Theatre Managers – Page 3

Tales from a Scenic Artist and Scholar. Part 807 – David H. Hunt, 1912

As David Hunt continues to be part of Thomas G. Moses story, it is time to recap the life of this interesting character. David H. Hunt was born during September 1869 in Detroit, Michigan. His parents were Patrick (b. 1851) and Anna (b. 1849), both Irish immigrants. Hunt was one of three children born to the couple in America, with his brothers being James (b. 1871) and Frances (b. 1886). To date, I have found no indication of how Hunt became involved in the theatre business, but by the age of 24 yrs. old he was both working for Sosman & Landis and working independently as a stage manager.

In 1893, Hunt was working in both Chicago and Detroit. On June 4, 1893, the “Detroit Free Press,” reported that Hunt was managing the benefit performance, “Caste, “for the St. Boniface and Jesuit churches new auditorium (page 15). The new Jesuit hall boasted a seating capacity of 650 with new stock scenery (“Detroit Free Press, June 20, 1893, page 5). The production featured Harry C. Barton of the Warde-James combination, Una Abel of the Rhea Company, Henry Wilkinson, Mrs. T Kennedy and W. H. Powers Jr. of the Nora Machree Company, and both Adelaide Cushman and John P. Barrett of the Glen-da-Lough Company. The article reported, “Manager David H. Hunt has returned from Chicago where he made arrangements for special scenery to be used throughout, and promises excellent staging.”

Hunt also worked for Sosman & Landis at this time. In 1894 Hunt convinced both Sosman & Landis to establish the theatrical management company of Sosman, Landis & Hunt in 1894. It is obvious that Hunt had been with the company for a while, but I have yet to discover when he actually started with the firm.

The mid 1890s were a time of transition for Sosman & Landis; they were expanding and diversifying their interests. As Chicago theatrical scenic outfitters, they took the next step in securing a few opera houses and establishing a stock company. Sosman & Landis first tried their hand at theatrical management in Chicago, producing and managing the two electric scenic theatres on the rooftop of the Masonic Temple. In addition to Sosman, Landis & Hunt, they invested in the American Reflector & Lighting Company, with Landis being one of the company founders. Previously they had founded a panorama company.

Sosman, Landis & Hunt’s first theatrical out-of-state management opportunity was in Cincinnati at the Pike Theatre. By 1897, Hunt was in the process of remodeling and redecorating the Pike Theater hiring the Chicago theatrical architect Sidney R. Lovell. In 1899, the “Chicago Inter Ocean” reported “David H. Hunt of Cincinnati, a member of the firm of Sosman, Landis & Hunt, the well-known theatrical managers, says: “Chicago can’t compare with New York as a theatrical town” (16 July 1899, page 14). An 1899 article in the “Los Angeles Herald” provided a little more insight into Hunt’s roll in the Sosman, Landis & Hunt theatrical management venture. It was an interview with Hunt titled “How the Stock System Pays.” Hunt was interviewed and explained the stock company:

“The growth of the stock company idea in the west would surprise you easterners,” said David H. Hunt, of Sosman, Landis & Hunt, the other day. “I have charge of the Pike opera house In Cincinnati, and we are making more money with a stock company than we did when the house was given over to vaudeville and variety was the society fad. A haphazard stock venture will not succeed, but properly managed the scheme is a huge success, and the companies are now so plentiful that it has become a matter of difficulty to obtain players who are not only willing but capable of doing leading stock work. The lesser people are not hard to get hold of, for there will always be an excess of players, but to get good names to head the company is constantly becoming more difficult because of the advance of the idea. We have a big company, and not only get good plays, but we try to give for seventy-five cents as good a production as is provided by a visiting company for double the money. We have two scene painters and two assistants always at work, and we never use a rag of scenery for more than one play. [The scenic artists in Cincinnati at the Pike Theater for Sosman, Landis & Hunt were Thomas G. Moses and Fred McGreer. McGreer is covered in installments #301-304.].”

