Theatre Managers – Page 2

Tales from a Scenic Artist and Scholar. Part 1057 – Charles T. Kindt, 1920

In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island. Had to get a permit. I enjoyed myself immensely. Saw all the old places, also had a visit with Charlie Kindt.” This was the year before Kindt retired at the age of 58. Charlie was the son of German immigrant and well-known panorama painter Louis Kindt (1832-1923). For more information about the artistic career of Louis Kindt, visit http://www.wisconsinart.org/archives/artist/louis-kindt/profile-1809.aspx

The 1920 US Federal Census lists Charles T. Kindt as a 57 yrs. old theatre manager, living at 120 17^th St, in Davenport, Iowa. Kindt was living with his wife, Helena. Daughters, Helena (age 28) and Julia (age 30) were also living with them, as well as their grandsons Stoddard and Kindt Fields. At the time, Kindt was manager for the Burtis Opera House. In 1921, the famous opera house would be gutted by fire. The 1600-seat venue was originally constructed by J. J. Burtis in 1867. Kindt began managing the theater in 1890. Of the tragedy, “The Daily Times” reported, “Mr. Kindt lives in the Perry apartments next to the opera house and was one of the first to be notified of the fire. He and Mrs. Kindt and their daughter Julia, dressed and were among the first on the scene. Mr. Kindt remained on the scene for three hours watching the fames and talking to friends, who extended their sympathy. He took his loss philosophically, no losing any of his joviality, which characterizes him. ‘Yes, there have been some great people who have played on the old Burtis stage,’ he reminisced. ‘Many before my time and many since I took over the management. There’s not any salvage in the building. I guess it’s a totals loss. But what’s the use of hollering about it? It’s not going to do any good.’ …Scores of autographed photographs, presents from friends in the theatrical world, were destroyed or badly damaged. Mr. Kindt is unable to say what his future plans will be. He has been negotiating for some time a new theater and it may be the fire will hasten such plans” (26 April 1921, page 2).

The Burtis Opera House was destroyed by fire in 1921. Thomas G. Moses visited Charles Kindt in 1920 and 1922. Article from “The Daily Times,” 26 April 1921, pages 1- 2.

The Burtis Opera House after the fire, from “The Daily Times,” 26 April 1921, pages 1- 2.

In 1922, Moses wrote, “I met my old friend Chas. Kindt in Davenport. He is manager for the Thos. Cusock Company, on the site of the old Burtis Opera House.”

Charles Kindt also started out as a scenic artist like his father, but soon transitioned to theatre management by the age of 25, in 1888. Kindt married Helen “Nellie” Stoddard in Chicago on March 22, 1882. By 1888, Kindt was acting as assistant manager for the Turner Opera House in Davenport, Iowa (The Morning Democrat, 17 July 1888, page 4). He was working with manager Charles Becker. By 1889, Kindt became manager of Davenport’s Grand Opera House. In 1890 he was manager of the Burtis Opera House.

Charles T. Kindt listed as manager of the Burtis Opera House. From the “Daily Leader,” Davenport, Iowa, Sept.13, 1893, page 4.

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

In 1906, F. W. Chamberlin & Charles T. Kindt purchased and remodeled the Burtis theater. Sosman & Landis delivered new scenery to the renovated stage. If Kindt did not know Moses from the Chicago scenic art scene, he would have met him at the Burtis. Of the Burtis Opera Houses 1906 renovation “The Daily Times” reported, “The theater will be completely remodeled from stage to foyer” (Davenport, Iowa, 16 March 1906, page 6). Manager Kindt, was quoted as stating, “The Burtis will be completely remodeled. In fact, when it is improved, it will be practically a new theatre. Everything that is in it will be removed, and it will be fitted up in modern shape throughout” (The Daily Times, 24 March 1906, page 12).

Kindt passed away in 1947. His obituary reported, “Charles T. Kindt, 86, a veteran Davenport theater operator and a partner in the old Chamberlin-Kindt Theater corporation, which operated theaters in Moline and other cities, died at 3:40 yesterday in Mercy hospital, He had been ill for some time. Mr. Kindt was the first exalted ruler of the Davenport Elks’ lodge…Mr. Kindt was best known as the owner and operator of the old Burtis theater. He had not been in active business since 1921. Mr. Kindt, who lived at 1104 River drive, Bettendorf, was active in Bettendorf civic affairs many years. At one time he was president of the Bettendorf Chamber of Commerce. He was born in Sandusky, O., on March 28, 1861, and was reared in Chicago. Mr. Kindt became acquainted with the theater business through his father Louis Kindt, and became a scenery painter in Chicago. He came to Davenport in 1888 on a contract to paint scenery for the Grand Opera house there. Later he became manager of that opera house and in a few years became manager of a second opera house in Davenport. He formed the Chamberlin-Kindt partnership, which operated a chain of 51 theaters in the middlewest. An organizer of the Elks’ lodge home in Davenport, Mr. Kindt was the only surviving charter member. He married Helen Stoddard in Chicago March 22, 1890. She died in 1937. Surviving are a son, C. Roy Kindt of Davenport; two daughters, including Mrs. John A. Martinelli of Davenport; a brother; three sisters, including Mrs. Julia Donald, of Davenport; 11 grandchildren and seven great-grandchildren” (The Dispatch, 11 July 19487, page 20).

