In 1924 Thomas G. Moses wrote, “Went to Saginaw where I closed a small order for Masonic work.” The small order was likely for the temporary Masonic quarters after the 1924 fire.
The Masonic Temple in Saginaw, Michigan.
That spring, the Saginaw Masonic Temple burned. On March 11, 1924, the “Lansing State Journal” reported, “SAGNIAW, March 11. – Fire damaged the South Saginaw Masonic Temple early Tuesday, destroying the two upper floors of the building, occupied by three Masonic orders and a lodge of Maccabees. A dry goods store on the first floor of the building was flooded with the water poured on the fire. The damage may reach $70,000.” As in most cases, the Masons rebuilt their home, but outfitted temporary quarters during the planning and construction phase.
In 1926, Saginaw’s new Masonic Temple adjoined and equally new Temple Theater, located at 201-211 North Washington Avenue.
This reminded me the early days when Sosman & Landis first opened their doors. Moses may have been taking direction from the old Sosman & Landis playbook. In the beginning, the firm followed theatre fires, securing one project after another. In many ways, it was almost guaranteed work; there was always a plan to rebuild.
On January 30, 1883, “The Salt Lake Herald” reported, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tyron, the artist of the Salt Lake Theatre. He is very talented, and although scarcely more than a boy in years, he has produced some very fine work here and at the Tabor Grand Opera” (page 8). At the time, Spencer was twenty years old.
The Salt Lake Theatre in Salt Lake City, UtahThe Tabor Grand Opera House in Denver, Colorado
In 1870, Spencer was living with his mother, Ann M. Hoornbeck, and two brothers (Henry and Dell) at 384 Lake Street. This was the last year that Henry Hoornbeck (later Henry C. Tryon) was listed in directories under his birth name. Mrs. Hoornbeck and her children had moved to Chicago after the death of her husband in 1864. Like Henry, Spencer was educated in Chicago public schools.
The earliest mention of Spencer working as a scenic artist is in 1882. At the time, he was listed as his older brother’s assistant and painting scenery for a hall in Springville, Utah. On Dec. 13, 1882, the “Deseret News” reported, “Not only is the intention to have this model theatrical hall up to the times in point of architectural construction, by the scenery is to be of the very best description. With this object in view Mr. D. C. Johnson, who takes a leading part in the management has secured the services of Mr. H. C. Tryon and Mr. Alfred Lambourne. The latter accompanied by Mr. Spencer Tryon – Mr. H. C. Tryon’s assistant – left for Springville to-day, to begin the work, and Mr. Tryon will follow in a few days. The institution will have thirteen scenes complete, with sidewings, etc., and an appropriate drop curtain. The fact that Messrs. Tryon and Lambourne will do the painting is a guaranty [sic.] that the scenes will be of the most excellent description” (page 15). The venue was described as “a genuine opera house in a theatrical hall. The extent of the stage from the footlights to the back is twenty-five feet, besides dressing and other rooms in the rear. The height of the stage from the floor to the rigging apparatus is twenty-two feet.”
The three artists were also credited with painting railroad scene a month later. Of the setting, the “Salt Lake Herald” reported, “A. Railroad Scene in ‘Forbidden Fruit.’ A feature in the performance, on Monday night, which was not scene in the original production, will be the grand office scene, just painted by Mr. H. C. Tryon, Mr. W. C. Morris and Mr. Spencer Tryon, and now shown for the first time, represent the waiting room for the Pennsylvania Central Railroad. A number of gentlemen who saw the artists at work on the scene consider it one of the finest efforts the painters have yet made. It will be seen in act II, of “Forbidden Fruit” (Salt Lake Herald, 26 Jan. 1883, page 8). A later article stated, “The railroad scene painted by Mr. W. C. Morris, of Salt Lake City, and Mr. Spencer Tryon – and displayed last night for the first time in “Forbidden Fruit” – called forth a well-deserved round of applause. It was excellently painted, being full of character, and although (from the nature of the subject) without any pretense of color, was beauty owing to its truth and solidity.” The “Deseret News: reported, “The office of the P.C.R.R.. a new interior scene, painted by the Tryon Brothers and W. C. Morris, Esq., will be exhibited for the first time” (26 Jan 1883, page 3).
On January 27, 1883, the “Deseret News” reported that the new office scene for “Forbidden Fruit” was by Mr. W. C. Morris and Mr. Spencer Tryon” (page 3).
By the spring of 1883, the Tryon brothers were back working at the Salt Lake Theatre. Interestingly, Spencer was erroneously listed as his older brother’s manager on the project. On May 31, 1883, “The Salt Lake Herald” reported, “Henry C. Tryon and his manager, Spencer Tryon, are still industriously engaged. At present, Mr. Tryon is working on one or two special scenes for Lawrence Barratt [sic.], when he appears at the Theatre in ‘Francisca.’ The borders and wood scenes are all finished, and there is any amount of new scenes which have never yet been in use, and which, if occasion came, would show how well stocked the Theatre is even now, when the work is far from finished” (page 10). Spencer would soon be left alone in Salt lake City, without his older brother’s countenance.
On September 17, 1883 the “Deseret News” published a farewell letter to Henry C. Tryon: “Good Bye – Mr. Henry Tryon, the skillful scenic artist, leaves for the East to-morrow. Beside his remarkable talent he is the fortunate possessor of a genial disposition and a mind remarkably free from that species of petty jealously by which otherwise capable men too often dim the lustre of their capacities. He has made numerous friends here whose best wishes he carries with him. Good bye” (page 3).