Hunt continued, “We give the property man money enough to hire really good furniture and we have as good a stage manager as we can get, for we very early awoke to the fact that we could save money on this department of the work. A competent man will get all there is that is good in an actor, while an incompetent one will spoil a good player. Then we have found that we must spend a little money in royalties. It is a nice thing to have the old plays to fall back on, but a season which lists a succession of ‘East Lynne’ and ‘A Celebrated Case,’ with ‘Leah’ and similar plays to follow, will not be a remunerative one in the west, and we find that by laying out four or five hundred dollars for the use for one week of a play like ‘The Prisoner of Zenda,’ we cannot only get back the money we pay out, but enough more to make it worth our while to get the best. Of course, there is the constant study to be urged against the stock system, but to offset this, there is the avoidance of the discomforts of travel and to be able to settle down in a flat for a season instead of alternating between the one night stands and the sleeping cars, is a sufficient attraction to many to offset the fact that they will have to get up a new play each week instead of one or two for the season.”

Unfortunately, a series of lawsuits were filed against Sosman, Landis & Hunt around this time. They didn’t quite follow the rules laid out in various contracts. Both actors and authors contended that the firm violated agreements and took their cases to court. Sosman, Landis, & Hunt slowly loses steam around this time and Hunt began to flail around, starting to manage his own shows again. The 1900 census still listed Hunt as a stage manager and living with his parents in Detroit, at 151 Eighteen St in Detroit Ward 10, Michigan. Yet Hunt continued to work as a stock manager for the next decade before founding New York Studios, the eastern affiliate of Sosman & Landis.

In 1901, the “Detroit Free Press” made an interesting observation about Hunt on 15 April 1901 (page 4). An article about the Pike Theatre Company’s production of “Charity Ball” at the Lyceum reported, “The organizer and manager of this enterprise is David H. Hunt, a young man whose ideals are high and whose mental attitude toward the theater is not merely sordid. By this it is not meant that his work is entirely altruistic. There is a necessary commercial side of art, and Mr. Hunt knows that in order to continue along the lines he has followed since the beginning of his managerial career the support that comes only through the box office is essential. But he also knows that while he is a frankly confessed merchant of theatrical wares, it behooves him to offer the best, and to present them in an attractive manner. The public is well enough acquainted with his way of doing business to feel justified in expecting another season of honorable achievement on his part. It is quite within the limits of conservatism to say that the re-advent of his company is a distinct public gain, for it may fairly be assured that what is known as the popular-price theater can boast no better balanced combination of players than the cast that Mr. Hunt gave us last evening.”

In 1902, the “Evening Star” reported, “Stock was a new thing when Mr. David H. Hunt decided that vaudeville was not a success at his Cincinnati theater, and installed the first stock company there since the famous old days when Davenport, McCullough and other old-time stars had appeared with the ante-bellum stock companies in the smoky city. Mr. Hunt was a young man, his company contained players who were themselves little known, and with the development that followed hard work and success the organization was brought to a standard of perfection. Mr. Hunt early decided that pecuniary success would only result from artistic success. He set about obtaining good plays and good players, with the result that people in Cincinnati accord the Pike Theater Company both consideration and affection. For several years the company played entirely in Cincinnati, then tried Minneapolis and St. Paul for spring engagements, next added Detroit to their list of cities and now adds Washington, New York and Baltimore” (Washington, D.C., 13 Sept. 1902, page 22).

David H. Hunt pictured in 1903 when he was married to Angela Dolores.

By 1903, Hunt married Angela Delores, an actress with the Pike Theatre Company. Their romance sprung up while she was under his management, with her forte being dramatic roles. The groom was described in the newspaper as “a Detroit man and widely known for his theatrical profession of the middle west as a hustling manager” (“Detroit Free Press,” 21 May 1903, page 12). In 1905, the couple celebrated the birth of their daughter, Anna.

