After a two-week break, I am back to the life and times of Thomas
G. Moses. To recap, in 1918 Moses resigned as the president of Sosman &
Landis. He initially worked for New York Studios and then left to join Chicago
Studios. However, both were short lived, as by the spring of 1920, Moses was
back at Sosman & Landis. We he returned to the studio, Moses agreed to only
an annual contract. The same spring that Moses returned, Sosman & Landis Scene
Painting Studio was credited with scenery for the Redpath Chautauqua’s
production of “H. M. S. Pinafore.”
From the “Morrison Gazette,” 20 May 1920, page 4.
Annual Chautauqua events, or tent shows, were held in cities
across the country during the spring and summer, featuring programs with all
types of entertainment that ranged from popular Broadway shows and orchestra
concerts to magicians and lecturers. During its peak, some 12,000 communities
hosted a Chautauqua. The Redpath Chautauqua was massive circuit with hundreds
of shows and thousands of entertainers. Although there were many Chautauqua
agencies that contracted entertainers and lecturers, one of the most notable was
the Redpath agency.
From the “Watchman and Southron,” 24 April 1920, page 3.
The “Newberry Weekly” included a picture of the 1920 Redpath
Chautauqua production with the caption, “A feature of the coming Redpath Chautauqua
here will be the presentation of a complete production of the famous Gilbert
and Sullivan light opera ‘Pinafore,’ with special lighting and scenic effects,
the scenery having been built especially for the Redpath production by Sosman
& Landis, noted scenic artists of Chicago” (Newberry, South Carolina, May
4, 1920, page 3).
From the “Newberry Weekly,” Newberry, SC, 4 May 1920, page 3.
The “Bedford Daily” reported, “Three seasons ago the Redpath
management presented a complete production of ‘The Mikado; which was so
enthusiastically received that Chautauqua patrons have ever since been asking
for another Gilbert and Sullivan opera”(5 June 1920, page 2). “The Mikado”
production had also boasted scenery by Sosman & Landis. In 1917, a company
of thirty, selected in part from the Chicago Grand Opera Company, had performed
“The Mikado.” For more information about the Redpath Chautauqua Circuit and “The
Mikado” tour, see past post 967 (https://drypigment.net2020/04/21/tales-from-a-scenic-artist-and-scholar-part-967-the-redpath-chautauquas-mikado-1917/).
By 1920, Sosman & Landis contracts ran the gamut, from tent
shows to charity balls. Although Moses returned in April, he and his wife left
for a 40-day western vacation that summer. Of his trip, he wrote, “We left for
the West August 19th…Arrived home on September 28th,
having been gone forty days, it was certainly some trip… It took me a few days
before I was I the harness again, and working just the same as I did before I
left two years ago. Landis and I got out
after business within a few days after my arrival and succeeded in landing a
few good ones. I started to do some
painting but it did not last long, as I had too much other business to do. I found the conditions altogether different
from what I supposed them to be – too much overhead. It will be awfully hard to keep up the output
to balance it all I was very well pleased to learn that from September 1st,
we made a profit of $12,000.00 before January 1st. I am afraid we will use it all up before
spring.”
He would remain on annual contract. In 1921 wrote, “we had a
director’s meeting and it was settled that I remain at $8,000.00 a year.” The
monetary equivalent of an $8,000 annual salary in 1920 is approximately $103,000.00
today.
In 1918, Thomas G. Moses wrote,
“Received a nice order from Harrison Company, operating the Redpath Lyceum
Bureau for their chatauqua work.” The
previous year. Sosman & Landis also delivered scenery for the Redpath
Chautauqua Circuit.
In 1918, “Trench and Camp”
reported:
“Mr. Marc Klaw was given the
task of organizing four companies to play light comedies and four companies of
vaudeville stars. ‘Turn to the Right,’ ‘Cheating Cheaters, ‘Here Comes the
Bridge,’ ‘Inside the Line’ and other popular plays will be presented in turn at
the various cantonments. The professional vaudeville companies will also make
the rounds and the theatres will be offered to the men for the production of
amateur dramatics or special moving pictures. There will be a small charge of
from 15 to 25 cents made for professional entertainments. I addition to these
theatres, and at both the National Army and National Guard camps, the Redpath
Lyceum furnished entertainment. The general direction of all paid
entertainments at the camps is in the hands of Mr. Harry P. Harrison, the
president and general manager of the Redpath Lyceum Bureau” (22 Jan. 1918, page
7).
Written by Raymond B. Fosdick,
Chairman of the Commission on Training Camp, the article explained, “Just after
the war was declared last April, the President and Secretary of War, having
these facts keenly in mind, asked me to assume the chairmanship of the newly
appointed Commission on Training Camp Activities. The main job of this
Commission is to apply the normal things of life to the hundreds of thousands
of men in training camps. Besides the chairman, the members of the Commission
are Lee F. Hanmer, of the Russell Sage Foundation; Thomas J. Howells, of
Pittsburgh; Marc Klaw, the well-known theatrical producer; Joseph Lee,
president of the Playground and Recreation Association of America; Malcolm L.
McBridge, the former Yale Football star; Dr. John R. Mott, well known as
General Secretary of the War Work Council of the Y.M.C.A; Charles P. Neill, of
Washington; Col. Palmer E. Pierce, U.S.A., and Dr. Joseph E. Raycroft, director
of physical education of Princeton University. It was our task, in the first
place, to see that the inside of sixty odd army-training camps furnished real
amusement and recreation and social life. In second place, we were to see to it
that the towns and cities near by the camps were organized to provide
recreation and social life to the soldiers who would flock there when on leave.
In short, the Government took the attitude and is holding to it all along:
‘Over a million men are training hard to fight for the Government; the
Government will give them, while they train, every possible opportunity for
education, amusement and social life.’”
On March 8, 1918, the “Green Bay
Press-Gazette” announced, “The work of entertaining the soldiers has been
consolidated under the ‘Military Entertainment Council,’ of which James Couzens,
of Detroit, is chairman; with Harry P. Harrison of Chicago, as chairman of the
executive committee. Under the Council, the Chautauqua tents and Marc Klaw
theaters all operate together, giving nightly entertainments. They will hereafter
be known as ‘Liberty Tents,’ ‘Liberty auditoriums’ and ‘Liberty theaters’”(Green
Bay, Wisconsin, page 13).
From the “Atlanta Constitution,” 11 Jan 1918 page 6.
The attached newspaper clipping
shows Camp Gordon’s Liberty Theater. Pictured upper left is Raymond B. Foswick
(chairman of the war commission on training camp activities, in charge of all
the theaters and director on the ‘off time’ of every sailor and soldier). Pictured upper right are Sam Harris and George
Cohan, partners in song-writing, who are working to making the programs of the
army circuit a success). In the lower left is E. F. Albee, manager of B. F.
Keith’s circuit, who is sending a number of his best acts to the cantonment
circuit). In the lower center is Marc Klaw of Klaw and Erlanger bookers, who is
arranging the productions for the Liberty theaters, and who is now engaged in
training a number of comedy casts). Pictured lower right is Harry P. Harrison,
president of the Redpath Chautauqua, who is also giving his time attention and
performers to the entertainment of the national army men.”