I have to wonder what was worse for Spencer; living in his famous brother’s shadow or painting at the same venue renowned for your brother’s artwork. Regardless, Spencer remained in Salt Lake City area for at least another year after his brother’s departure in 1883. For a while, he worked at the Salt Lake Theatre, but soon began working at the venue’s competitor – the Walker Opera House.
The Walker Opera House in Salt Lake City
In 1884 Spencer was working, and sleeping, at the Walker Opera House. The Walker Opera House was located on the south side of 200 South Street between Main and West Temple streets. Unfortunately, the venue caught fire one night as Spencer slept inside. On October 16, 1884, “The Salt Lake Herald” headlined “A Narrow Escape. The Opera House Barely Saved from Destruction” (page 8).
Sanborn Fire Insurance Map from 1884 for the Walker Opera House
The article continued:
“On Wednesday morning at about 4 o’clock, Nightwatchman Henry Heath in passing the Walker Opera House noticed that the glass windows of Evans & Spencer’s gun store wore a peculiar color. On looking closer he perceived the appearance was caused by the store being full of smoke, Hastily running down stairs to the saloon owned by Mr. A. G. Bechtol, he saw that its interior was also black with smoke, With all possible dispatch he hurried to the rear of the building and awoke Dave McElroy and Spencer Tryon, who were sleeping in the Opera House, rigging the hose from under the stage and in the parquette circle, and going to the rear door of the saloon himself, and upon bursting open the door he was almost stifled by the smoke, but throwing himself upon his face, with a hose in each hand, he turned a stream of water upon the ice chest and billiard table, from whence the flames were issuing. With the assistance of Messrs. McElroy and Tryon the fire was gotten under control before the fire brigade was summoned. The firemen made good time to the scene, but were not needed.” Interestingly, the 1884 Sanborn Fire Insurance Map provides a basic floor plan for the building. The two-store front were occupied by an ammunition shop and a confectionary. Records indicate that the scenery on stage was non-combustible; this means treatment with a product considered to be a flame retardant. Layout (https://utahtheaters.info/Theater/Facts/250/Walker-Opera-House).
Spencer Tryon’s narrow escape from the Walker Opera House made headlines in 1884
After Spencer’s near miss at the Walker Opera House, he seems to fade away from published history. Spencer remained out of the spotlight for the remainder of his life, unlike his older brother who continued to receive recognition at theatres across the country. I have yet to uncovered any mention of either Spencer Tryon or Spencer Hornbeck between 1885 and 1890. By 1891, however, he was back in Chicago and listed in the city directory, having resumed his birth name of “Spencer Hoornbeck.” Interestingly, 1891 is the same year that the Walker Opera House burned down.
The 1891, the Chicago City Directory listed, “Hoornbeck, Spencer, painter, h. 621 N. Stephenson (P).” Within the next year, both his mother and his brother Henry would pass. At the time of Ann M. Hoornbeck’s passing, she was 68 years old and living with a son in Pullman, Illinois. Her internment was at Sandusky, Ohio, next to her husband. Sandusky was also the birthplace of their children.
By 1900, Spencer was again working under the name Tryon. The 1900 US Federal Census listed Spencer Tryon as boarding at 128 Throop Street in Chicago, working as a paper hanger and painter. Ten years later, he was still working in the same capacity and living alone, lodging a boarding house on Wabash in Chicago. Spencer passed away in 1912 at the age of 49 yrs. old. His older brother Henry had been only 45 yrs. old when he died the decade before. At the time of Spencer’s death, he was listed as a painter, boarding at 19 E. 18th Street in Chicago. The next day, Spencer was buried at Mt. Greenwood cemetery.
Just like his mother Ann and older brother Henry, Spencer exited this world without fanfare or any published remembrances. I have to wonder if he had any loved ones to mourn his passing.
The Salt Lake Theatre Under Construction. https://commons.wikimedia.org/wiki/File:Theatre_(under_construction),_Salt_Lake_City,_Utah,_from_Robert_N._Dennis_collection_of_stereoscopic_views.png
There are three personalities that swirl around each other at the Tabor Grand Opera House during the early 1880s – Robert Hopkin, Henry C. Tryon and Henry E. Burcky. Keep in mind that all three artists were credited with painting scenery for the Tabor Grand Opera House in Denver between 1881 and 1884.
In 1881, Robert Hopkin painted a drop curtain for the Tabor Grand Opera House in Denver and one for the Grand Opera House in Colorado Springs. From 1882-1887, Hopkin was also listed as the scenic artist for the Grand Opera House in Detroit, Michigan, his hometown. Multiple listings in Harry Miner’s Dramatic Directories credit Hopkin with the Detroit Opera House’s stock scenery collection. He may have been their on-site scenic too.
From 1881 until 1882, Henry C. Tryon was repeatedly listed as the scenic artist for the Tabor Grand Opera House in Denver, Colorado. When he traveled for other projects, he was referred to as “Henry C. Tryon of the Tabor Grand Opera House.” From 1883 to 1884 Tryon worked in Salt Lake City, Utah, and Chicago, Illinois. He also painted numerous touring shows during this time.
After Tryon left the Tabor Grand in 1882, his good friend and former partner, Henry E. Burcky, took over the scenic art responsibilities there, and by 1884 was listed as the scenic artist for both Tabor Opera Houses in Denver and Leadville. He remained associated with the two venues through 1890.
Today’s post looks at Tryon’s career in Utah from the fall of 1882 until the end of 1883.
In October 1882, Henry C. Tryon ventured south from Denver, Colorado to Salt Lake City, Utah to paint scenery for the Salt Lake Theatre. By January 1883, Tryon was also working in Springvale, Utah. He painted $1000 worth of stock scenery for the Springvale Theatre Hall, assisted by his younger brother Spencer Tryon. Alfred Lambourne was also working with the Tryon brothers during this time.