From “The Dispatch,” Moline, Illinois, 11 July 1947, page 20.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1023 – Pittsburgh’s Alvin Theatre, 1919

In 1919, Thomas G. Moses wrote, “A large curtain for the Alvin Theatre, Pittsburg, gave me a good opportunity to display my knowledge of deep woods again.” Moses delivered the original stock scenery collection for the same venue in 1891.

The Alvin Theatre after Benjamin Keith purchased the building in 1900 and rented to Harry Davis.

An interior view of the Alvin Theatre in 1905.

In early September of 1891, Moses and Ed Loitz left Sosman & Landis’s main studio in Chicago, bound for Pittsburg. Their goal was to furnish all of the new scenery Alvin Theatre in the next two months. They completed the project on November 10, 1891.

The Alvin Theatre was owned by the actor named Charles L. Davis. Davis had made his fortune as a character actor, playing a New England rural farmer named “Alvin Joslin.” He originated in the 1860s and became quite popular.

Charles Lindsay Davis was born in 1848. At the time, his parents were touring with a theatre production. Davis entered the theatrical profession by the age of five and continued performing until 1889, when he retired to build the Alvin Theatre. After spending $225,000 on the endeavor, the Alvin Theatre was considered one of the finest theatrical house in America at the time. Moses described Davis in his memoirs: “He carried a band furnished with the best and most expensive instruments. He wore some fine diamonds. His vest buttons had diamonds in them. A $7000.00 watch was a novelty. He had a body-guard who was close to seven feet tall, while he was only five feet there. On day in Cincinnati while dining, his body guard approached him, begged his pardon for being late, and counted out to Davis thirty $1000.00 bills, and apologized for not being able to get the balance. The table was filled with traveling men and as they opened their eyes at $30,000.00, Davis coolly put it in his vest pocket. As soon as the meal was over, he slipped the money back to his bodyguard who got it back to the bank where he had borrowed it for an hour. Of course, on good security. Just a little advertising. Everyone talked about it. He had many little stunts like that.”

Davis passed away in 1900 at the relatively young age of 52 from complications that arose after a suffering from a severe attack of pneumonia. The “Pittsburgh Post-Gazette” announced “Charles L. Davis will be sadly missed and not alone at his home, for he was known all over the country and had hosts of warn friends. Pittsburghers have every reason to remember him with gratitude. He was instrumental in adding to the city’s attraction a place of amusement, and which remains an appropriate monument to his memory” (2 March 1900, page 4). The Alvin Theater was purchased in 1900 by Benjamin Keith. Keith rented the space to who began renting to Harry Davis. By 1905, the two expanded their partnership to include Pittsburgh’s Grand Opera House.

Little is known of the scenery delivered to the Alvin Theatre either in1891 or 1919. The technical information for the stage, however, was included in numerous Julius Cahn’s Official Theatrical Guides, beginning in 1896. The theater was located on the first floor and the proscenium measured 36 feet wide by 45 feet high, a sizable opening. It was 48 feet from the footlights to the back wall and 78 feet between the side walls. The distance between the fly girders was 50 feet, with 63 feet from the stage to the rigging loft. There were grooves for painted wings that could be taken up flush with the fly gallery and six traps in the stage floor. By 1901, the stage area appears to have been enlarged from 78 feet to 90 feet between sidewalls. All other technical specifications remain constant.

When Moses delivered the woods scene to the Alvin Theatre in 1919, he must have been flooded with memories from his first trip to the space. In 1891, his career was in the midst of shooting upwards. Business was booming and there was a long line of projects on the horizon. By 1919, it was almost thirty years after Moses first visited the Alvin Theatre. The world of theater was changing and there was no longer an endless demand of painted scenery. Although Moses noted the project offered an opportunity to display his knowledge of the deep woods again, it was a bittersweet moment.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1019 – John H. Kunsky’s and “What is the Moving Picture?”

John H. Kunsky had made his fortune investing in movie houses.

In 1950, George W. Trendle recalled that the Kunsky Theatre Circuit had 16 movie houses in Detroit by 1929. It was that year that that Trendle and Kunsky sold to Paramount (Daily News, NY, 5 March 1950, page 562).

In 1922, the “Washington Times” published a definition by John H. Kunsky for the query, “What is the Moving Picture” (Washington, D.C., 13 Feb 1922, page 16). Kunsky had a vested interest in selling the purported benefits of moving pictures. This is such a wonderful example of how the world of entertainment was changing and how silent movies were perceived by the American populace.