Sosman & Landis delivered scenery for a “Mikado” production
that toured the Redpath Chautauqua circuit in 1917. Annual Chautauqua, or tent,
events were held in cities across the country during the spring and summer,
featuring programs with all types of entertainment that ranged from Broadway
shows and orchestra concerts to magicians and lecturers. During its peak some
12,000 communities hosted a Chautauqua. The Redpath Chautauqua was massive
circuit with hundreds of shows and thousands of entertainers. Although there
were many Chautauqua agencies that contracted entertainers and lecturers, one
of the most notable was the Redpath agency. In 1917, one of the Redpath touring
shows was the “Mikado.” A company of thirty, selected in part from the Chicago
Grand Opera Company, performed in the Gilbert and Sullivan classic that year.
From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Durham Daily News,” (Durham, North Carolina), 8 April 1917, page 17.
The “Critterden Record-Press” reported, “The Redpath
Chautauqua special train of six cars, carrying over a hundred of the big
Redpath family, left Chicago on Tuesday afternoon, April 10, for Jacksonville,
Fla. The arrival in Jacksonville was scheduled for Thursday, April 12th,
the opening day of the Redpath Chautauqua circuit for 1917” (Marion, Kentucky, 14 June 1917, page 9). The
season ran until the end of summer, closing the first part of September.
On June 12, 1917, the “Owensboro Messenger” reported,
“The Redpath chautauquas have been doubly fortunate in securing two eminent
artists for their production of ‘The Mikado’ here Chautauqua Week” (Owensboro,
Kentucky, page 7). The show featured the talents of Ed Andrews as Ko-Ko and Arthur
Aldridge as Nanki-Pooh. The “Steuben Republican” reported, “The orchestra is under
the dynamic direction of Miss May Valentine, a band and orchestra leader who is
rapidly gaining wide recognition” (Angola, Indiana, 4 July 1917, page 4). The article
also noted, “Mr. Arthur Aldridge is, like Mr. Andrews, one of the great
interpreters of his role, Nanki-Pooh. In the recent revival of the Gilbert and
Sullivan Opera he scored tremendous success with De Wolfe Hopper. He has
appeared recently in the mammoth New York Hippodrome productions and is now
recognized s New York’s leading light opera tenor. Indeed, some critics have
been so kind as to claim that he has few equals among the world famous grand
opera tenors” (Angola, Indiana, 4 July
1917, page 2).
May Valentine was the conductor of “The Mikado.” From the “Advocate Messenger” (Danville, KY, 25 May 1917, page 7.
Newspapers across the country noted that Andrews was the
best Ko-Ko of his generation, having performed the part more than 1200 times to
date. The “Knoxville Sentinel” reported, “He is a small dark man, swarthy of
skin with a beak like an eagle. He possesses a thunderous bass voice all out of
proportion in volume to his small body. He sings the part with zest and a
delightful enthusiasm” (May 24, 1917, page 5). Of the scenery, the articled
added, “Beautiful and unique effects have been secured in the scenery built
especially for the Redpath chautauquas by Sosman & Landis, of Chicago.
These scenic artists have just completed the effects for a spectacular Madison
Square Garden production.” “The Nashville Banner” reported, “At first it was
thought that it would be practically impossible to give ‘The Mikado’ an
adequate setting on the Chautauqua stage, but all difficulties were overcome
and most gratifying results have been obtained” (Nashville, TN, 2 July 1917,
page 28).
From the” Times-Herald,” (Port Huron, Michigan) July 31, 1917, page 2.Ed Andrews played the part of Ko-Ko.
The University of Iowa Libraries holds a massive Redpath
Chautauqua Collection, contained in 1,132 boxes. The cite gives a brief history
for the circuit:
“Circuit or ‘tent’ Chautauqua had its beginning in the
lyceum movement, which started in Massachusetts as early as 1826, and in the
Chautauqua assemblies held at Lake Chautauqua, New York, beginning in 1874. The
purpose of the lyceum movement was self-improvement through lectures and
discussions on literary, scientific, and moral topics. After the Civil War,
commercial lyceum bureaus were founded; among them was the Redpath Lyceum
Bureau of James C. Redpath in 1868. In 1901, Keith Vawter purchased a one-third
interest in the Redpath Lyceum Bureau and became the Redpath booking agent in Chicago,
later moving his headquarters and operations to Cedar Rapids, Iowa. In the
summer of 1904, Vawter launched the first Chautauqua circuit with the
assistance of Charles Horner. The Redpath Lyceum Bureau had offices in
other American cities, including White Plains, New York; Columbus, Ohio;
Chicago; and Kansas City, Missouri. Vawter’s territory was roughly Iowa,
Minnesota, the Dakotas, Nebraska, and Missouri. Another Iowan and former Vawter
employee, Harry P. Harrison, ran the Chicago office. Under the name
“Redpath-Chicago,” Harrison launched a major Chautauqua circuit in
1912. His territory was Illinois, Indiana, Ohio, Michigan, Kentucky, Tennessee,
and the Gulf States. In 1912, Horner established in Kansas City the
“Redpath-Horner Chautauquas.” His territory was Missouri, Arkansas,
Texas, Oklahoma, Kansas, Nebraska, Wyoming, Colorado, and South Dakota. Circuit
or tent Chautauqua began to expand and became an even greater influence about
1913, but World War I interrupted the circuits somewhat. In the years after the
War (1920-1924), Chautauqua reached its peak of attendance. In 1920 there were
twenty-one companies operating ninety-three circuits in the United States and
Canada. The Great Depression brought an end to the circuits. The final circuit
folded its tents in 1932 and the splendor of tent Chautauqua was over.” Here is
a link to this remarkable collection, http://sdrc.lib.uiowa.edu/traveling-culture/inventory/msc150.html
The publicity brochures in this collection have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php Additionally, there are over seven hundred photographs and postcards in the Chautauqua Collection with subjects ranging from tents and parades to audiences and performers, cities, and other scenery. These have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php
In 1914 Sosman & Landis created scenery for the Ringling
Bros. grand circus spectacle “Solomon and the Queen of Sheba.” Over a decade
earlier, the John Robinson circus also included “King Solomon and the Queen of
Sheba” at a circus spectacle. It
provided a rich and popular subject for a variety of nineteenth-century and
twentieth century entertainment venues.
King Solomon and the Queen of Sheba circus spectacle advertised in the “Wichita Beacon,” 18 Aug 1900, page 5.John F. Robinson and his circus spectacle “King Solomon and the Queen of Sheba” from the “Knoxville Sentinel,” Oct 15, 1903.
The King Solomon story was also staged for Ancient and
Accepted Scottish Rite of Freemasonry degree productions at this time. Masonic designs included a variety of settings
from King Solomon’s reign, including the Temple, Sanctum Sanctorum, his private
apartments, audience chambers, and the throne room. The story of the construction of King
Solomon’s Temple was a subject dramatically presented in both Blue Lodge rooms
and on Scottish Rite stages as part of their ceremonials. The construction of the Temple and the
assassination of its chief architect Hiram, are a prominent topic in Masonic
degree work. This story dramatically presented in lodge rooms was theatrically
staged for Scottish Rite degree work. Never exclusive to the Fraternity,
the reign of King Solomon was a popular subject for a variety of visual
spectacles throughout the nineteenth century.