Stock actress Angela Dolores when she married David H. Hunt in 1903.

By 1906, Hunt is managing the stock company for the Chicago Opera House. Of this endeavor, a newspaper article reported, “David H. Hunt who has considerable experience in this particular branch of amusement business, will assume active management, and he has made definite arrangements with important Eastern managers whereby he will offer their successes at popular prices” (“Inter Ocean,” 19 August 1906, page 26). However, in 1908 Hunt has returned to solely managing his wife’s touring production with William Duvre and Harry English (Cincinnati Enquirer 30 August 1908, page 26). This Newspapers report that her tour remained under the personal direction of Hunt and who promoted her as the “best known stock leading lady” (Fort Wayne Daily News, 16 Feb 1911, page 5). Between 1908 and 1910, Hunt transitions from management to founder of a scenic studio. His major investors for New York Studios include scenic artists and Adelaide A. Hunt, who becomes president of the firm. I have uncovered precious little about Adelaide as there were quite a few Adelaide A. Hunts at the turn of the century. At first I thought that Adelaide may have been a matronly relative with money.

However, 1925 US census records list David H. Hunt is living with his wife Adelaide A. Hunt and their daughter Patricia (age 4) in New York. Hmmm. Adelaide A. Hunt was still the President of New York Studios in 1919. Interestingly, the 1920 census listed Hunt as a commercial salesman for the scenic studio industry, still married to Angela, living at 1920 Oakwood Blvd. in Chicago, Illinois. His daughter with Angela was 15 years old by this time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 793 – The Palace Theatre, 1912.

At the beginning of 1912, Thomas G. Moses wrote, “starting some new work for the Palace Theatre.” Moses was referring to the 1500-seat Palace Music Hall, advertised as “Chicago’s New Vaudeville Theatre” in 1912.

Detail of a Palace Music Hall program currently for sale online.

Built at N. Clark Street and W. Randolph, the Palace Music Hall opened on April 1, 1912. Designed by Holabird and Roche, the new Palace Music Hall was advertised across the country. An article in the “Daily Herald” noted that the Palace Music Hall was the newest theater “situated in the heart of Chicago’s theatre district and that “leading artists of the world” would be featured at this “high-class vaudeville” house (August 30, 1912, page 11). The article further reported, “The building department of Chicago has pronounced the Palace the most perfectly constructed and equipped theatre in the country.” Hmm. I have noticed that most new theaters during this period were advertised as the “best” that could be found in country, often including validation by some organization or well-known personality. Great marketing technique to get the public in the doors.

The Palace Music Hall, Chicago, Illinois.

Performances at the Palace were given twice daily, once at 3:15 PM and once at 8:15 PM. Individual seat prices were 15 cents, 25 cents, 50 cents and 75 cents. Like many theatres during this time, however, there was a shift in popular attractions and entertainment, often promting a change in owners. Abraham Lincoln Erlanger acquired the lease for Chicago’s Palace Theatre building during January 1926. He extensively remodeled the theater, renaming it the Erlanger Theatre. The Erlanger theatre remained open until March 10, 1962. The building was soon demolished, with the theater’s original location and remainder of the block being razed to build the Chicago Civic Center, now the Richard J. Daley Center. Neither this venue, nor the original Palace Theatre, are to be confused with Chicago’s New Palace Theatre, a venue designed by Rapp & Rapp and located on Randolph and La Salle Street in Chicago in 1926. The second “Palace Theater” opened Oct. 4, 1926 and is now known as the Cadillac Palace Theatre.

When the Palace Music Hall became the Erlanger Theatre in Chicago, Illinois.