“The newest thing of great importance in the world is the MOVING PICTURE. It offers the most direct road into the human brain and thought. What it IS, what it DOES, what it is DESTINED to be – all those questions important to everybody interested not merely in moving pictures, but in EDUCATION and in the human race of the future.

Some will say that the moving picture does instantaneously what the spoken or written word does slowly. Others will say that it is actual presentation of life and emotion before the very eye of the beholder.

A very good definition of the moving picture, as you will agree, is given by John H. Kunsky who has just built the Capitol Theater in Detroit, one of the most magnificent theaters anywhere. Writing for the Detroit Times, Mr. Kunsky says:

WHAT A THEATRE DOES.

By John H. Kunsky.

Throughout history the human race, worried with its problem and its struggles for life, has sought relaxation, a change in the mind’s work that means rest for the brain. The Greeks had their public baths, in which they met and talked; their public squares, their famous philosophical promenades.

The fighting Romans had their great arenas, in which men and beasts, and even ships on real water, fought to amuse the mob.

In the middle ages they had bear-baiting, their dog fights.

The Spaniards still have their bull fights.

The Americas, as a nation, far removed from the brutality of the gladiatorial arena, or the bill rig, find their mental rest and their mental pleasure in the theater. And in the modern theater and its work you find reflected the national personality, its interest, its culture.

WHAT IS THE MOVING PICTURE?

The question is not asked now as it once was when men doubted whether ‘the movies,’ so called would last.

The moving picture is SIMPLY THE SHORTEST ROAD INTO THE HUMAN BRAIN.

It enables the actor to display all of his skill, and the spectator instantly can see all that the story has to tell.

You can do with the moving pictures all that can be done by the living actor, and a thousand times more.

If you say that the voice of the living actor is missing from moving picture, I will admit it, and regret it. But I will answer that the absence of the actor’s voice increases the activity of the spectator’s imagination, and the work that goes on inside the mind of the spectator’s imagination, and the work that goes on inside the mind of the spectator is worth infinitely more that the spoken word of any living actor.

To arouse thought, stimulate the imagination, transport vast audiences as by magic, to all parts of the world, is a great, useful and education work. And that is what the moving picture does. An entire week of work by living actor and of close attention by spectators could not show as much as can be shown by the moving picture in two short hours.

Gigantic crowds of thousands such as no stage on earth could possibly hold are shown and brought before crowds in absolute reality on the screen.

The moving picture is a great educator, and no man can say what good is done to this and to other nations in which the moving pictures with its dramatic story is part, as it were, of the daily mental diet.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1018 – John H. Kunsky of Detroit, Michigan

In 1919, Thomas G. Moses delivered scenery to two Detroit movie houses owned by John H. Kunsky. A decade later, the “Detroit Free Press” published an article about Kunsky and his chain of theaters. It provides a good perspective when considering the declining demand for painting scenery during the second and third decades of the twentieth century.

From the “Detroit Free Press,” July 22, 1928, page 11.

Here is the “Detroit Free Press” article from July 22, 1928 (page 11):

“More than 20 years ago, in 1905, John H. Kunsky brought the first motion picture machine to Detroit. It was a cumbersome affair, far from reliable, but it served its primitive purpose, and the first Kunsky theater – formerly a store – prospered.

As the idea of motion pictures took hold upon the public, the firm benefitted. There came into being in 1908 the Theater Royale, the first 10-cent theater Detroit every had seen and the first link in the Kunsky chain. On one occasion a charge of 25 cents was made during the showing of ‘The Passion Play,’ the first ‘super-feature’ of multiple reel length.

In quick succession there followed the Majestic and the Empress. As they too, prospered, there came into being the Garden, located in the then residential section of Woodward and Selden, the forerunner of the chain of de luxe suburban and residential theaters sponsored by the Kunsky Theater corporation.

The Hippodrome, and the Columbia followed, in short order, the latter still being operated by its founders, but none met with the huge success of the Liberty, the first , with its 15-piece orchestra under Eduard Werner, its organ, and pleasant atmosphere, did much to popularize the motion picture with the so-called ‘silks and satins.’

In 1914 the Kunsky chain took over the old Washington theater previously operated by a none-too-successful stock company. This was the beginning of the march toward Grand Circus park, and so profitable was the venture that in 1916 the Madison was erected.

Other followed quickly. In 1917 the Adams came into being followed by the Capitol; in 1925, by the State; and in 1926 by the Michigan.

Meanwhile the suburban field had not been neglected. More and more attention was given to providing entertainment in the residential sections, until now the chain owns and operates the Birmingham, the Redford and the Royal Oak, all opened during the last 10 months; the Strand, the De Luxe, the Alhambra, and the Columbia, in addition to its five big downtown theaters.

Unusual attention has been given to making the anniversary celebration a big one. Jackie Coogan, child cinema star, is appearing in person at the Michigan, with Frank Beaston’s Publix show ‘Sunshine Days,’ while Eduard Werner and Arthur Gutow offer musical specialties and Laura La Plante stars on the screen in ‘Home, James.’