Sadly, their paintings in Springvale were destroyed only a few years later. Flames spread to the stage when a mill behind the theatre caught fire, destroying all of the scenic artists’ work. Regardless of the venue’s fate, it was the Springvale project, that secured other work for Tryon in the region. While in Springvale, Tryon shared an employment offer with the local newspaper, subsequently pressuring the Salt Lake Theatre to offer him an immediate position. Since the fall of 1882, Tryon had sporadically painted stock scenes for the Salt Lake Theater. However, he did not hold an official position. This meant that he still remained associated with the Tabor Grand Opera House, as that was his last place of employment.
On January 8, 1883, the “Deseret News” reported, “While in Springville, Mr. H. C. Tryon received a letter from the management of the Grand Opera House, San Francisco, offering him the position of scenic artist of that institution. He sent the letter to the management of the Salt Lake Theatre, who promptly entered into contract with him to do a large amount of work” (page 3).
In the end, Tryon painted 25 stock sets for the Salt Lake Theatre. In the process, he became a regional success. Tryon’s completed scenes were added to the stage as touring productions visited the venue.
On April 22, 1883, the “Salt Lake Herald” reported, “Mr. Henry C. Tryon is still hard at work on scenery for the Salt Lake Theatre. The patrons of the old house have been very much pleased with the new scenes which have been presented of late. Something new in the scenic line is shown at nearly every performance, and the end is not yet, by any mean., There is still much work to be done before the theatre is thoroughly stocked, and thoroughly stocked it will be before the mangers cry, “enough!” There will not be a foot of old canvas in the building when Tryon leaves for pastures new. The best scene that has been exhibited lately was used in the first act of the Harrison’s “Photos,” and it has received a vast amount of praise from all who had the fortune to be present, and who can appreciate a fine thing when they see it. The scene is an Elizabethan parlor, with high wainscoting and a deep cornice of dark oak, decorated richly with gold, the walls hung with brilliant crimson damask, relieved at the top and bottom, next to the cornice and wainscoting, with a twelve-inch band of black and gold. The centre of the room, for a width of twelve feet, appears to project about eighteen inches; in front of this again is an elaborate centre-door, on each side of which are polished gray marble columns, supporting the massive framework of the door, the architecture of which reaches above the cornice, The composition and color are of the simplest description possible, but the richness of the effect produced by the skillful handling of lights and shadows from the massive projectives, and the gradations of color – the light flashing from the polished surface of oak and marble, and the character of dignity and grandeur, which has not been lost sight of in single detail – give a singular effect of realism to the work, which appears to be not a representation, but really the aristocratic abode of some wealthy English lord, possessing the most elegant and refined taste, and with almost unlimited means at his command. For richness, beauty, harmony and nobility, it is not easy to see how the subject could be excelled, and we are not surprised to hear that the members of the dramatic companies who have seen it, state that it is the most chaste and elegant scene if its kind, in design and color and in character, to be found in the whole country. We congratulate Mr. Tryon, and are pleased to see the interest he takes in all he does; and if the work referred to above is not art in its truest sense, then we would be happy to know just what art is” (page 12)
The 1884-1885 issue of “Harry Miner’s American Dramatic Directory,” describes the Salt Lake Theatre as having a seating capacity of 1,850, with a stage that measured 65’ x 70’. The listing also describes a proscenium opening of 28’-0” x 32’-0” and 18’-0” groove heights. There was 52-0” from the stage floor to the rigging loft, suggesting that much scenery was flown out of sight during a scene change, but grooves were available for wings and other flat stock scenery carried by touring productions.
By July 22, 1883 “Salt Lake Daily” reported, “The improvements which have been in progress at the Salt Lake Theatre during the past nine or ten months, under the direction of Henry C. Tryon, the noted scenic artist, have attracted a great deal of attention from theatrical men generally. Especially is this true of those professionals who had been here prior to the changes (referred to in detail from time to time in these columns) as they have progressed. It is needless to say surprise is universal when the marked change that has taken place is noticed, and the expression invariably is that one would never have believed such important improvements could have been effected in so brief a period… the changes which have been effected in that building would strike the attention with greater force than that of a casual observer, or even a theatrical man whose opportunities noticing the difference have been less favorable.”
It is important to note that Tryon was not simply painting new scenes, he was engineering new stage machinery for the Salt Lake theatre. His changes to the system made it easier for touring productions to install their scenery.
The newspaper also interviewed theatrical manager, Marcus R. Mayer about Tryon’s work. Mayer commented that the work completed under the direction of Tryon supported “metropolitan advantages.” Mayer stated, “I can imagine the surprise and delight with which the Kiralfys will look about them when they first set foot on the stage. We will be able to present our scenery here with its full effect, and that is something and that will be something we will be able to do in very few places after leaving here. Tryon is evidently a man who knows much about stage requirement as any person since, as I am informed, the extensive changes have been made by his direction and mainly under his supervision.”
Mayer was then asked, “By the way, what do you think of Tryon as an artist?” Mayer’s response, “Tryon? We he has a national reputation. The fact that he is engaged to paint the scenes is a guaranty that the scenes outfit will be on par with any theatre in the United States. He is none of your fellows who depend on village theatre for a livelihood; his services are in demand all the time and the only thing that beats my penetration is that so expensive an artist could be obtained to come to Salt Lake. The scenes already painted are the equal of anything in stock in the country.” Mayer ended his interview stating, “The management of the Salt Lake Theatre foresaw just what I’ve told you, and knowing the companies now coming could not endure the old arrangements, they determined to fit the stage up first-class modern style, and Tryon was just the man for the conspiracy.”