In 1912, Martin Beck announced his intention to “invade” the east and Chicago with the new Palace theatres. The Palace Theatre in Chicago and the Palace Theatre in New York were intended to fight eastern interests. Beck’s Palace theaters were also mentioned in an interesting 1912 newspaper article published across the country. “Woman Back of a Theatre Trust” was the title and the article’s headline stated, “Mrs. Katherine Kohl Carries Out Late Husband’s Ideas for Territory Division. STOPS VAUDEVILLE WAR” (Rock Island Argus, 30 April 1912, page 9). Here is the article in its entirety, as I found it quite fascinating:

“Chicago, April 20, 1912.- The efforts of a Chicago woman, Mrs. Catherine Kohl, has averted a threatened vaudeville war which would have involved millions of dollars and has brought about a combination of theatrical interests aggregating $50,000,000.

Her months of endeavor have resulted in a union of men of the east and west representing practically the same theatre interests but operating in different territories. By the new arrangement the eastern magnates will keep in their own territory, the western magnates in theirs and Mrs. Kohl will be left the mistress of the situation in her Chicago theatres, founded by her husband and left to her on his death a year ago.

By the deal, completion of which was just announced in New York, B. F. Keith has purchased interests of Percy G. Williams, controlling eight theatres in New York, and a working agreement has been entered into by the different vaudeville powers by which there will be no friction in the future. A general agreement has been made as to the placing of different vaudeville acts and the ‘time’ to be allotted performers.

This new assignment of territory and interests stops a new vaudeville war started some time ago when Martin Beck opened the Palace theatre in New York and followed it by the Palace theatre in Chicago. These two houses were to be used in conjunction with others, to fight the eastern interests. By the new terms of the Chicago theatre, which is now playing vaudeville, will change its policy. It is said the first sign of the change will be when ‘A Modern Eve,’ now playing at the Garrick theatre, is transferred to the Palace theater.

Under the new combination thousands of performers are virtually interested. Mr. Keith with E. F. Albee, A. Paul Keith and John J. Murdock will control the vaudeville situation far west as Chicago. The situation in Chicago will be under the control of Mrs. C. E. Kohl, Max Anderson and the Monroe Amusement company. Meyerfeld and Beck of the Orpheum circuit will control the remainder of the country for the Orpheum circuit.

Mr. Keith will have control of the situation in the east, Mrs. Kohl in Chicago, and Martin Beck for the Orpheum circuit west of Chicago.

The new combination was caused by the announced intention of Beck to invade the east and Chicago, his new Palaces theatres being his first step in this regard. Theatrical managers saw ahead another theatrical war which probably would duplicate the efforts of Klaw & Erlanger to break the vaudeville trust some years ago and the fight of William Morris along the same lines. But before the war was fairly advanced the alignment of interests was accomplished.

‘The late Charles E. Kohl planned more than once to bring about this arrangement which would place the Majestic and other large theatres in association with the east,’ said Lyman Glover, general manager for the Kohl-Castle theatres, last night. ‘He wanted to leave the west as an empire for the Orpheum circuit. His widow has labored effectively in promoting the agreement now reached. The result will clear up the situation, prevent ruinous competition, provide better and more uniform vaudeville bills, and simplify the business in many ways.’

From New York at night a statement was issued by Meyerfield and Beck.

‘It always has been our fondest desire,’ the statement said, ‘to bind the east and west together in a more substantial way. The consummation of the deal just put though by Mr. Keith and ourselves is a happy solution of our difficulties and is most satisfactory to us.

‘The situation, as far as territory is concerned, is no different than it was before, but by buying interests with Mr. Keith and in other ways tying our interest more closely together we have accomplished something for which we have been working for years, and the public and artists will reap the benefits as well as ourselves.

‘We are all men who have practically brought the high class vaudeville business to its present high standard, both sides owning controlling vast interests thoroughly established. And we feel that the fruits of our labor for 30 years have been consummated by the arrangement we have entered into.’”

To be continued…

Tales from a Scenic Artist and Scholar. 753 – The Miles Theatre, Detroit, Michigan, 1910

In 1910, Thomas G. Moses wrote, “Miles of Detroit for $3,800.00 which was $1,050.00 higher that a close competitor.” Moses was referring to the new Miles Theatre at 1220 Griswold St., Detroit, Michigan, that opened on May 15, 1910. It was designed by the architectural firm Kees & Colburn of Minneapolis. George D. Mason of Detroit was the supervising architect for the project.