The Capitol brought on Lou Holtz, ‘Scandals’ star, especially for this occasion, to appear with Del Delbridge in a lavish Publix stage show ‘Fine Feathers;’ Samuel Benavie and Don Miller assist musically, while on the screen William Boyd stars in ‘The Cop.’

The Adams offers Norman Keery in ‘The Foreign Legion,’ with Lewis Stone and Mary Nolan, with symphonic accompaniment by the Adams Symphony orchestra, while two talking pictures, ‘The Jazz Singer,’ starring Al Jolson, and ‘The Lion and the Mouse,’ with Lionel Barrymore and May McAvoy are seen and heard at the Madison and the State respectively.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 932 – Jones, Linick & Schaefer, 1916

Yesterday’s post explored the Oak Park Theater, a venue with entertainment managed by Jones, Linick & Schaefer. This theatrical management firm was featured in Frederic Hatton’s article “A Romance of Chicago Theatricals” for the “Chicago Daily Tribune” (30 Dec, 1916, page 22). This is a fascinating article that provides insight into not only the theatre industry, but also many Chicago theaters:

The men who managed Jones, Linick, and Schaefer, names mentioned multiple times in the memoirs of Thomas G. Moses, final president of Sosman & Landis.

“The rise of Jones, Linick & Schaefer if Chicago’s most recent commercial romance. The rapidity with which success has waited upon them dims many a tale of fortune in Chicago’s earlier days, days which were once considered to have been much more pregnant of opportunity than the present.

One can hear J., L. & S. on the loop street breeze now. The brief firm formula has a catchy ring. It drops easily from the tongue and it is so much in Rialto speech that it comes out now as if planted with a rubber stamp. Yet a few years ago no one except a few vaudeville men could tell you anything about this firm. It was known to have successfully planted a new brand of vaudeville in a few playing houses, but with the acquisition of McVicker’s and the Colonial at the end of the season these men leaped into the spotlight, as it were, fully made up as metropolitan managers. Their entrance to the loop stage was sudden and dramatic. Now you can hear the wildest sort of gossip as to how much money a day the form makes and how sudden it is to gobble up the entire theatrical business.

Bent on the discovery of these new phenomenons [sic.], we traced them down to their offices over the Orpheum Theatre on State Street. On the third floor there you can find a very accurate reproduction of scenes, which are supposed to be current in America only along Broadway. There your will find actor waiting in abundance without the rail which admits the privileged; there you will find non-resident managers in plenty arranging for bills and acts. Within the gates there are further signs of productive theaterdom – busy agents, stenographers, routing men. Booking directors and skillful executives. Playing the vaudeville game on a big scale is a bit like chess. It is all a matter of moves, and he who moves first has the offensive and the advantage. Jones, Linick & Schaefer have shown themselves masters of the quick, decisive move. They are not announcers of plans; they believe in coming up to a condition and then acting instantly.

In the innermost office of all the Orpheum you will find Messrs. Jones, Linick & Schaefer at triplet desks, one in the window, and another at each side of the room. Mr. Jones, the president of the firm, is short, dark, slender and very alert. He is a bundle of nervous energy. Mr. Schaefer is rather his opposite, being of serene, jovial, and easy-going presence, while Mr. Linick differs from both the others in being tall, wiry and rather soldierly. All seem to be in thorough harmony, which is perhaps the secret of their success.

All modestly disclaim being theatrical magnates or any other sort of bugaboo, being anxious to convey the impression that they had been lucky and their only credit lies in being strictly business.”

The paper then listed the theaters
First in amusement, in price, in the hearts of Chicago Playgoers.”

The article also went on to describe each of the firm’s venues:

THE RIALTO- Chicago’s handsomest theatre with perfect ventilation. The first month of the year 1917 will become the birth month of the Rialto Theatre, built at a cost exceeding $600,000 by Jones, Linick & Schaefer. Within a few weeks it will open its doors with high class, popular priced vaudeville, with a policy similar to McVicker’s. Marshall & Fox are the architects and Fleishmann Construction Company are the builders. Its location, on State Street, between Jackson and Van Buren, in the heart of the loop.

MCVICKER’S THEATRE – located on Madison Street near State, is the most popular continuous vaudeville house in Chicago. It was built by James H. McVicker in 1854, burned to the ground twice and remodeled recently at a cost of many thousands of dollars. Performances are continuous from 11 A.M. to 11 P.M.

LA SALLE THEATRE – The La Salle Theatre, located in the very heart of the loop on Madison Street and Clark, gained renown throughout America as the birthplace of musical comedy. For many years the most popular of the lighter musical plays were originated and produced at the La Salle, but at present the house is given over to the exhibition of motion pictures. Mary Pickford in “The Pride of the Clan” now occupies its screen, where performances are given continuously from 9 A.M. to 11 P. M.

