. The job was completed by July 31, 1891 and soon, Moses and his family were on their way to Meridan, Conn. for another painting project.

Of their journey, Moses wrote, “We had to change cars for times – Harrisburg, Philadelphia, New York City and New Haven. I don’t know why, but we did. We were all tired out. We found a good hotel, but it was $36.00 per week. Same as we had in York for $21.00. There was no paint frame or bridge in the theatre, but we found a high platform ready for us. The following day we were at work painting.” While in Meridan, the Moses family enjoyed the many carriage rides out in the country and trips to the seashore. Savin Rock near New Haven was a particularly memorable adventure.

To be continued…

Tales from a Scenic Artist and Scholar. Part 134 – “The Finest Theatre in America” by Albert, Grover & Burridge

The Beckwith Memorial Theatre of Dowagiac, Michigan, was built in 1892 for the cost of one hundred thousand dollars. Today’s equivalent would be $2,588,925.36! Albert, Grover & Burridge directed the plan and installation of all stage fittings, the wall decorations of the auditorium and painted décor throughout the entire building. This was a major extravagance for a small town that numbered less than seven thousand people.

Beckwith Memorial Theatre, architectural drawings.

Roger E. Greeley’s “Best of Robert Ingersoll, Immortal Infidel: Selections of His Writings and Speeches” (1977), includes a tribute delivered by Ingersoll to the beloved memory of Philo D. Beckwith. Greeley became intrigued with the history of Beckwith and his theater, a structure advertised as “the finest theatre in America.” I can see why as I am now fascinated with the story and the building too.

Beckwith Memorial Theatre, proscenium boxes and edge of drop curtain created by Oliver Grover.

Beckwith Memoial Theatre was a sizable house that had a capacity to seat 700. There were 499 overstuffed mohair chairs with 170 in the balcony. For the grand opening, thirty-six hanging drops could be combined in various combinations for seventy-six set possibilities. These settings were all painted by Albert, Grover & Burridge. The size made me think of early installations for Southern Jurisdiction degree productions.

Beckwith Memorial Theatre. Note fly gallery and paint bridge.

Beckwith Memorial Theatre, sectional drawing of proscenium.

Beckwith was an interesting character, beginning his career as a manufacturer of an agricultural implement that improved the round seed drill. He then focused on the mass-production of cast iron wood-burning stoves and furnaces, founding the company Round Oak Stove. His business prospered and so did the town. Beckwith desired to construct a grand theatre for his bustling town. Unfortunately, he never lived to complete his dream and died unexpectedly in 1889. His family decided to complete his vision and build a fine theatre for his memorial, sparing no expense. Greely stumbled across a front-page story in the Dowagiac “Republican” from January 18, 1893. The article’s heading proclaimed: “The Beckwith memorial Theatre Building. The finest theater in America.” As I read the article, I thought of that Rick Boychuk emailed to me concerning the Crump Theatre. This article was intended to make its way to you, Rick.

Let’s start with an excerpt from the “Republican” article:

“It is the fitting and arrangement of the stage in the Beckwith Memorial Theatre, that the greatest care has been exercised to obtain the best possible results, and a great degree of success has been obtained. To go into technicalities and the use of stage terms would not be perhaps intelligible to our readers generally, so we will note only the main points. The stage is fifty by thirty-eight feet. Up to the gridiron, from which is suspended by an elaborate system of lines and pulleys all of the stage settings it is possible to use in the form of drop curtains, is fifty feet, allowing ample room for hoisting out of sight a whole screen in a few seconds, and allowing rapid changing of scenes so necessary to the continuing of the action of a play and effects are made possible that were unknown in the old days of sliding flats. To those acquainted with and interested in things theatrical and matters pertaining to proper stage fitting we think it is sufficient guarantee of the success of the stage to say that Albert, Grover & Burridge, of Chicago, had the direction of the stage fittings and the wall decorations of the auditorium and the entire building. Ernest Albert, of A., G., & B., under whose direction the art glass, colorings, the selection of draperies, and the furnishings of the theater were made, had succeeded admirably in producing the most beautiful and harmonious whole.”

The author credits all of the original designs used in the decoration to J. Frederick Scott and the drop-curtain to Oliver Dennet Grover, both of Albert, Grover & Burridge. Does this mean that Scott designed the building murals or the actual scenery? It remained unclear to me. Grover’s drop curtain was described as “a dream of loveliness. It was monumental in character with male and female figures and cupids representing the different elements of drama, in a Grecian landscape, where splendid temples set amid cypress and acacia backed up by the faint lines of distant hills from the background.” The image was published in volume fifteen of “Building Age” (Jan. 1893, page 267-271).

Beckwith Memorial Theatre drop curtain by Oliver Grover.

I also stumbled across another interesting statement about the Beckwith Memorial Theatre scenery in “W.A. Norton’s Directory of Dowagiac, Cassopolis and La Grange, Pokagon, Silver Creek and Wayne Townships” (1899). On page 159, the author writes, “The scenery is designed for the cyclorama effect which has been found so effective, and which was first used in the Auditorium in Chicago. By this arrangement a scene can be set as a street or garden by simply moving the scenes which are profiled on both sides and top, anywhere desired. Every set of scenery is a finished piece of art. It is, after the latest fashion, lashed together with ropes and is capable of being made into seventy-five distinct stage dressings.”

Beckwith Memorial Theatre. Painted setting created by Albert, Grover & Burridge.

Scenes that are “profiled on both sides and tops” would be the leg drops. The cut opening would designate the street or garden scene with information painted on the leg drops. The various combinations of leg and backdrops would create incredible variety for potential stage compositions, all easily lowered to the stage floor for instant configurations. This was just like the new scenery for Scottish Rite theatres. There was no longer the complicated and noisy transitions of flats sliding in their respective grooves.

Norton’s Directory discusses the electric lighting for the stag, writing, “The problem of electric lighting of theatres has been solved in this house, by the use of a large switch-board, I which there are twenty-five levers, and nine powerful resistence coils. The lighting of the stage itself is exceptionally complete, four hundred electric lamps in three colors being utilized for this purpose.” Wow. Beckwith may be a significant “missing link” in the evolution of stage design, counterweight systems and lighting. This places Albert, Grover, & Burridge on the cutting edge of innovation and I couldn’t help thinking of the Electric Theatre spectacle title “A Day in the Alps” at the Columbian Exposition. This scenic spectacle utilized 250 electric incandescent lamps that were operated in full view of the audience with thirty-six switches controlling red, white, and blue lamps.

Albert, Grover, and Burridge were all close friends to Thomas Gibbs Moses. Numerous sketching trips were planned to capture lovely landscapes and improve their skills. In 1890, Albert and Burridge called on Moses as they were all in Pueblo, Colorado, at the same time. Moses was there for work and Albert and Burridge were on a sketching trip. Could they have discussed the Chicago Auditorium’s new scenery, the creation of an innovative painting studio, or any of potential technology waiting to be marketed to a variety of clients? There were so many ideas waiting to be explored and implemented across the country

The Beckwith Memorial Theatre stopped featuring staged entertainment in 1928. The building was demolished in 1966.

To be continued…