On May 15, 1910, “Detroit Free Press” described the auditorium, “The walls of the auditorium are so stenciled and tinted as to represent rare tapestries of red, pale and silver hues. Over the proscenium arch and in the frieze work of the foyer, Judson Smith, of Detroit, has wrought realistic presentations of scenes of the Caesarian epochs of Rome. Separating the orchestra from the first row of the parquet is a partition made to resemble Italian marble. The effect is realized by concrete work worked over with scagliola. The columns supporting the balcony are constructed in the same way, and give the same appearance. This entire decorative scheme followed is artistic, in every detail. The wrought work along the balcony is in festoons and garlands and the flowers are painted in natural color. Plate glass mirrors panel the walls” (page 1).

Postcard of the Miles Theatre in Detroit, Michigan

C. H. Miles was the president and general manager of the Miles Detroit Theatre Company. He operated the Miles circuit with many theaters scattered across the country, including in his hometown of Minneapolis. He set his sights on Detroit during 1909 to build another popular-priced vaudeville house. Arriving to the city that summer, Miles secured a 99-yer lease of the property between the Chamber of Commerce and the Bank. The theater’s policy included three shows a day, with extra matinees on Saturday and Sunday; listed prices for entertainment were 10, 20, and 30 cents.

Miles Theatre of Detroit photographed on April 29, 1910, during construction

The success of Miles’ policy was noted on March 16, 1913, in the “Detroit Free Press, “People soon found that they could go down-town after supper, see an entire performance and get back home in time to retire at the usual house. Or, if they were detained down-town by business or a dinner party, they found it convenient to drop in for the second show and still get home at a reasonable hour. Thus, very shortly, going to the Miles came to be a regular habit and the Miles clientele steadily grew larger. In the meantime, stores and offices erected by Miles as part of the general structure were leased by various concerns and Griswold Street, north of State, began to take a commercial look. Property values around Capitol Park began to soar. Men of large means began to take an interest in the development of Griswold Street. Car lines were re-routed, old brick pavements were supplanted by the more modern creosote block…That is the story of the rejuvenation of Griswold street, and to Mr. Miles, as the man who took the initiative, is due a large share of the credit. It is just another illustration of how much can be accomplished through that happy combination of courage, determination and far-sightedness” (page 83).

C. H. Miles and his theatre in Detroit, pictured in the “Detroit Free Press,” May, 30, 1911, page 3

The property had a frontage of 152 feet on Griswold Street between State Street and Grand River Avenue. Once built, his theater’s policy included three shows a day, with extra matinees on Saturday and Sunday. On May 30, 1911, the “Detroit Press” included an advertisement to buy stock for the Miles Theatre, promising “You will be paid dividends every three months” (page 3). The advertisement commented, “It is the largest, most handsome, update and complete theatre in Detroit – the Miles Theatre has been in operation over one year and is earning money every day.” It continued to explain that the theatre was ideally located and convenient to every carline in the city, and near one of the busiest marts. Miles and Mr. C. W. Porter, local manager, personally looked after the sale of stocks in the Miles theatre building daily.

Advertisement for Miles Theatre stock, from the “Detroit Free Press,” May 30, 1911

The last show at the Miles Theatre was on Nov. 28, 1927. By May 1928 the theater was demolished to make way for the Griswold Building, designed by Albert Kahn, a structure that still exists today.

To be continued…

Tales from a Scenic Artist and Scholar. Part 750 – Indianapolis’ Murat Theatre, 1910

Murat Shrine Theatre postcard featured scenery by Sosman & Landis in 1910

In 1910, Thomas G. Moses wrote, “Closed with the Murat Theatre of Indianapolis for $4,000.00.” The equivalent purchasing power today is $107,599.16, a sizable scenery project for the time. The building was named after the Nubian desert oasis Bin Murat. Bin Murat was named after Napoleon’s general, Joachim Murat, during his Egyptian campaign; an interesting nod to past French Masonic heritage.