ORPHEUM THEATRE – The Orpheum Theatre, on State Street opposite the Palmer House, is really the nucleus of the Jones, Linick & Schaefer string of houses. Here their first great success was made and the Orpheum Theatre today stands alone as the only First Run, Daily Change, motion picture house in Chicago. Its performances are continuous from 8:30 A. M. to midnight.

LYRIC THEATRE – The Lyric Theatre is in a class by itself being the only twenty-four hour theatre in the world. Several years ago the key was thrown away and since that time three shifts of employes [sic.] have presented motion pictures every twenty-four hours out of every day, and three hundred and sixty-five days every year motion pictures are offered.

BIJOU DREAM – The Bijou Dream stands directly next door to the Orpheum on State Street near Monroe and is given over principally to long runs of feature pictures. Here the very best art of the motion picture photographer is shown to tremendous crowds all the time. It is a beautiful little play house.

STUDEBAKER THEATRE – The Studebaker Theatre on Michigan Boulevard near Van Buren has been on of the foremost Chicago Theatres for the past decade. The attraction occupying this theatre at present is Annette Kellermann in Wm. Fix’s film spectacle “The Daughter of the Gods,” a marvelous motion picture of novelty and sensation. Performances are given twice daily.

The Studebaker Theatre in Chicago, 1916.

COLONIAL THEATRE – The Colonial Theatre on Randolph Street near State Street is probably Chicago’s greatest play house and had one of the most beautiful lobbies of any play house in the world, built in the Romantic period style. At present it is devoted to two daily performances of “Intolerance,” D. W. Griffith’s marvelous spectacle depicting Love’s struggle throughout the years.

THE BROADWAY THEATRE – The Broadway Theatre will be the newest addition to the Jones, Linick & Schaefer chain and is the only playhouse announced in the outlying district of Chicago attached to this string. The Broadway will be complete by September 1^st, 1917. High Class Vaudeville will be installed, with a policy similar to the “Rialto” and “McVicker’s” Theatres.

To be continued…

Tales from a Scenic Artist and Scholar. Part 914 – Thomas G. Moses and Charles H. Miles

Charles H. Miles, from the “Pittsburgh Press,” 18 Oct.1914, page 39.

Thomas G. Moses worked with Chas. H. Miles from 1908 to 1917, designing and delivering scenery to many of his theaters across the country. We know for certain that in 1910, 1913 and 1915, Sosman & Landis delivered scenery to the Miles Theater in Detroit. During 1917 Moses wrote, “Went to Cleveland June 21^st [1917) to see Miles regarding a picture set for the Miles Theatre.” By August, Moses met with Miles in Detroit, receiving a contract for the Regent Theatre. Two weeks after the Regent contract, Moses was back to Cleveland to meet with Miles concerning more scenery for the Grand Theatre. Each of these projects was a sizable contract, ranging between $2,800 and $2,90. That’s today’s equivalent of $58,000 per project.

Later in 1911 Moses recorded, “Inspected the New Grand and it is very good indeed. Miles is very proud of it, and I don’t blame him.” Miles’ was a mover and shaker, opening one theater after another during the early twentieth century. For quite a while, Thomas G. Moses of Sosman & Landis Studio, was the preferred source for theater scenery in venues owned and operated by Charles H. Miles.

Newspapers reported that Miles’ success was based on “Planning for everybody,” in other words, constructing combination houses with continuous vaudeville presenting both live theatre and movies. The “Pittsburgh Press” reported, “And this is how Mr. Miles went about his unique policy. First he planned for the business of boy and girl downtown who had contracted the ‘movie’ habit, and all of whom dearly love to patronize picture houses during their ‘hour-off’ at noon. Then he took into consideration the housewife on her almost daily shopping and marketing tour – the woman who has time to see a film or two, or perhaps, two or there acts of vaudeville. Then came the children on their way home from school, who have their nickels and dimes for a little fun. And finally, the grown-up people who have some special vaudeville favorite they wish to see, and those who come to witness the entire bill. Here we, indeed, have all sorts and conditions of pleasure-seekers. To adequately provide for each and all of them was not a very easy task. Mr. Miles’ solution of the problem resulted in the invention of a schedule that straightway revolutionized vaudeville. Here is an outline of the workings of this schedule, which will be put into effect in the new Miles Theater in Pittsburgh tomorrow evening. All daily performances commence with a continuous matinee from 12:30 to 5:30 p.m. This matinee consists of pictures from 12:30 to 2:30 with an admission price of 10 cents, and of vaudeville and pictures from 2:30 to 5:30, for admission of 10 and 20 cents. The house extends an invitation to those who wish to come at 12:30 to sit through the entire matinee until 5:30p.m. – a five hour show for 10 cents and 20 cents! In the evening there will be two complete vaudeville and picture shows, from 6:30 p.m. to 10:30 p.m., with an admission price of 10, 20 and 30 cents” (18 Oct. 1914 page 39). Today’s equivalent of 10 to 30 cents prices are $2.54 to $7.63, a very affordable entertainment, much more so than seeing a movie today. They were making money based on volume of sales.