King Solomon degree setting for Scottish Rite degree work by Sosman & Landis Scene Painting Studio, ca. 1904.
In past posts, I
have covered the subject of King Solomon on both public and private stages,
including two 1840s touring show that featured “Chemical Paintings,” also known
as “Magic Pictures.” These were small painted backdrops that transitioned from
day to night as the composition was alternatively lit from both the front and
back (see past installment #320). Newspapers at the time reported, “by modifying the light upon the picture, exhibits two
entirely distinct representations upon the same canvas” (The Times-Picayune, 20
Dec. 1842, page 3). The “Inauguration of
Solomon’s Temple” was one of four scenes that toured with the show.
Here is the 1842 description of “The Inauguration of Solomon’s Temple”
as published in “The Times-Picayune:”
“This painting represents the
magnificent Temple of Solomon, son of David, which he caused to be erected in
Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and
elegance of its exterior architecture. The same Painting soon after passes
through all the modifications of light: then night comes on, (effects obtained
by the decomposition of light, a new process of painting invented by Daguerre,)
the Temple appears illuminated interiorly by degrees, reflecting a bright light
exteriorly, which discovers a great multitude of people flocking to adore the
Ark of the Covenant, which the High Priest has deposited in the Tabernacle”
(New Orleans, December 29, 1842, page 3).
Any Mason who attended
the 1842 exhibit might leave full of ideas that could make the degree work in
my small lodge room better. The scenic effects exhibited at the end of a
darkened room suggested the possibilities for dramatic effects during degree
work. By the 1850s, the first Scottish Rite stages began to appear, with
painted settings and costumed figures under stage lights. Fast-forward a few
decades.
In 1891, a King
Solomon spectacle was a feature for the Piedmont Exposition in Atlanta, with nightly
performances from Tuesday until Saturday (Atlanta Constitution, 19 Oct 1891, page 6). Although
met with some controversy from the conservative Christian faction of the time,
a series of rebuttals supported the productions. It was a popular production.
By 1899, the King Solomon story was picked up by the John Robinson Circus.
Newspapers in 1900 announced “a magnificence of a scenic
spectacle of Solomon and Queen of Sheba” produced by the John Robinson Circus
(Marshall County Independent, Plymouth, Indiana, 25 May 1900, page 8). It was one of ten big shows that toured with
his circus Advertised as the oldest circus on the road in 1824; by 1900 the
third generation of John Robinson descendants advertised it as the Robinson
Show (Fort Scott Weekly, 9 Aug. 1900, page 8). The John Robinson Circus was one
of the oldest running family circuses in the United States. The four
generations that managed the circus were John Robinson I (1807 – 1888), John
F. Robinson II (1843 – 1921), John G. Robinson III (1872 – 1935) and
John G. Robinson IV (1893 – 1954). Here is a link to the circus’ history as it
is quite fascinating: http://www.circusesandsideshows.com/circuses/johnrobinsoncircus.html
Three of the four Robinsons who would run the Robinson Circus.
John Robinson
Circus advertisements promised, “Nothing Old But the Name” and the “Wichita
Daily Eagle” reported, “The most interesting feature in the performance that
the Robinson show has is the spectacular production of King Solomon, which was
especially beautiful under the dazzling lights in the evening. This part of the
show is gorgeously staged and in effect if like the great spectacle production
in America of 1893. Triumphal marches, to the music of trumpets, and an
acceptionally [sic.] good band, fifty or more girls attired in oriental
costume, a hundred on horses representing various clans and allies, correctly
costumes true to history, and later ballet and dancers, the story in pantomime
of the judgment of King Solomon on the parable of the babe claimed by two
women, and closing with the visit of the queen of Sheba, were all produced in
magnificent manner. The regular circus performance which followed contained
some old features always seen, but it also contained many new features and
original idea which makes the show more interesting than the simple old
fashioned circus” (Wichita Beacon, 18
Aug. 1900, page 5).
Advertisement for the John Robinson’s circus “King Solomon and the Queen of Sheba,” form From the “Ottawa Herald,” 5 Aug. 1900, page 5.
In 1900,
Robinsons Circus advertisements noted that the production included 1,000 men
and women, 500 horses, elephants, camels and 100 ballet dancers, transported
across the country in several trains of cars.
Furthermore, $2,000,000 was purportedly invested in the show. There were
“20,000 seats for 20,000 people under an absolutely water-proof canvas,” “40
camels hitched to a $20,000 Golden Chariot,” and “Forty Soul Stirring,
Fearless, Madly Ridden Hippodrome Races, Forty” (Wichita Beacon, 18 Aug. 1900,
page 5).
John Robinson Circus advertisement from the “Kingman Journal,” 10 Aug. 1900, page 6
By 1902, the
“Knoxville Sentinel” advertised the Robinson Circus, reporting, “The Bible
contains within its covers no pages so attractive in interest, so impressive in
description, so reverential and so expressive of divine devotion, so rand in
developments, as those which relate to King Solomon and his reign. It was a felicitous
thought, then of the celebrated artist, John Rettig, that led him to
contemplate the reign of Solomon as the subject for a spectacle, and to select
that period of Solomon’s administration when the king is visited by the Queen
of Sheba, as the theme for his grand and all overshadowing masterpiece of vast
spectacular presentations (15 Oct. 1902, page 2). A year later, the “Courier
Journal” added, “It was a wise thought of the celebrated artist John Rettig,
that led him to take the reign of Solomon as the subject for a spectacle” (23
April 1903, page 4). The Robinson Circus show was designed by Cincinnati scenic
artist John Rettig and directed by Charles Constantine. Rettig (1858-1932) was
a friend of Thomas G. Moses and the two traveled in the same circles.
John Rettig, scenic artist and design for the John Robinson Circus spectacle, “King Solomon and the Queen of Sheba.” From his obituary notice, May 2, 1932, page 2.
“The Oswego
Independent” published, “The ‘Queen of Sheba’ was a sight to behold, Arrayed in
circus tinsel, with cheap finery and frippery, supposed to represent the
original in her journey to view the wonders and glories of King Solomon, she
was a sight never to be forgotten, and was a libel on the original, as word
painted in the scriptures” (Oswego, Kansas, 31 August 1900, page 3). The
“Newton Kansan” added, “The spectacular representation of scenes in connection
with the lives of King Solomon and the Queen of Sheba was a novel feature and
was one of the best things in the show, but would be vastly improved if
shortened as it becomes tiresome” (17 Aug, 1900, page 1). Most reviews,
however, were pleased with the presentation. The “McPherson Weekly Republican,”
commented, “The presentation of King Solomon’s court, the temple and the
amusements of the ancient Hebrew court were a big surprise in excellence and
would have done credit to a large opera house performance” (24 Aug. 1900, page
7).
Of the
production, an advertisement in the “Wichita Daily Beacon” stated, “King Solomon
and Queen of Sheba. Dwarfing and overshadowing to comparative insignificance
interior and out door spectacular events of the era. Replete in sacred
realisms, historical accuracies, Biblical events, colossal processions, and
introducing all the ceremonies with the original pomp and splendor of the Court
of Solomon.” In 1929, the John Robinson Circus was still featuring “King
Solomon and the Queen of Sheba.”