The Murat Shrine building was located at the corner of Massachusetts Avenue and New Jersey Street. The Shrine Theater opened on March 1. By March 3, 1910, “The Waterloo Press” included a lovely article on the new structure in an article entitled “New Murat Theatre Opens” (page 2). Here is the article in its entirety:

“The Murat Theatre contained in what is said to be the most elaborate Mystic Shrine temple in the United States, was opened at Indianapolis, Ind., under the management of the Schubert Theatrical Producing Company. The temple, completed, will cost $250,000 but only the theatre has been finished. James T. Powers and his company, in the musical comedy, “Havana,” gave the first performance in the theatre. Only the members of the Mystic Shrine were admitted but the subsequent performances will be public. The theatre is decorated with mural pictures representing camel caravans passing through a desert and approaching an oasis, and with other allegorical paintings symbolic of the significance of the Mystic Shrine.”

What is interesting about this theater is that the Shrine is using the stage for their ceremonials, but also leasing the house and generating a significant amount of income, a win-win situation. The Schuberts leased the theater from 1910 to 1930. In 1910 Sosman & Landis also provided stock scenery for the Schuberts’ newly acquired Great Northern Theatre in Chicago.

Photograph of the Murat Shrine building in Indianapolis, Indiana

The Murat Theatre was a Moorish-revival style structure, with the building featuring minarets, terra cotta trim, and brown and yellow banding. In 1922, the structure was expanded to include an Egyptian-themed auditorium. Interestingly, it was planned prior to the discovery of Tutankhamen’s tomb that same year. The 2,500-seat auditorium offered a secondary performance venue, to the original 1,800-seat concert hall. Between 1948 and 1963, the venue was primarily used by road shows. In 1963 it became the home for the Indianapolis Symphony Orchestra. In 1968, the building was expanded; the addition collapsed after a fire in 1988.

Over the years, the building was known as the Murat Shrine Temple, Murat Shrine Theatre, Murat Theatre, and Old National Centre. It is now called the Murat Theatre at Old National Centre, located at North and New Jersey Street in Indianapolis. Noted at the oldest stage house in downtown Indianapolis, it is still in use. There are currently nine areas for hosting events, including the Egyptian room, the Corinthian Hall, the Corinthian annex, the Corinthian meeting room, the Great Hall, the Imperial Lounge (formerly known as the “Crowne Room”) and various lobby areas.

In terms of the Fraternity, the Ancient and Arabic Order of the Nobles of the Mystic Shrine was organized in Indianapolis during 1882, receiving a charter on June 4, 1884. Regular meetings were held at the old Scottish Rite at the Townsley and Wiggens Pork House; a space that I have written extensively about in past posts (see installments # 199-201, and 237). As a side note, Henry C. Tryon was the scenic artist responsible for the earliest scenery in the Indianapolis Scottish Rite where the Murat Shrine initially met; Tryon was later on the staff at Sosman & Landis and an asset to their Masonic projects at the time.

By 1909, the Indianapolis Shrine began the construction of the Murat Temple. Considering the reputation garnered by Sosman & Landis in 1909 and their connection with Tryon, it is not surprisingly that they received the contract for the Murat stock scenery collection. In terms of the architecture, the William P. Jungclaus Company used the designs of Murat Shriner Oscar D. Bohlen.