In 1914, newspapers across the country featured Miles and his new Pittsburgh theater “The Pittsburgh Press” reported, “Mr. Miles is first, last and all the time, a man of action. Discommoded beyond endurance during one of his visits to Hibbing, he acquired a hotel site, appointed a manager and straightway made all arrangements for a comfortable hotel before he left town. To increase the patronage of this hotel, when was named for him, Mr. Miles started a small vaudeville house next to it. The little theater first revealed to him the possibilities of the show business, since it earned between $200 and $500 weekly. Unfortunately, the combined venture ended disastrously after a few years, the entire structure – hotel and theater – being gutted by fire. By this time, Mr. Miles had learned what profit was in the theatrical business, and 13 years ago [1901] he took over the Majestic Theater in St. Paul – one of the original vaudeville houses in that city –a show in connection with a beer garden. He turned it into a first-class vaudeville house, catering especially to women and children, a policy, which is especially characteristic of all the Mile houses. This venture in St. Paul gave birth to he present-day circuit of Miles theaters throughout the west. Mr. Miles now owns theaters in almost every city in the west. Among the most celebrated houses I his chain are the Miles theater in Detroit, the Hippodrome in Minneapolis, the Crystal theater in Milwaukee, the Hippodrome in St. Louis, the Garden in Kansas City and the Miles theater in Cleveland. “ Of the Miles theatre circuit, the article noted, “It goes without saying that the vaudeville acts that will be put on at the Miles Theater this winter are all of the highest class. They will be booked through the largest agency in New York and Chicago, and branches, agents and managers all over the world who are trained to be on the lookout day and night for acts that are considerably out of the ordinary. Thus Miles representatives are enabled to secure absolutely the best and most expensive acts, since Mr. Miles and his affiliations control over 100 houses, and can assure performers steady work for an almost indefinite length of time. For that matter, Mr. Miles is today recognized as the most expert vaudeville connoisseur in America; and it is his personal selection of most acts that he books that has lifted his entertainment far ways and above the average run of variety” (Pittsburgh Press, 18 Oct. 1914 page 39).

To be continued…

Tales from a Scenic Artist and Scholar. Part 907 – Root’s Strand Theatre in Pasadena, 1915

The original Strand Theatre interior in Pasadena, California. This is how it looked when Thomas G. Moses worked there on his California vacation in 1915.

In 1915, Thomas G. Moses wrote, “June 1st, Mama and I started for our first California trip that had no business attached to it, but I found a little when I reached Pasadena, a little misfit at Root’s Strand Theatre. Fixed it up and settled in full. This trip I have written up in detail elsewhere.” Moses recorded all of these trips in his travelogues, their whereabouts remain unknown.

The “little misfit” was at J. M. Root’s Strand Theatre, located at 340 E. Colorado Boulevard in Pasadena, Strand’s was across the street from the newly built Maryland Hotel. Root managed a circuit of large vaudeville theaters in Iowa and was a member of the Western Vaudeville Managers’ association in Chicago. He was also a major stockholder in two film agencies. Root’s 900-seat movie house was built by Frank Dale for $100,000 and opened on November 25, 1914. Sosman & Landis delivered the scenery for the theater. After the grand opening, the “Los Angeles Times” reported, “Most auspicious was the opening Wednesday night of the beautiful Strand Theater on East Colorado street, near Euclid avenue. The management gave to the public, which was there in a multitude, ‘The Nightingale,’ by Ethel Barrymore, one of the greatest of modern actresses. A feature of the programme was the music by the Strand Symphony Orchestra. The theater itself is a thing of beauty, finished in the handsomest of marble and onyx. A fireproof structure, it is built of brick, concrete and steel. It has a seating capacity of 900” (page 17). The cinema’s picture booth was also noted as the largest in California, equipped with four separate machines, including a Martin rotary converter that changed alternating current into direct current without the use of mercury tubes. The Strand Theater’s boasted a large woman’s retiring room near the inside entrance. It’s lobby, ornamented with Mexican onyx and solid mahogany. Other décor included large Corinthian columns inside lobby and friezes of musical cupids on wall panels.

The 1918 Pasadena City Directory listed the Strand Theatre as “Where You See It First and See it Best,” For All the Family, Best Pictures, Best Music, 340 E. Colorado near Euclid av Phone Fair Oaks 833” (page 423).

The Strand Theatre in 1924 after a remodel. Image from the Pasadena Digital History Collaboration: http://
collection.pasadenadigitalh
istory.com/cdm/singleitem/
collection/p15123coll2/id/
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Of Moses’ trip, the Oakpark, Illinois, newsletter mentioned his trip. On Saturday, July 24, 1915, the “Oak Leaves” reported, “T. G. Moses Sketching in West Mr. and Mrs. Thomas G. Moses of 233 South Euclid, who are on a seven weeks’ tour of the west, are enjoying the rare scenery of mountains and valleys. Meanwhile Mr. Moses is making sketches of the Grand canyon, Yosemite valley, Mt. Hood, Ranier, Pike’s Peak and scenes in New Mexico, for painting which he contemplates placing on exhibition at Grable’s Art and Gift shop, 112 North Oak Park avenue, upon his return in the early fall” (page 28).