1929 photograph of the John Robinson Circus for sale online. Note the costumes for the King Solomon circus spectacle.1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/Detail of 1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/
By 1914, spectacles
depicting King Solomon’s life were still a popular to many, including the thousands
of men who continued to tell the story in Masonic ceremonials. The Ringling
Brothers’ spectacle of “King Solomon,” however, was produced on a much grander
scale than any other circuses or fraternity. The Masonic settings at Scottish
Rite theaters paled in comparison with the grand spectacle at the circus, yet
the same scenic artists were painting the sets for each venue.
Thomas G. Moses designed the scenery for the Ringling Brothers grand circus spectacle, “King Solomon and the Queen of Sheba.” Sosman & Landis delivered the scenery for the production in 1914.
In 1914, Thomas G. Moses wrote,
“Jan. 6th, went to Baraboo, Wisconsin, to see the Ringling’s for the
new spectacle, ‘King Solomon.’ Another big show. Made a model for one scene and
got $2,900.00.” Moses was referring to the 1914 Ringling production “Solomon
and the Queen of Sheba” that toured throughout the United States. Later in
1914, Moses wrote, “Ringlings’ work came out very good. Everyone was pleased and that is saying a
good deal.”
I have mentioned this grand
circus spectacle, or spec, in the past, but it is worth repeating. It provides
an additional layer of context for the painted tradition preserved in Scottish
Rite theaters.
“King Solomon and the Queen of
Sheba” was presented in a series of dramatic pantomimic pictures staged with
“all the lavish splendor and opulence that marked the period when the wise
Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in
Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba” (Star
Gazette, Elmira, NY, 21 May 1914, page 3).
The Star Gazette reported, “The spectacle is presented on an enormous,
specially constructed stage, which occupies nearly one entire side of the main
tent. The tent measures 560 by 320 feet
and seats 14,000 people at a performance” (21 May 1914, page 3). Remember that
two shows were given daily; one at 2pm and one at 8PM, and the doors opened an
hour before show time, allowing spectators to visit the 108 cages in the
Ringling zoo and purchase candy and souvenirs!
In 1914, the “Indianapolis Star”
reported, “Nero has watched his Rome burn to a cinder beneath a circus tent.
Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatra
has taken her last look at Egypt before the clown’s entry. And now the wise King Solomon and the Queen
of Sheba have been made the hero and heroine of the circus spectacle,
surrounded with all the gorgeous pageantry and lavish costumes a showman can
devise” (4 May 1914, page 3).
Thomas G. Moses designed the scenery for the Ringling Brothers grand spectacle, Solomon and the Queen of Sheba” in 1914.
On May 21, 1914, the “Star
Gazette” reported:
“Nearly half of the entire train
section is used to transport the scenery and costumes used in the massive
spectacle, ‘Solomon and the Queen of Sheba.’ The spectacle includes a cast of
more than 1,250 characters and a ballet of 300 dancing girls under the personal
direction of Ottokar Bartik, ballet master of the Metropolitan Opera House, New
York, and late of La Scala, Milan. The
music for this spectacle has been written by Faltis Effendi, formerly
bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90
musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a
cathedral pipe organ, costing $100,000.
The Ringling Brothers’ have expended $1,000,000 in the production of
this mammoth spectacle which faithfully and accurately portrays the pomp and
ceremony, life and wisdom of a period a thousand years before Christ, and
introduces Solomon in all his glory and Balkis, Queen of Sheba, the most
interesting woman of her day” (Star Gazette, Elmira, NY, 21 May 1914, page 3).
From the “Reading Times,” 16 May 1914, page 9.From the “Pittsburg Press”, 5 May 1914, page 16.
The US Inflation Calculator
measures the buying power of $1,000,000 in 1914 to be the equivalent of
$25,200,600.00 in 2018. Fifty men were needed to handle scenery and special
effects (Dayton Daily News, 26 April 1914, page 31).
When the circus arrived in
Elmira, New York during 1914, the “Star Gazette” included a large article about
the early morning arrival and events, advertising:
“The big circus is almost
here. Tomorrow morning in the small
hours just before dawn, four long red and yellow trains, made up of 86 cars
will roll quietly into Elmira coming from Binghamton, over Lackawanna
railroad. They will be unloaded
immediately and within a few hours the big aggregations of world wonders which
comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered
under twenty acres of white canvas on the show grounds.”
From the “Sheboygen Press,” 7 July 1914, page 1.From the “Sheboygen Press,” 7 July 1914, page 1.
The circus included an elaborate
parade that traversed the principal streets of each town on the morning of
their arrival. The “Star Gazette”
announced, “The cavalcade which, it is promised, will be the longest and most
gorgeous display ever seen in the streets of this city, will start from the
show grounds promptly at 10 o’clock. It
will be more than three miles in length and will include all the performers and
animals, in addition to the long procession of handsome tableau wagons and
allegorical cars, filled with pretty dancing girls in gay costumes. Six bands and two calliopes will furnish the
music for the cavalcade and the fifty famous Ringling clowns will be on hand to
keep the sidewalk spectators in good humor.
A striking feature of the procession will be the long line of elephants,
forty in all, and a team of sixteen camels, broken to bit and harness driven the
same as horses. These beasts draw a huge parade wagon and this is the first
instance on record where the ‘ship of the desert’ has ever been successfully
broken to harness and bit.”
The “twenty-four hour man”
arrived a day ahead of the circus to set up the infrastructure needed to feed
an enormous amount of people and animals. Other circus staff that arrived a day
early included “a number of stage and electrical experts who precede the show
to make arrangements for the staging and lighting of the big spectacle “Solomon
and the Queen of Sheba.” It is important to remember that the King Solomon
spectacle was just one of the principal features for the Ringling Brothers’
program that season; it was not the whole show.
This makes theatrical touring shows, such as “Ben-Hur,” seem like
child’s play when compared with the logistics of a touring circus with
thousands of moving parts.
The first train to arrive was
the commissary department and the first tent to be pitched on the show grounds
was the “cook house.” The second and
third trains pulled the heavy red wagons, loaded with canvases, properties, the
elephants, the 730 horses and the other animals. On the last train, composed entirely of
sleeping cars, arrived all of the performers and ancillary staff members for
the show.
The Queen of Sheba was played by
Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French
teacher of pantomimic art.
From the “Indianapolis Star,” 4 May 1914 page 3.
One of the things that I keep thinking about is the
logistics of organizing and managing a touring circus a century ago, especially
the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The
Pittsburgh Press published an article that provides insight into the 1914
circus (11 May 1914, page 14):
“The big enterprise bearing the name of the five brother
showmen arrived in Pittsburgh in the small hours of Sunday morning and with
very little noise and no confusion an enormous tented city was quickly
established on the show grounds in East Liberty. The show came from Wheeling, W. Va., where it
exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad
by a vast horde of excited youngsters who had braved both the displeasure of
parents and Sunday school teachers in order to be on hand to help unload the
elephants and lead the spotted ponies to water.
All day yesterday they loitered around the East Liberty grounds watching
the erecting of the tents and other unusual sights.