Henry C. Tryon’s drop curtain for the Salt Lake Theatre, pictured in Geo. D. Pyper’s book, “The Romance of an Old Playhouse.”
In 1917, Thomas G. Moses
recorded that Sosman & Landis delivered “a number of new drops for the
Palace, Milwaukee.” Sosman & Landis had previously delivered scenery to
Palace Theatres in Fort Wayne, Indiana, and Detroit, Michigan. As with other
chains, such as Fox theaters, there were multiple Palace Theatres all over the
country.
Photograph of the Palace Theatre in Milwaukee posted to www.cinematreasures.org
The entry in Moses’ memoirs for
this Milwaukee project was early in 1917.
The theater was located on 535
W. Wisconsin Avenue in Milwaukee. On February 19, 1917, the “Post-Crescent”
reported, “Cigarette Fire. Stub starts blaze that partly destroys the Palace
Theatre at Milwaukee today.” The International New Service announced, “Fire
said to have originated from a cigarette stub left in the audience caused
$10,000 damage to the new Palace theatre here early this morning. The house ran
popular vaudeville and will be closed for several days pending renovation”
(page 1).
The Palace Theatre of Milwaukee, Wisconsin.
It remains unclear whether any of
the stage or scenery were damaged during the fire.
The venue was designed by local architects Charles Kirchoff
and Thomas Rose. The pair later designed the Palace Theatre in New York (1918),
as well as many other venues that included the American Theatre, Colonial
Theatre, Garden theatre, Majestic Theatre, New Star theatre, Rialto Theatre,
and Riverside Theatre. The only A detailed description of interior is posted at
http://cinematreasures.org/theaters/4067,
noting three eras for the venue.
In 1916, Thomas G. Moses wrote,
“I did a drop curtain for Rome, Georgia, and several exteriors.”
The Rome Opera House in Georgia.
On February 8, 1916, the
“Atlanta Constitution” reported, “ROME OPERA HOUSE BEING REMODELED.
“Rome, Ga. February 7 –
(Special)- The Rome Opera House, which is currently owned by the McClure
Ten-Cent company of Atlanta, is being remodeled, and will be opened under the
management of H. P. Diggs, a well-known theatrical man, formerly associated
with local moving pictures” (page 9).
A view of Rome, Georgia.
Unfortunately, the business
venture did not succeed. By November 25, 1916, the “Atlanta Constitution”
reported,
“Neglected Bank Roll in Attempt
to Start Vaudeville in Rome.
“Rome, Ga., November 24. –
(Special) – Ross Conkling, an Atlanta theatrical man, who endeavored to open
the Rome Opera House as a vaudeville and motion picture theater here, neglected
one important detail necessary to such operation, to-wit, a bank roll. He was
given credit by actors, film operators, stagehands, print shops, newspapers,
and the like, but the box receipts on the opening night were attached by Mrs.
Amanda Gray, one of the vaudeville actors, who declares that he is without
funds. An orchestra of seven pieces and five members of a vaudeville company
are stranded here” (page 4).
“Rome Opera House” is above the arch. Rome, Georgia.“Nevin Opera House” is above the arch. Rome, ,Georgia.
Rome Opera House was later
renamed the Nevin Opera House. Located at 321 Broad Street, the original
structure was built by M. A. Nevin at a cost of $21,000, opening on October 1,
1888. With a seating capacity of 800-1,000,
it hosted a variety of performances until 1915. “Julius Cahn’s Official
Theatrical Guide” provides a little more information about the technical
specifications in 1908. The proscenium
measured 26 feet wide, but no height was provided. However, the stage to the
gridiron was 55 feet, suggesting full travel for the drops. The stage to the
fly gallery was 25 feet and the distance from the curtain line to back wall was
32 feet.
The building was destroyed by
fire in December 31, 1919.
The Grand Forks Masonic Temple was home to the Scottish Rite Theatre.
In January 1915 Thomas G. Moses
wrote, “Grand Forks, N. Dakota Masonic job came in early and furnished a lot of
work for the boys.” In the past, I have erroneously stated that the scenery was
delivered in 1914. I based this date on Moses’ Masonic resume, where he listed
the Grand Forks Scottish Rite scenery as a 1914 installation; that was likely
the year when the contract was negotiated as work started at the beginning of
1915.
The Scottish Rite theatre in the Grand Forks Masonic Temple.The Scottish Rite theatre in the Grand Forks Masonic Temple.The Scottish Rite theatre in the Grand Forks Masonic Temple, with scenery and stage machinery by Sosman & Landis studio of Chicago, Illinois.
I first visited the Masonic
Temple in Grand Forks when all hell broke loose. What I mean is that the hell
drop ripped in half and I had to piece it back together. It was a fun project
that prepared me for a Pasadena Scottish Rite project, their crucifixion scene
also ripped in half. I am getting quite
good at repairing this particular type of damage.
Damaged area of the hell scene at the Masonic Temple in Grand Forks, North Dakota.Repaired area of the damaged hell drop at the Masonic Temple in Grand Forks, North Dakota.Detail of repair before paint touch up at the Masonic Temple in Grand Forks, North Dakota.Detail of repair after paint touch up at the Masonic Temple in Grand Forks, North Dakota.Repaired scene at the Masonic Temple in Grand Forks, North Dakota.Damaged area of the crucifixion scene at the Scottish Rite theatre in Pasadena, California.Reinforced seams and center patch crucifixion scene at the Scottish Rite theatre in Pasadena, California. The seams were also separating and need reinforcement.Repaired crucifixion scene at the Scottish Rite theatre in Pasadena, California.