At the end of 1915, Moses commented, “This year’s trip will always be remembered by Mama and I as one of our finest vacations. I didn’t do quite as much in the way of painting as I should have, but I made a number of pencil sketches and color notes, and I can rely on my very vivid imagination for general scheme of color.”

I am always wanting more time to paint when away, capturing the moment with my brush instead of a camera. There is always the plan to paint the scenes once I home, but life and work point me in a different direction, redirecting my focus.

To be continued…

Tales from a Scenic Artist and Scholar. Part 871 – Fire-proof Scenery at the Palace Theater, Fort Wayne, Indiana, 1914

The Palace Theatre in Fort Wayne, Indiana.

In 1914, Thomas G. Moses wrote, “Went to Fort Wayne to Fort Wayne to see Frank Stouder on the scenery for the new Palace Theatre.” Frank E. Stouder is an interesting character in his own right; having over two decades of theatre management experience by the time he met Moses that year. In 1914, Stouder was planning the Palace Theatre, by listed as the manager for the Masonic Temple and Temple Theater (Fort Wayne News, 6 April 1914, page 1).

There was a Masonic Temple and Temple Theatre in Fort Wayne, built in 1881.

The Scottish Rite Theatre was located just down the street from the Palace Theatre in Fort Wayne. I was built in 1909.

The 1909 Scottish Rite Theatre in Fort Wayne, Indiana.

The Temple Theatre was at the corner of Clinton and Wayne streets, having been built in 1881. Stouder first became in involved with the Masonic Temple and Theatre as their acting manger in 1886 (Fort Wayne Daily Gazette, 28 April 1886, page 5). By 1889, he was also listed as the venue’s treasurer (Fort Wayne Sentinel, 30 May 1889, page 4). Stouder managed the venue for over a decade, booking successful acts to perform in Fort Wayne.

Stouder was also a well known performer and baritone, singing in many musical concerts at the Temple Theatre and throughout Fort Wayne. When booking acts in 1902, newspapers reported, “Stouder found time to devote attention to his vocal music in New York and took a lesson every day of Signor Carbone, a baritone of the Metropolitan Opera Co.” (The Fort Wayne Journal-Gazette, 11 July 1902, page 1). Stouder was a member of multiple social clubs and participated in a variety of public performances where he was praised for his musical contributions. His success as a manager, however, drove his career, and by 1906, he also managed a summer venue – the Robinson Park Theatre (Daily News-Democrat, Huntington, Indiana, 22 March 1906, page 1).

It is not surprising that Stouder was the instigator for the Palace Theatre. Partnering with Byron H. Barnett, they both become the owners and managers of the venue, with each being known for their theatrical experience. The Palace Theatre was built to feature B. F. Keith attractions, as they toured the country. It was a sizable venue with a seating capacity of 2,000, (1,700 on the main floor and balcony and 300 in loges and boxes).

Ground for the Palace Theatre was broken on May 26, 1914, with an anticipated Thanksgiving Day opening. Changes and unanticipated delays pushed the opening a little later, but the wait was worth it. Newspapers promised the Palace Theatre would be “not only the finest theatre in Indiana, but the finest in the middle west and one that could not be destroyed by fire, even if a torch were applied and no effort made to stop the progress on a blaze that might ensue” (Fort Wayne Sentinel, 31 Oct. 1914, page 9). Supposedly, there was no wood in the building, except the casings around the doors and the wood stage floor, even the staircases were made out of metal.

An article of the Palace Theatre, advertised as a “Fire-proof building.” From the “Fort Wayne Sentinel,” 31 Oct 1914, page 9.

Detail of the Palace Theatre under construction from the “Fort Wayne Sentinel,” 31 Oct 1914, page 9.

C. W. and George Rapp, two Chicago architects who specialized in theatre buildings at the time, designed the theatre. There was an emphasis on fire safety, and newspapers reported that the structure was “absolutely fireproof,” being built of reinforced steel roof trusses weighing eight tons each. There were thirty inches of exit space for each 100 people, ensuring the evacuation of the auditorium in two minutes. The article continued, “The stage roof is supported on I-beams and is of the same material as the auditorium covering. One-third of the entire area of the stage roof is left in the form of ventilators. Why? Suppose for instance that a careless performer in direct violation of the laws of the state and the rules of the house should throw a lighted match, cigar stub or cigarette into some combustible material and set fire to the stage floor, the properties and the scenery. This ventilation in the roof would cause the flames and smoke to shoot upward and none of it would reach the auditorium. The management will have installed an asbestos curtain of the very latest and best material and in the twinkling of an eye.”

But wait, there’s more beside the asbestos curtain!