Twenty-four tents are required this season. The main canvas – the big top is the largest
the Ringlings have ever used – is especially constructed, not only to
accommodate the circus with its three rings, stages and hippodrome track, but
also arranged for the massive spectacle ‘Solomon and the Queen of Sheba,’ which
is presented on a stage five the size of that found in the largest theater. The
Ringling circus is a perfect city in itself traveling every night, making a new
city every day and morning with more system, rapidity and less fuss and noise
than any branch of the army. To prepare
for its coming exactly 106 representatives, each with a various mission to
perform, have visited this city.
All of the cooking for this enormous enterprise is done
by steam and in ranges built in a wagon weighing six tons and drawn by eight
horses. As a mere detail of the
marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs,
800 pounds of bread, 150 pounds of sugar and other items equally as large. The first order to the cooks in the morning
is for 5,200 griddle cakes and yet, as large a number as this may seem, it is
only four a piece. For the stock and animal department there are used daily: 10
tons of hay, five tons of straw, 300 bushels of oats, while no well behaved
elephant would think of starting his day’s labor without his morning cereal – a
bale of hay. Most of all, these
purchases are made from local merchants.
The circus travels on its own trains and only requires
engines and crews from the railroads.
The show also carries its own blacksmiths, horseshoers, wagon and
harness makers, tent makers, rope splicers and a corps of decorators are kept
on hand continually touching up the gilded and brilliantly painted tableau
wagons and cages. Two men are employed
eight hours a day doing nothing but greasing axles. In the wardrobe department presided over by
Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000
costumes have to be handled daily and kept in repair. Five dressmakers and six
tailors, besides armorers, are in this department. The circus has its own physician who carries
with him a complete surgical and medical outfit. There is also a barber shop
and, incidentally, no driver or man appearing before the public is allowed to
leave the show grounds until he is shaved. This also suggests another rule
strictly enforced by the Ringling Brothers’ which absolutely forbids the use of
whips by any of their drivers.
It costs $8,000 a day to run the circus and it represents
and investment of nearly $4,000,000. The
show maintains winter quarters and shops at Baraboo, Wisconsin, and
Stoke-on-Trent, England. The firm is now planning an expedition of its own to
trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on
the alert to secure novelties.
Starting as mere boys with a borrowed tent in which they
were given a few juvenile attempts at entertainment, these five brothers have
seen their dreams realized and have become master showmen of the world.
The afternoon performance began at 2 o’clock and the big
tent was crowded. Opening the bill came
the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or
so effectively presented has ever been given here before. The opening pageant, the ballet of dancing
girls and the dramatic action were veritable surprises. The spectacle was followed by surprises. The spectacle was followed by the circus
performance in which 400 men and women appeared. More novelties that ever before are
presented, the Ringlings having brought from Europe the majority of their
people.
The final performance will take place Tuesday night at 8
o’clock. The doors open an hour earlier,
allowing time to visit the extensive menagerie and also enjoy the operatic
concert rendered by the military band of 80 pieces.”
To be continued…
Poster for Ringling Bros. grand circus spectacle, Joan of Arc.
In 1913, Thomas G. Moses wrote,
“Had to go back to Baraboo to get a new contract for more work. Total $13,695.00.” Today’s equivalent of
$13,695.00 in 1913 is $355,183.28.
Later that year, Moses wrote,
“When we were setting the Ringling scenery at the Coliseum, the big elephant
stampeded and there was some excitement for awhile, but the trainer went after
them and brought them back and made them go through all the tricks again.”
From 1905 until Al Ringling’s
passing in in 1916, Thomas G. Moses completed several designs for the Ringling
Bros. grand circus spectacles. Al
Ringling worked with Moses to design scenery for their grand circus spectacles.
The work that Moses mentioned in 1913 was for their Joan of Arc spectacle.
Poster for Ringling Bros. grand circus spectacle Joan of Arc, 1913.
In 1913, newspaper
advertisements across the country announced the Ringlings’ “newly added
$500,000 spectacle of ‘Joan of Arc” (The
Placer Herald, Rocklin, CA, 23 August 1913, page 3). The attraction was
described in hundreds of articles, such as the “Pawnee Rock Herald” (Pawnee,
Kansas, 17 July 1913, page 3). The “Pawnee Rock Herald” reported, “Ringling
Bros. circus is attracting unusual interest this season because of its many new
features and the new aspect given the show by the addition of the great
spectacle ‘Joan of Arc”…There will be a new parade in the forenoon three miles
in length. The menagerie is practically twice as big as it was last year and
contains many specimens of strange animals. Audiences will be entertained by
375 of the greatest of Europe’s circus artists…The great feature of the show of
course is the newly added spectacle ‘Joan of Arc,’ with a trainload of special
scenery, costumes and stage properties and a cast of 1,200 characters. There is
a ballet of 300 dancing girls, a chorus of 400 voices and an orchestra of 100
soloists.”
Of the spectacle, the article
continued, “This is the greatest dramatic and spectacular production ever
presented in America, enacted on a specially built stage bigger than a hundred
ordinary theatres. It is made portable so that it can be erected in the main
tent each morning. This great entertainment is given as an introductory to the
regular circus performance and entails no extra charge of admission. John of
Arc tells a masterful story from French history in a thrilling and dramatic way
and with the wonderful illusion of tone of special scenery and stage devices.
In the great battle scene the audience is held spellbound by the realism of the
scene while the enactment of the coronation of Charles VII is beyond question
the most sumptuous and inspiring stage picture ever seen.”
Scene from Ringling Bros. Joan of Arc with scenery by Sosman & Landis. Image from the “Santa Ana Register,” 4 Sept 1913, page 8.
An article in the “Great Bend
Tribune” announced the arrival of the advance men (Great Bend, Kansas, 5 July
1913, page 1): “Thursday night a huge eighty-foot car pulled into the Santa Fe
station with a coat of bright red paint, it announced in blazing letters of
gold, ‘Ringling Bros.’ World’s Greatest Shows Advertising Car No. 1’…Ringling
Bros. have three advance cars, following one another a week apart. The no. 1
car goes to each town three weeks before the circus is due to appear. It
carries twenty-seven men, consisting of twenty billposters and six
lithographers, in charge of the veteran car manager, George Goodhart. A steam
machine for making paste is carried on the car and every night the porter makes
twelve barrels for use the following day. The head lithographer sees the dates
are pasted on the lithos and the car manager lays out the work for each man to
do. At 5:30 a.m. the men are called, breakfast is served at 6 o’clock, and at
6:30 the local livery teams are at the car ready to take the billposters to the
outlying towns and through the city itself to plaster the billboards. The
lithographers start with their bundles of lithos (in circus parlance called
‘hods’) to decorate the store windows, and by the time the supper hour arrives
everybody knows the big circus is coming and enthusiastic and excited
youngsters are busily engaged in planning a touch on ‘daddie’ for the price of
a circus ticket. The men who do the country work also carry the show heralds
for distribution. The next car is the excursion car. The No. 3 car will do the
local work.”
As the Ringing Bros. trains
crossed Kansas, the “Topeka Daily News” announced, “While numerous alarm clocks
were tinkling under pillows of small boys throughout the city this morning,
there arrived in the yards of the Rock Island Railroad four long trains,
composed of 86 cars bearing the Ringling Brother’s circus” (“Topeka Daily News,
“July 24, 1913),
One-half of an entire train was
used for the costumes and scenery of the spectacle of “Joan of Arc.” Of the
show, the article continued, “This spectacle, in a series of brilliant
pantomime pictures, tells the dramatic story of the Maid of Orleans, the simple
peasant girl who led an army to battle and restored Charles VII to the throne
of France. The costumes and scenery are the most gorgeous and costly every used
in a production of this kind, either under canvas or in a theater” (page 7).