Since my first visit to Grand
Forks, I also evaluated the scenery collection twice; the second time was after
a fire. The Grand Forks Masonic Temple has a history with fire. In 2014, I received a call from about
possible smoke damage to the Scottish Rite scenery collection. A fire had
started in the basement and smoke filled the stage area. Miraculously, the fire
was put out before reaching the stage area, but the scenery became covered with
a residue.
A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.A scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.Back view of a scene delivered by Sosman & Landis to the Scottish Rite theatre in Grand Forks, North Dakota, 1915.
The first mention of a fire that
partly burned the Grand Forks Masonic Temple was in 1903. On Jan. 8. 1903, a
special message to the “Star Tribune” reported, “At 10 o’clock last evening the
new Masonic Temple was gutted by fire. The fire originated from an explosion of
gas in Spriggs Bros. store on the first floor. Damage to the building, $5,000;
Spriggs Bros., $1,500; C. A. Rhinehardt, hardware, first floor, $2,000 by
water, fully insured.
The Masons recovered, and by
1910, two stories were added to the Grand Forks Masonic Temple (Bismark
Tribune, 19 June 1910, page 5). On Nov. 8, 1911, the “Grand Forks Herald”
announced “Many Masons in the City. Scottish Rite Reunion Brings Them Together
– Under Charter Hereafter” (page 5). The article noted, “There are a large
number of Masons in the city attending the reunion of the Scottish Rite bodies,
which commenced yesterday and continues till tomorrow. Work in the several
bodies is being given. The fact that the Grand Forks Scottish Rite lodges were
recently granted charters by the supreme council is the cause of added interest
in the present as from now on the local bodies will operate under a regular
charter rather than under dispensation, as in the past.”
On Jan. 18, 1912, fire destroyed
the interior of the Grand Forks Masonic Temple. Fire broke out in the basement
of the A. B. Rheinhart hardware store, located in the Masonic Temple building (Courier
Democrat, Langdon, ND, 25 Jan. 1912, page 2). The fire was supposedly started
from spontaneous combustion in the paint storeroom of the Rheinhart hardware
store. The Masonic Temple building was practically a total loss, with the lodge
bodies having lost all of the furnishings. The loss of the building was estimated
at $50,000, with the lodges’ bodies losing $10,000 worth of properties. Four
days later, the Grand Forks Scottish Rite bodies opened their annual mid-winter
reunion in the Elk building, with a class of eighteen taking the degrees. The
“Grand Forks Herald” reported, “The Grand Forks Masons were compelled to do
some rapid work as a result of the destruction of their home last Thursday
night, but they were able to get into shape so that the reunion was commenced
on schedule. Immediately the Scottish Rite bodies complete their work the
Shriners will hold a ceremonial session.” What a resilient group! By 1913, the
Grand Forks Scottish Rite was meeting at the Kem Temple, home of the Shrine
(Oakes Times, 2 Oct. 1913, page 7).
On June 24, 1915, the “Courier
Democrat reported, “Masonic Temple Dedicated. New Structure at Grand Forks
Considered Perfect. The Grand Forks Masonic temple costing more than $150,000,
was dedicated by grand lodge Masons of North Dakota. Rev. J. K. Burleson of
Grand Forks presided and W. L. Stockwell of Fargo made the dedicatory address.
Grand Forks’ new temple is regarded as the most complete and perfectly
appointed Masonic structure in the Northwest outside of the Twin Cities” (page
2).
That same year, the “Dickinson
Press” announced a new charitable endeavor by Scottish Rite Masons in Grand
Forks (Dickinson, ND, 10 Oct 1915, page 4). The article reported, “In Grand
Forks the Scottish Rite Masons have started a movement for a free children’s
clinic at which all the needy and deserving children of the county are to be
given medical attendance free of charge. Why is not this a good move for
Dickinson? There are a few diseased and crippled children in every community
who could be cured of illness and physical defects if the physicians would band
together and give their services. It is believed that they would if their
attention was called to the matter, and in this way a number of unfortunate
children would get a fair start in life.”
The history of the Cox Studio fits within the 1913 timeframe pertaining to Sosman & Landis scenic artist and studio vice-president, Thomas G. Moses (1856-1934). That year, the Jesse Cox Scenic Company was destroyed by fire. This was the first of two studio disasters, with the second occurring in 1936 when a tornado razed the building.
On March 8, 1913, Des Moines Register reported, “Estherville, Ia., March 7 – Special! Fire destroyed the Jesse Cox scenic studio in twenty-five minutes. The blizzard from the northwest made the efforts of firemen unavailing. The loss in 2,000 with no insurance. Mr. Cox will rebuild at once. Mr. Cox has a national reputation as a scene painter” (page 12). By that fall, the studio was up and running again. The “Gazette” reported, “An interesting place to visit is the Jesse Cox scenic studio, where several artists are employed at painting scenery for opera houses and traveling theatrical companies and whose work goes into nearly every state in the union” (Cedar Rapids, Iowa, 15 Nov, 1913, page 7).
In 1916, the Jesse Cox Scenic Co. published and
distributed a new sales catalogue. A Xerox copy remains part of the John H.
Rothgeb papers at the Harry Ransom Center, University of Texas – Austin. I had the
opportunity to photograph the copy a few years ago while doing some research
and tucked it away until now.
1916 catalog by the Jesse Cox Scenic Company. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin.1916 catalog by the Jesse Cox Scenic Company. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin.1916 catalog by the Jesse Cox Scenic Company. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin.Design by J. Cox at the Theatre Museum in Mt. Pleasant, Iowa.