There was also a “Run Down Water Curtain.” The “Fort Wayne Sentinel” described, “Without moving more than a couple feet [the stage manager] will be able to ring down a water curtain. What is a water curtain? Why it is nothing more than a succession of tiny water streams of water flowing from a big pipe above the opening. When the valve is opened the water starts flowing and renders it impossible for the flames to break though.” (31 Oct 1914, page 9).

Finally, newspapers described the new scenery by Sosman & Landis scenery. The “Fort Wayne Sentinel” noted, “Even the scenery is to be fireproof. This does not mean that it will not burn, but it does mean that it will not blaze. Why? Because when the canvas on which it is painted is first put on the stretchers it is given a thin coating of fluid that is warranted not to blaze and this means exceedingly slow combustion and little danger. This fire-proofing is required in the specifications. No oils are used in the painting as all scenery is done with watercolors and this removes another element of danger.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 846 – Sheehan and Beck, 1913

In 1913, Thomas G. Moses wrote, “Sheehan and Beck dropped in with ‘Bohemian Girl.’ In other words, the two were in town with the production when they made a point of visiting Sosman & Landis about another project. The Sheehan English Opera Co. production of “The Bohemian Girl” was on tour of 1913.

Image published in the “Monroe Star News,” 18 March 1913, page 3.

Advertisement in the “Sheboygen Press,” 5 May 1913, page 6.

Interestingly, Sheehan initially performed with Henry W. Savage’s Grand Opera Company. Moses worked for Savage, designing many of his American Opera productions in New York, just prior to moving establishing the Moses & Hamilton Studio. The two would have met while each worked for Savage.

In 1913, Edward M. Beck was the General Director of Sheehan and Beck, with Sheehan starring in the lead roles. At the time, Sheehan was called “America’s Greatest Tenor.”

“The Bohemian Girl” was billed as “the most brilliant musical event of the season,” and toured with “60-trained Choral Voices” and “20-Special Grand Opera Orchestra” (Sheboygan Press, Wisconsin, 5 May 1913, page 6). Other performed by the company on the tour were “The Love Tales of Hoffman,” “Il Trovatore,” “Martha,” and “Chimes of Normandy.”

One Sheehan-Beck production that toured in 1913 was “Salome.” “Salome” was a second Sheehan-Beck production with scenery by Sosman & Landis. Of the production, Moses wrote, “We turned out a big production of ‘Salome’ for Sheehan and Beck – some very effective scenes. A good portion of the contract price never saw our office – one bad feature about shows that don’t go.” This was always the gamble. “Shows that don’t go” didn’t always pay their bills. At the scenic studio, a non-payment on a single project could not financially jeopardize a company, so there had to be dozens of projects occurring simultaneously to cover shortfalls.

In 1913, Sheehan and Beck also produced “The Girl From Mumms,” starring Miss Olive Vail, a comedienne who starred in the original Chicago productions of “A Modern Eve,” “A Stubborn Cinderella,” “The Girl Question” and “Miss Nobody from Starland.” “The Girl from Mumms” was advertised as “a Parisian musical novelty,” featuring sixteen musical hits. Based on the book by J. A. Lacy, the lyrics and music were by Fred A. Bohnhorst. Of the production, the “Calgary Herald” reported “Scenically and electrically, nothing has been left undone to make ‘The Girl From Mumms’ the most beautiful musical spectacle of the season”(8 Oct. 1913, page 7).

Advertisement in 4The Girl the “Santa Ana Register,” 20 Nov 1913, page 2.

Advertisement from the “Post Crescent,” 11 Sept. 1913, page 8.

An interesting article in the “Post-Crescent” goes into great detail about the costume designer for the production (Appleton, Wisconsin, 13 Sept 1913, page 6). It seems that Beck traveled to Paris in 1912 and met Mme. McGregor-Hull, a modiste in Paris whose creations were “the talk of the theatrical colony there.” The article reports, “Struck at once by with the originality of the woman and her genius for creating fashion instead of following it, Mr. Beck made her a proposition to manufacture the costumes for “ THE GIRL FROM MUMMS.” Of the scenic elements, advertisements promised, “scenically an environment of beauty;” that was it. No mention of scenic artist or studio. Chang is in the winds.

At this time, many newspaper articles shift focus from describing painted scenery and scenic effects in detail to costumes and lighting effects. I find this fascinating, as previous mentions of those who manufacture scenic illusion are no longer included in many reviews. There may still be a general description of the setting, but the names, backgrounds and experience of most scenic artists cease as being included to provide credibility to the production. In their stead are the names of costumers and lighting designers.

The story of creating three-dimensional stage elements replaces the story of creating two-dimensional ones. There are many other factors to consider when examining this shift: increased realism/naturalism on stage, the emergence of the modern scenic designer, electrical effects and lighting innovations, the increased popularity of moving pictures, and much more. Regardless, there is a definitive shift in how the press presents the production elements to the public in 1913.

To be continued…

Tales from a Scenic Artist and Scholar. Part 839 – John P. Harris and the Harris Theatre, Pittsburgh, 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.

To be continued…