The production was further described
in the “Hartford Courant:”
“The play begins when Joan, just
16 years old, comes from her father’s pasture at Domremy at the command of the
Archangel St. Michael to the court of Charles VII, at Chinon. In the light of a
thousand torches she is brought into the presence of the King in the great
palace which throngs with the nobles of France. The reception which the King
gives to the peasant girl is filled with impressiveness and suspense. The
second climax of the great spectacle is reached when Joan, dressed in armor,
crossed the river of Orleans, and rides at the head if the French army into the
gates of the beleaguered city. One of her heralds presents himself at the
English camp. Respect to the messenger is sent to defy Talbot, and to declare
from the girl that is any harm is done him it shall be retaliation on the
English prisoners. Joan in shining armor appears on a tower facing the Tournelles,
bidding the soldiers of Suffolk and Talbot to depart. This they refuse to do.
At the head of the French knights and archers Joan rides between the towers of
the besiegers and followed by the villagers who look on in wonder at the sight
of a mere girl leading the armies of France. The stage version ends with the
introduction of a great ballet of 300 beautiful dancing girls, a grand opera
chorus, 600 horses and an ensemble o 1,200 people. The closing chapter of
Joan’s life is too sad for this drama of gladness, through her capture, her
imprisonment and her execution are told n a series of thrilling tableaus by
means of tons of scenery and a great battery of electric mechanism” (17 May
1913, page 16).
Joan of Arc advertisement placed in the “Hartford Courant,” 17 May 1913, page 16.
C. W. Park Show advertisement published in the “Messenger Enquirer,” (Owensboro, KY), 10 Aug 1913, page 13.Detail of advertisement in the “Messenger Enquirer,” (Owensboro, KY), 10 Aug 1913, page 13.
In 1912, Sosman & Landis delivered
scenery for the C. W. Park Dramatic Co. The tent show was advertised as “the
oldest, biggest, best and most perfectly equipped canvas covered theatre in
existence” (“Messenger Enquirer,” Owensboro, KY, 10 Aug 1913, page 3). Playing
weekly engagements that featured various vaudeville acts under a big top, the
show came complete with a full stage, scenery, lights and even ushers. The
“Decatur Daily” advertised, “Park’s Dramatic and Vaudeville Shows Coming. Will
be here all next week – forty people and fine scenery” (Decatur, Alabama, 14
May 1912, page 2).
The history of the production
company is quite interesting. In 1907, the C. W. Parks Show was reorganized due
to some original members accepting other work (“The Gasden Times, “Gasden,
Alabama, 22 Jan. 1907, page 2). Park began fine-tuning his acts, and by 1909
became the C. W. Park Big Stock Co. The “Roanoke Leader” reported that the C.
W. Parks would return, appearing “under their mammoth water-proof canvas” (Roanoke,
Alabama, 1 Sept 1909, page 8). The
article continued, “The C. W. Park show is stronger than ever, having been
enlarged in all departments, carrying all new plays…Mr. Park holds the
territorial rights south of the Ohio River and east of the Mississippi, besides
new plays. An entire new company has been engaged, and artists from the leading
theatres in the north and east are engaged with the company…Special electrical
effects, a car load of special scenery, and a host of high class vaudeville
(especially engaged for this line of work only) makes the C. W. Park show
larger, greater and grander than ever before.” By 1912, “The New York Dramatic
Mirror” listed Park’s new company “UNDER CANVAS: C. W. Park Dramatic Co.” (page
26). The tent company was still billed as a vaudeville show; the touring
production included a substantial company with impressive scenic effects.
In 1912, the “Decatur Daily” published,
“The company is now composed of forty and requires two of the largest of the
Southern baggage cars to carry scenery, which is all new and up-to-date, being
from the famous studio of Sosman & Landis. This is the largest company of
its kind in the business and carries a modern and fully equipped theater, all
the ushers and attaches appear in uniform, and instructed to attend to the
wants of the patrons. Several new faces appear among the acting forces, as well
as in the vaudeville forces, of which there are eight acts. The plays will be
changed nightly, as well as the vaudeville (Decatur, Alabama, 14 May 1912, page
2).
The 1912 production included
“The Man Who Dared,” “Dolly and I,” “A Round Up,” “St. Elmo,” and “The Shepherd
of the Hills” (The Commercial Dispatch, 22 Aug. 1912, page 1). The scenery for the
acts was advertised as “new and up to date from the famous Studio of Sosman
& Landis.” Of the production, the article continued, “This is the largest
company of its kind in the business and carries a modern and fully equipped
theatre, all the ushers and attaches appearing in uniform, and instructed to attend
to the wants of the patrons” (The Huntsville Times, 9 May 1912, page 1).
In 1912, Thomas G. Moses wrote,
“Sosman left for the south on a vacation.
My work doubles. We are doing a
lot of work for the New York Studios – not much profit in it for us, as Hunt
seems to think we should be satisfied with a small profit. I have made a number of designs for him which
I am pleased to do as long as we get the work.”
David H. Hunt pictured in the “Detroit Free Press,” 21 May 1903, page 12.
Hunt was a long-term employee at
Sosman & Landis, founder of the theatrical management firm Sosman, Landis
& Hunt (est. 1894), and founder of New York Studios (est. 1910). New York
Studios was considered an eastern affiliate of Sosman & Landis. In 1905,
Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the
talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the
contract for $3,500.00.” Moses did not get along well with David H. Hunt of New
Yorks Studios and periodically mentions the discord in his diary.
By 1910, tensions were high between Moses and Hunt,
escalating when Joseph S. Sosman leaves on a 15-week European tour. At the
time, both Moses and Hunt were left in charge of the studio, with shops in both
Chicago and New York. Hunt was the company secretary and treasure, whereas
Moses was responsible for the design, construction and installation of all
projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and
expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and
assessed the studio’s state of affairs, Moses wrote, “I heard some reports as
to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled… I arrived June
25th. Sosman had his doubts as to my
coming back.” It was around this time that Hunt officially established New York
Studios. Smart move, as it was beginning to appear that Chicago was not big
enough for both Moses and Hunt.
The establishment of New York
Studios is the beginning to the eventual demise of Sosman & Landis. Sosman
steps out of the daily running of the company, leaving it to others, while
investing in new business ventures such as New York Studios, managed by friend
and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was
not. Hunt was also working on many other business endeavors that distracted him
from solely focusing on any one company, whether it was Sosman & Landis,
Sosman, Landis & Hunt, or New York Studios projects. Based on Moses’ description of Hunt and
newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid
scheme, hoping for maximum returns with minimal investments; it is all based on
the underlings beneath him doing the work.
Over the years, Hunt had
remained a thorn in Moses’ side for many reasons, including his poor treatment
of good artists; prompting many to leave the studio. The exodus of scenic
artists from Sosman & Landis included Moses’ good friend, John H. Young.
Young went on to dominate the Broadway scene as a well-known designer.