The illustrated 1916 catalogue lists Cox’s second studio location in Estherville, located at 1221 East Roberts Street. A letter from the Estherville State Bank is included in the catalogue and notes that Cox’s firm has “trustworthy and honorable,” having been a client for 18 years. This means that Cox established a studio in Estherville during 1898. In 1898 Cox was also touring as a musician and comedian with the Noble Theatre Co. That spring, the Estherville Daily News reported, “Jesse Cox is here this week with the Noble Theatre Company. He is the same old Jes and his many friends here are anxious to give him the glad hand. The company has an excellent band and Jes, as baritone player, is in his element” (April 20, 1899, page 25). By the summer of 1899 “Jes” adds another feather in his cap and the Estherville Daily News reported, “During his vacation Jesse Cox is busily engaged at the opera house painting twelve complete sets of scenery for the Noble Theatre Co. He will join the company again July 29 at Cedar Rapids, Iowa” (20 July 1899, page 21).
As far as the Cox studio, it was a family affair. Brothers Jesse and James both worked as scenic artists, with James also working as an architect and owner/editor of the Opera House Reporter. James had even designed the Lough Opera House, credited as the location for the Cox’s first studio. Their younger brother George R. Cox (b. 1881) worked as a salesman for the firm in the beginning before striking out on his own (Estherville Daily News, 10, Nov. 1941, page 1). Finally, their father Spencer constructed much of the scenery over the years. His carpentry expertise brought a much-needed skill to the endeavor. Even Jesse’s son, Eugene, would also become a scenic artist for the firm.
By 1902, they firm expanded their scope, advertising in Minneapolis, Minnesota, newspapers for “a good pictorial sign writer” (The Minneapolis Journal, 6 Sept. 1902, page 13).
In 1907, the firm contemplated a move. The Des Moines Tribune reported, “Coming to Des Moines – Fred Buchanan is the authority for the statement that the Jesse Cox Co., of Estherville, will move to this city soon. They expect to erect a large studio for painting stage scenery, in addition to the continuing their theatrical publication, The Stage Reporter (14 Dec. 1907, page 8). The Evening Times Republican added Every opera house manager in the state will be interested in the statement that the Opera House reporter, the leading exponent of the theatrical profession in the west, will soon be moved to Des Moines from Estherville. At the same time, it is said, the big scenic studio of Cox & Company will be moved to the state capital. Some years ago, Jesse Cox & Company, or Estherville, commenced the publication of a small paper devoted to the interests of the opera house managers of the west. The new paper made a hit almost instantaneously, and has grown quite rapidly in recent years in both scope and usefulness. Messrs. Cox have at the same time built up a bog business in painting scenery for theatrical companies and many of the theatres of the west have been equipped from this studio. It is said that the Reporter as well as the studio have outgrown their present quarters and that the managers of both enterprises are seeking the facilities that a larger city will offer them and at the same time keep in touch with the constituency in the west and northwest” (Marshalltown, Iowa, 18 Dec, 1907, page 2). It is unclear whether the move ever took place, but five years later, they were in the same location.
In 1912, the Jesse Cox Scenic Co. was located in
Estherville, Iowa. The next year the studio was destroyed by fire. But that
didn’t stop the Cox brothers and they rebuilt.
By 1916, the 1916 Jesse Cox Scenic Company catalogue
notes, “For over sixteen years we have made a specialty of equipping theatres
and road shows with high grade and artistic scenery.” This places the
establishment of the company in 1900. Of their work, they catalogue states, “We
furnish everything complete to equip your stage or show and everything in the
line of special sets and practical, knock down set stuff. We furnish proscenium fronts for small
theaters for less money than your local contractor can build them and they give
an added attractiveness to your stage that cannot be obtained otherwise. These
proscenium fronts are built to fit your building from wall to wall and from
stage floor to ceiling, so no fitting is required in installing them in your
theatre. They are durable and add much to the beauty of your theatre. In this
catalogue we make no attempts to show a full line f our designs, but we have on
hand hundreds of designs and photos of different scenes and will be pleased to
mail you designs of any particular scene r setting you may require, or if
necessary will make you a sketch in colors to meet your individual
requirements.”
The catalogue also noted that the Jesse Cox Scenic Co.
was the “only studio in Iowa designed and built exclusively for scene
painting,” adding, ”Our studio is thoroughly equipped for turning out high
grade work promptly and our artists are all men with years of experience in
scenic work.
At this time, scenic studios began popping up all across
the country. Not everyone delivered
quality work, and this fact was addressed in the 1916 catalogue. Under the
heading “Cheap Work,” the catalogue noted:
“IF YOU ARE A LIVE ONE you don’t use the cheapest film
service for your picture show, you don’t book the cheapest vaudeville acts
regardless of ability, you aim to get QUATITY [sic.] at a price you can afford
to pay. CHEAP SCENERY will just as surely disgust your patrons as cheap films
or vaudeville. We give you QUALITY ALWAYS at the lowest possible price consistent
with work that we can ABSOLUTELY GUARANTEE to please you. GET THE BEST at a
price you can AFFORD TO PAY.” Earlier in
the catalogue, the firm advertised, “OUR GUARANTEE – We guarantee you prompt
and efficient service and ABSOLUTE SATISFACTION in both workmanship and
materials or your money back.”
Copy of a tag posted on a set of wood wings at the Theatre Museum in Mt. Pleasant, Iowa.
In 1913, Jackson boasted a
modest population of 31,433. That year, Thomas G. Moses wrote that Sosman &
Landis delivered “a new interior” for Jackson, Michigan.” The studio also
delivered “a new interior” to Chicago’s Olympic Theatre in 1913. A “new
interior” signified a box set, constructed with series of interchangeable flats
that could be lashed together with cords and cleats. The theater that received
the interior set in Jackson was the Athenaeum.