Hunt had started with Sosman
& Landis during the early 1890s, quickly worming his way into both Sosman
& Landis’ confidence. Although I have yet to find an official start date
for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition
projects. By 1894, Hunt convinced Sosman & Landis to establish, the
theatrical management firm of Sosman, Landis & Hunt. This was a secondary
business venture; a company that leased theaters and founded touring companies
in Cincinnati, Indianapolis and Detroit.
The firm kept Hunt busy as the primary manager for the endeavor, yet the
Sosman & Landis studio staff from Chicago completed much of the necessary
work. Moses’ diaries suggest that Hunt did not treat the artistic staff working
for Sosman, Landis & Hunt well; scenic artists were swapped and directed to
various projects like pawns on a chessboard, ready to be sacrificed at any
point. Throughout this period Hunt had remained on the administrative end of
the studio, always finding the public spotlight to share his great wisdom on a
subject.
By 1910, Hunt also talked Sosman into investing in a new
business venture – New York Studios. That year, Moses wrote, “Hunt had started
a New York studio in New York City and he expected us to do a great deal of
work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the
President, Edward A. Morange as the vice president, and David H. Hunt, as the
Treasurer. The company’s starting capital was $40,000, and listed the following
directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices
located at 325 W 29th Street,
New York. Business listings noted that theatrical equipment was the primary product produced by the company.
Now there were two scenic studios to consider, and only one Moses. In the 1919
Adelaide A. Hunt was still listed as president of New York Studios, with Edward
Morange as Vice-President and David H. Hunt as treasurer, still supplying
theatrical goods. Office locations varied from 29th to 39th
to 95th Streets. Many scenic artists worked for New York
Studios including John H. Young, William F. Hamilton, Victor Higgins, William
Smart, Art Rider, and Al Dutheridge to name a few.
1927 New York Studios advertisement in the publication, “Scenic Artist.”
New Yorks Studios was listed as the eastern affiliate of
Sosman & Landis, whereas Sosman & Landis were listed at the western
offices of New York Studios. Studio stamps on the back of some designs at the
University of Minnesota’s Performing Arts scenery collection list the New York
Studios “Home Office” at 328 West 39th St. N.Y. There are other New
York Studio designs that link designs to their
“Chicago Office.” The Chicago Office for New York Studios was located at
1022 Consumers Building, separate from the main offices of Sosman & Landis
on Clinton St.
Sosman & Landis Studio and New York Studios were two
very separate entities. Although they shared work and scenic artists, Moses
hints that New York Studios always got more out of the relationship than Sosman
& Landis, always taking advantage of the situation.
Studio stamp on the back of a design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios stencil on the back of a folding wood wing purchased by Thalian Hall, Wilmington, NC.
Between 1910 and 1912, Hunt and
New York Studios were repeatedly mentioned in several newspaper articles across
the country. One particular article concerned an electrical apparatus that
enabled one man to handle sixty-five drops. Hunt was part of a group
interviewed about the innovation; again his being in the right place at the
right time. Hunt was chumming around with Martin Beck (manager of the Orpheum
Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New
York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social
networking and always falling in with the right crowd.
In regard to Hunt keeping company
with Beck, Carson and Vincent in 1910, I am including a section of the group
interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star”
quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager
of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical
appliance which makes it possible for one man to handle sixty-five drops. It
operates everything from the stage curtain to the back, gives absolute fire
protection and does the work of an average of twenty stagehands. One man can
operate it. It looks good to me, and if further tests prove it as successful as
the indications are here we will install in all the Orpheum Theatres. ‘The
apparatus for handling drops, consisting of ropes and counterweights, has been
the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum
house. ‘Mr. Bailey has perfected, the first invention, bringing the stage
mechanism up to date. It has been a field neglected by inventors.’
By 1911, newspapers reported,
“Theatrical men and others in Denver have organized a $500,000 corporation to
manufacture a mechanical device, which, it claimed, will reduce the number of
stage hands needed in a theatre by three-fourths, at least. The new corporation
is called the Bailey Fly Rail Machine Company. It is incorporated under the
laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the
inventor of the device. He worked on it several years before he announced that
it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W.
Considine and other vaudeville managers, met in Denver and saw a demonstration
of the apparatus. They appeared to be highly pleased with it. The names of A.
C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft
appear at the prime movers in the matter of incorporation. Mr. Bancroft is an
attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,”
18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem
to have vanished into thin air, as did Hunt’s association with the endeavor.
What remains significant in
terms of theatre history is that Hunt was there, part of the vaudeville
managers who gathered to see Bailey’s invention. He was certainly a mover and
shaker. I will continue with David Hunt’s
story tomorrow.
In 1912 Thomas G. Moses wrote, “January 15th
the big furnace at the studio fell over and started a fine fire – a loss of
about $2,000.00, a week’s delay in repairs and getting started. I went to
Baraboo in the meantime to see Ringling Brothers and close for another big
spectacle. Mr. Al Ringling took me
through the winter quarters of the animals, which was also very
interesting. Feeding time for the lions,
tigers and all the cat family was a noisy time.
Watching the training for the elephants was also very interesting. The immense chain and derricks they have to
use to teach the elephants to stand on their heads was strong enough to lift a
battleship. A great deal of care is given
to all the animals, much more than is given to the men that attend the animals. The Ringlings have their own car shop and big
paint shops, and everything is taken care of here except scenery and
wardrobe. They are very busy getting
ready for the next season; making contracts for all supplies at every town they
visit, and they certainly have some system.”
The winter quarters for the Ringling Bros. Circus.Baraboo, Wisconsin.Baraboo, Wisconsin.Baraboo, Wisconsin.
In winter, Baraboo, Wisconsin, was home to exotic and their
caretakers. Both Ringling Bros. Circus equipment and animals were cared for
during their off-season, from November until April of each year. When Moses
visited Baraboo during January 1912, the town had increased to include approximately
117 Ringling Brothers’ Circus employees. From late fall to early spring, the
Ringling brothers planned for the upcoming season, designing new shows and
working out the logistics. Winter was a time for preparation, training and hard
labor as the off season provided an opportunity to design new spectacles,
assemble costumes, select new acts, and rehearse animals. A team of writers developed
news stories for spectacles that would open each show.
Of the 1912 Ringling circus, the “Richmond Palladium and Sun
Telegram” advertised, “This season, in addition to their promised array of
aerial, acrobatic and arena marvels the Ringling Bros. have produced a gigantic
spectacle, Joan of Arc, on a monstrous stage erected in the bog top. There will
be twelve hundred people taking part in all, three hundred ballet girls and
large chorus. This is said to be the most sumptuous pageant every presented in
the country. It created an enormous sensation at The Coliseum in Chicago” (6 May 1912, Richmond, Indiana, page 3).
Sosman & Landis provided the new scenery that premiered at the Chicago
Coliseum.
“Joan of Arc” poster.Advertisement for “Joan of Arc.”The Ringling Bros. grand circus spectacle, “Joan of Arc.”
Later in 1912, Moses wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for the Ringling Bros. grand circus spectacles, also known as “Specs.” Specs were visual spectacles involving hundreds of participants, a short dramatization that was added to the parade of animals and performers. Albeit the production time was relatively short, the scale was of epic proportions.
Another Ringling Bros. Circus spectacle with scenery by Sosman & Landis.
Moses worked directly for Al
Ringling, the eldest of the brothers who was in charge of hiring and
supervising the circus performers during his lifetime. He was also the one
responsible for contracting scenery and other specialty items for the shows,
the main visionary for the group. He would later plan and construct the Al
Ringling Theatre in Baraboo, again hiring Moses of Sosman & Landis to
provide the scenery.
Each year, the Ringling Brothers
presented some new feature as the traveled from coast to coast. In 1905 Moses
designed a setting for “The Field of the Cloth of Gold.” Advertisements
reported, “The Vast Main Tent of the Ringling Brothers World’s Greatest Shows,
wherein are presented the Superb Circuses and Hippodrome Displays, is converted
into a huge, hundred-fold theatre for the presentation of the gorgeous,
brilliant spectacle, the Field of the Cloth of Gold.” Of Moses’ scenic
contributions, “The Washington Post” reported “The scenery is massive and
brilliantly painted to show the crystal palaces, fairy structures, golden
tents, and other flashing and picturesque features of this famous plain, ‘The
Field of the Cloth of Gold’” (The Washington Post, 5 May 1905, page 8).
“The Field of the Cloth of Gold” also used scenery by Sosman & Landis Studio.
Ringling contracted Sosman &
Landis to manufacture spectacle settings each year, but it was solely Moses who
worked with Al during the design phase. By 1912, Moses was a well-known scenic
artist and designer, eagerly sought after by many well-known personalities, including
Al Ringling. Although times were changing and new studios continued to pop up
across the nation, Sosman & Landis still dominated the theatre industry and
were known as giants in their field at this time.
Al Ringling panel at the Circus World Museum in Baraboo, Wisconsin.
After stopping by the Al Ringling Theater and Baraboo Lodge No. 34, I drove over to the Circus World Museum on Monday, March 18. My intention was to briefly meet with the curator and share my information pertaining to the grand circus spectacles produced by Sosman & Landis from 1905 to 1915.
The gal behind the desk at the museum told me to see the curator Pete. He was currently working in their library and archives across the river on an upcoming exhibit. This building was a very small and unassuming place, yet the walls were lined with posters and circus memorabilia. We chatted for quite a while, with Pete deciding that a copy of my book would be beneficial his patrons as it placed the Ringling spectacles with in a larger context and identified a major theatrical supplier to Al Ringling. He then suggested that I venture back over to the museum to look at a few pieces from the grand spectacle “Cinderella” in the museum. He called over to make sure that I could examine the setting without any difficulty and I realized that more time should have been set aside for my Baraboo side trip.
Circus World Museum with backing from the Cinderella grand circus spectacle in the background.
I whizzed through the museum and easily spotted the scenery. It was awe-inspiring to look at the painting. It depicted all of the standard trademarks for a Sosman & Landis manufacture. I especially appreciated the foil paper-backed strips to accentuate the gold capitals. What was most interesting was the heavy-duty canvas, flat seams, and basic construction that mirrored the floor cloths produced by the company. Drop construction is another area where I am slowly tucking away information.
From 1905 until 1915, Thomas G. Moses completed several designs for grand circus spectacles. The first mention of his designing one of Al Ringling’s spectacles was in 1905. Fast forward to 1912 when Moses mentioned another visit to Baraboo, Wisconsin, during the Ringling Brothers’ off-season. Moses wrote, “I went to Baraboo in the meantime to see Ringling Brothers and close for another big spectacle. Mr. Al Ringling took me through the winter quarters of the animals which was also very interesting. Feeding time for the lions, tigers and all the cat family was a noisy time. Watching the training for the elephants was also very interesting. The immense chain and derricks they have to use to teach the elephants to stand on their heads was strong enough to lift a battleship. A great deal of care is given to all the animals, much more than is given to the men that attend the animals. The Ringlings have their own car shop and paint shops, and everything is taken care of here except scenery and wardrobe. They are very busy getting ready for the next season, making contracts for all supplies at every town they visit, and they certainly have some system.”
In spring of 1912, Moses caught up with the circus in his hometown of Sterling, Illinois, as he needed to collect the final payment for the season’s production. He attended the show and wrote, “Went to Sterling to catch Ringling to collect $1,200.00. As went to the tent to find Al Ringling, I discovered everyone watching a fire – a stable at least four blocks away. A spark was blown towards the tent, the top of which is prepared with parafine to make it water-proof. It soon ignited from the sparks and in less than thirty minutes the big tent was destroyed. The rest of the tents were saved. It was mighty fortunate there were no people in the tent. Some of the animals in another tent started some noise when the smelled the smoke, but they were soon quieted. I sneaked away without making myself known. There was no money for me, that I guessed.”
Moses eventually collected the payment during 1912, and by the end of the year wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” They were contracted to provide the scenery for another production in 1913. Al Ringling liked the work produced at Sosman & Landis studio and its last president Thomas G. Moses. Winter was the time to plan.
Both equipment and animals were cared for from November until April of each year – their off-season. Baraboo became home to the exotic and their caretakers. In 1913, 117 Ringling Brothers’ Circus employees worked in Baraboo during the winter months. The staff included the following positions: Caring for work horses (23), caring for show horses (7), caring for menagerie animals (8), elephant caretakers (10), blacksmiths (5), railcar repair (16), paint shop (16), harness shop )3), wagon and repair shop (9), wardrobe (5), hotel (12), watchmen (2), and office (1). As the circus employed approximately 1200 people during the season, where did the remainder of employees winter? Some acts sought contracts in warmer climates, returning to Wisconsin in April for the new tour. Some workmen found work in nearby lumber camps and spent the winter in less than ideal conditions. A few took the winter months as an opportunity for rest and relaxation
It was at the winter quarters that the Ringling brothers planned for their upcoming season. Shows were chosen, costumes assembled and scenery designed for elaborate spectacles. Winter was a time for preparation, training and hard labor. There was time available to plan and rehearse the animals for another season. A team of writers wrote news stories for upcoming shoes that would tour the country. Circus wagons were repaired and repainted. Animals were exercised both indoors and outdoors. Everyone had a specific project to accomplish all year long.
Baraboo remained the winter quarters for the Ringling Brothers’ circus from 1886 to 1918. At that time the circus moved to a new location in Connecticut; it had been the Ringling Brothers and Barnum & Bailey Combined Shows since 1907 and began to recoup at the old Barnum & Bailey winter quarters.
It was not until 1954 that John M. Kelly, a personal attorney for the Ringlings, incorporated the Circus World Museum as a historical and educational facility. He had worked for the Ringlings for more than three decades. The Circus Museum opened to the public July 1, 1959. The website reports that “The museum’s collection of circus artifacts is perhaps the largest in the world. It includes over 210 original wagons and vehicles once used by American, English and Irish circuses. It houses an exceptional collection of circus ads and posters. Over 9,500 multi-colored circus posters range in size from half-sheets to an 80-sheet Buffalo Bill Wild West poster which measures 9’ high and 70’ long. Thousands of journals, manuscripts and business records are available as well as original fine art oil paintings, hand bills, heralds, programs, artifacts of circus performers and a collection of rare photographs and negatives.” I have yet to spend a significant amount of time in their archives. Here is the link to their website: http://www.circusworldbaraboo.org/