Julius Cahn’s Official
Theatrical Guide for the 1913-1914 season listed the Athenaeum as Jackson’s
sole performance venue for touring productions. The Athenaeum first opened in
1898, two years after the town lost the Hibbard Opera House to fire (“Bessmer Herald,”
17 Dec., 1898, page 19). Built by Charles C. Bloomfield, the “Bessmer Herald”
reported that “Jackson’s New Theatre,” the Athenaeum, was a “playhouse second
to none in the State outside of Detroit.” Cahn’s Guide also noted that this
ground floor theater had a seating capacity of 1290, with 462 on the main
floor, 328 in the balcony and 500 in the gallery. In addition to the standard
seating, there were 20 boxes.
The proscenium opening at the Athenaeum
was 34 feet wide by 26 feet high, a standard size for the day. The depth of the
stage was 34 feet with the stage width measuring 64 feet. The measurement from
the Athenaeum’s stage to the rigging loft was 50 feet, the fly gallery 24 feet.
Beyond a few technical
descriptions, I uncovered little about the interior set or other scenery on the
stage. However, discovering a new publication made my entire search worthwhile.
In 1913, an author in Jackson published 1913 an illustrated course of instruction
on “How to Enter Vaudeville.” Copyrighted by the Frederic La Delle Co. the course
contents are worth noting:
“CONTAINING – – The Keynote of
Success Now to Start in Vaudeville, How to make a success. How to secure an
original act. What kind of act to get up. Rehearsals. How to report for
rehearsals. How to rehearse. Breaking in your act. Cues. Properties. How to
finish your act. How to dress your act. Where to work on the stage. Scenery.
Billing and property lines. How to get some publicity. Vocal and instrumental
music, free. Conduct off the stage. A dictionary of stage terms, fixtures and
appurtences, Vaudeville slang and phrases. Characterization and impersonation.
The orchestra. Headliners. How to overcome stage fright. Encores. How to get a
reputation quickly. Distinctiveness and originality. How to enter the dramatic
profession. Ordinary acts and big reputations. Theatrical publications.
Circuits, Contracts, House rules. Booking agencies. Writing to booking
agencies. Booking agents partial to
beginners. Salaries. Seeing booking agents personally. Writing for engagements.
Professional letterheads. Stage conduct. After receiving contracts. Presenting
yourself to the stage manager. Handling your baggage. Behavior toward stage
managers. Closing an engagement. Booking your act through Europe and the
continent. Firms dealing in theatrical goods. Securing press notices.
Advertising your act. How acts are reported. Questions and answers. Ninety
vaudeville acts explained. How to interest your audience. Eccentric wardrobe
and makeup. Eliminating crudity and amateurishness. Process of making up
illustrated. Making up for various races, nationalities and characters.”
I’ll look at the section: “A
dictionary of stage terms, fixtures and appurtences” tomorrow.
Frederic La Delle’s course of instruction on “How to Enter Vaudeville,” published in Jackson, Michigan, 1913.
In 1913, Thomas G. Moses write,
“We did Harris Theatre, Pittsburgh, for New York studio…”
The Harris Theatre in Pittsburgh
was a vaudeville house managed by John P. Harris. “The Pittsburgh Press”
described Harris as “a pioneer in amusements within reach of the masses, active
in the industrial world and a leader in clean sports. He opened and
successfully operated Pittsburgh’s first ‘nickelodeon.’ When that form of motion
picture entertainment was laying the foundation of the present motion picture
business, and later expanded his operations to cater to all classes of cinema
entertainment. Mr. Harris was among the first to enter the field in low-priced
vaudeville. He provided Pittsburgh and western Pennsylvania cities with a chain
of theaters. He provided Pittsburgh and western Pennsylvania cities with a
chain of theaters, featured with low admission prices. Later he entered the
higher priced amusement field and became associated with the most important figures
in the vaudeville, photoplay and legitimate stage circles. Mr. Harris was vice
president of Harry Davis Enterprises Co. and president of the various Harris
Amusement companies, operating a chain of theatres throughout western
Pennsylvania, West Virginia and Ohio. These companies included the Harris
Amusement Co. of Pittsburgh, the Harris Amusement Co. of Pennsylvania, the
Harris Amusement Co. of Michigan and various other associated interests in
Cincinnati, Dayton, Columbus, and Louisville. He also was vice president and
director of the Washington Trust Co. and a director of the Pittsburgh’s
baseball club” (27 Jan 1926, page 1). Harris later became a state senator in
1922
The Harris Theatre in Pittsburgh
was mentioned in an advertisement published in the “Cincinnati Enquirer” on May
30, 1918. It cited the Harris Theatre as “Pittsburgh’s Leading Playhouse Theatre”
(page 16). It described fire safety materials employed during the construction:
“It will be noted in the following that the use of THE EDWARDS MANUFACTURING
CO.’S CELLULAR STEEL and KEYRIDGE in the construction of this handsome new
playhouse will make it one of the most safe and fireproof temples of amusement
in the country. Every newspaper remembers with horror the terrible catastrophe,
which a few years ago blotted out the Iroquois Theatre in Chicago, sacrificing
many lives and injuring hundreds. This has caused theatrical managers all over
the country to provide again a recurrence of this horror, with the result that
CELLULAR STEEL AND KEYRIDGE have been specified in great numbers of edifices
where the builder looks to the safety, comfort and absolutely fireproof
qualities in his building. The main floor and roof of this new Harris Theatre
is a CELLUAR METAL construction, the balcony, galleries and all partitions and
suspended ceiling of KEYRIDGE. This material can be used in the building of
modern homes, office or flat buildings and for garages.”
Harris Theatre, Pittsburgh. Advertisement from the “Cincinnati Enquirer,” May 30, 1912, page 16.
In 1912, Thomas mentioned three
projects at Sosman & Landis, writing, “A nice little order from Charlotte,
N. Car., Minnie Palmer, two shows, full stock for the Empress Theatre, Fort
Wayne.”
Postcard with bird’s eye view of Fort Wayne, ca. 1912.
The Empress Theatre was located
at the intersection of Wayne and Clinton streets in Fort Wayne. In addition to
an auditorium and stage, the building included gentlemen smoking rooms, ladies
rest rooms, and a nursery. Of the Sosman & Landis installation, local
newspapers described fire prevention measures.
Postcard depicting Fort Wayne, Indiana, ca. 1912.Postcard depicting Fort Wayne, Indiana, ca. 1912.
On March 8, 1913, the “Fort
Wayne Journal-Gazette” reported, “The stage is fitted with the finest scenery
that has ever been brought to Fort Wayne. The curtain arrangement is also
something new to Fort Wayne. Two asbestos curtains will be used with a water
curtain in the center, which makes the matter of a fire upon the stage the next
thing to an impossibility. The curtain will be raised and lowered
automatically, sliding through a metal groove which also makes it an
impossibility for fire, if there should be one to get through the curtain and
out into the auditorium.” (page 7).
Previously, “Fort Wayne
Journal-Gazette” reported, “In matter of exits, the Empress will boast pf being
one of the safest theaters in the middle west. Constructed almost entirely of
concrete and steel, it is practically fireproof and being equipped with sixteen
exits, open on all four sides, the place can be emptied in less than three
minutes” (February 23, 1913page 15). The industry was still reeling from the
Iroquois Theatre fire, with new theaters now citing how quickly an auditorium
could be evacuated. Fort Wayne residents had also witnessed the Aveline Hotel
Fire of 1908, a devastating tragedy for the town. The Empress Theater’s opening
drew many men prominent in vaudeville to be in attendance.
Although Sosman & Landis completed
the scenery in 1912, the official opening of the Empress Theatre was on March
9, 1913. With a seating capacity of almost 1300, advertisements promised,
“every modern convenience known to theatre building.” The theater’s policy was
three performances every day, with five hundred “choice seats” being available
for ten cents. Matinees started at 2:30 and were followed by two evening shows
at 7:30 and 9:00 P.M. Girls were used as ushers for the evening performances
and on Sunday. For matinees, patrons were expected to seat themselves.
The opening billing included Lew
Field’s “Fun in a Boarding House” as the headliner. The stage setting for the
show included the section of a house, six rooms in all. Fields, of the firm
Weber & Fields, was engaged to produce “fun” acts exclusively for the
Sullivan & Considine theaters nationwide.
Scene from “Fun in a Boarding House,” from the “Fort Wayne Journal Gazette,” 2 March, page 25
In addition to the headliner,
there were four other acts and two reels of famous “Kinemacolor pictures” as
part of the new vaudeville theater’s program. The Kinemacolor pictures were
changed twice weekly – on Sunday when the entire bill was changed – and on
Thursday (Fort Wayne Daily News, 10 March 1913, page 8).The May 8, 1913, “Fort
Wayne Journal-Gazette” article reported, “Kinemacolor pictures will also be
shown, which is something new in the motion picture art in Fort Wayne. The
Empress controls the sole right to these pictures in the city, therefore they
will be shown at no other place in Fort Wayne. The pictures are educational in
a way and also amusing.”
An advertisement in the
“Fort-Wayne Journal-Gazette” stated, “The Empress theatre has instituted the
new and marvelous Kinemacolor moving picture machine, which reproduces on the
screen the same colors and shades that are present when the picture is taken.
The colors are true to nature in every respect, and, although the system of
mechanism is carried out in a very complicated manner, yet the color scheme is
most simple, entirely like the doctored and painted films of the black and
white machines. A filter wheel, divided in four parts, two of which are filled
with a red filter and the other two parts with green filter, forms the
foundation and basis of the new system, The great, yet simple, law of nature ,
that all colors of the rainbow can be made from three colors – red, yellow, and
blue- is taken advantage of, and two colors, yellow and blue are so blended in
the filter as to produce the shade of green desired. The film is sensitized so
that the darker colors are shows through the green filter and then lighter
shades are projected through the red filter, thus making a segregation of
colors that are true to nature. The method of producing such a high degree
sensitiveness on the film is the same as the other methods of film making ways,
only a picture for the Kinemacolor machine must be taken out in pure sunlight,
whose rays alone are strong enough to produce the desired sensitiveness on the
negative. The red and green filter wheel is placed in front of the negative
when the picture is taken and the rays passing through the filter form a color
value on the film. Then when the film is put into the machine, a high-powered Arclight
throws its strong rays through the filter onto the film and out through the
lens, forming a segregation of colors that exactly reproduce the picture. The
machine utilizes three times as much candle power as the black and white machines,
and, being run by a one-horsepower electric motor shows forty pictures in a
second, while the other machines, most of which are run by hand, project and
average of sixteen pictures per second. The
inventor of the machine is an American, Charles Urban who has resided in
England for the past fifteen years. The machine has been in England for the
last six years, but only in America for three years. It has been largely
accepted by all the large theatres of the east, and its success is due to its
value. The machine is merely leased to the companies, and the Empress is the
only one in the city at present that will use it “(8 March 1913, page 7).