The theater opened on February 28, 1910, with Murat nobles and ladies treated to opening night; this became a tradition while the Schuberts leased the building. The theater had a seating capacity of 1,950 (lower floor, 1155, balcony, 624, and boxes, 24). Located on the ground floor, the space was illuminated with electricity (110-220 D.C., 1,500 Amp.). The proscenium opening measured 40×36 ft. with a depth of 40 ft. from the footlights to the back wall. There were 91 feet between the side walls and a 3 ft. apron. It was 76 ft. from the stage to rigging loft and 31 ft. from the stage to fly gallery. The Cahn-Leighton Official Theatrical Guide for 1912-1913 Season listed the theater as the “Schubert-Murat Theatre” managed by Fred J. Daily.

Here is an interesting link to the Murat Shrine: https://www.muratshrine.org/PP_history.php

To be continued…

Tales from a Scenic Artist and Scholar. Part 746 – Great Northern Theatre, 1910

In 1910, Thomas G. Moses wrote, “We stocked the Great Northern Theatre for the Schuberts. They were a fine band of ‘regular bandits.’”

On February 12, 1910, Salt Lake City’s “Broad Ax” reported, “The Great Northern Theatre is now a Schubert House, and in the near future they will redecorate it very elaborately” (page 2).

A later map of the Great Northern Theatre’s seating chart published in the Chicago Blue Book, 1910

Sam S. Schubert, Lee Schubert and Jacob J. Schubert of Syracuse, New York founded the Schubert Organization, in the late 19^th century. Although Sam died in 1905, Lee and Jacob rose to become powerful businessmen within a decade. The Schubert brothers steadily expanded their empire, collecting theaters across the country. Moses began working with the Schuberts as their business empire commenced a dramatic expansion across the country. It is not surprising that the Schuberts sought out Sosman & Landis studio for many of their painted settings and décor, such as the Great Northern Theatre.

Postcard depicting “The Vagabond King” at the Schubert’s Great Northern Theatre, 1910

On February 19, 1910, “The Salt Lake Telegram” reported, “The Messrs. Schuberts announce that next season will have four first-class theatres in Chicago, and will make the windy city a producing center for their attractions second in importance only to New York. At the present moment the only playhouse in Chicago operated by the Messrs. Schubert is the Garrick Theatre. Recently, however, they acquired control of the Great Northern theatre, in which they have already booked a number of offerings this season, and they will inaugurate their management of that house on Sunday, February 20, with their production of the great English spectacular success, “Dick Whittington,” as the initial attraction. The other two theatres completing the list of four Schubert playhouses are both to be entirely new and the work of construction will be begun shortly. Negotiations for desirable sites for those two houses, in the center of the Chicago amusement district, are now under way and should be completed within a few days” (page 18).

By February 26, 1910, newspapers reported that the Great Northern Theatre of Chicago was re-named the Lyric, and subsequently redecorated by the Schuberts. It opened on February 20, with the spectacular production of “Dick Whittington,” featuring favorites such as, Louise Dresser, Ethel Green, Kate Elinore and Sam Williams” (The Daily Times, Davenport, Iowa, 26. Feb 1910, page 14). Decorate in a new color scheme of gray and mulberry, the theater was located on Jackson Boulevard, near State Street. Under control of the Schuberts, the Lyric primarily presented comedies and character dramas, with ushers serving water and selling bonbons.

The interior of the theater shortly after the Great Northern Theatre became known as the Lyric Theatre

Th Great Northern Theatre was renamed the Lyric. From the Chicago “Inter Ocean,” 30 May 1910, page 12

By 1912, however, the name was again changed to the Great Northern Hippodrome. This name change was only temporary, however, as by 1921, it would return to being known as the Great Northern Theatre.

The Chicago Public Library carries a lovely selection of digitized theatre programs for the Great Northern Theatre. Here is the link: http://digital.chipublib.org/digital/collection/CPB01/search/searchterm/Great%20Northern%20Theatre%20(Chicago%2C%20Ill.)/field/theate/mode/exact/conn/and

To be continued…

Tales from a Scenic Artist and Scholar. Part 721 – Where the Managers Will Swing Hammocks, 1909

Part 721: Where the Managers Will Swing Hammocks, 1909

Yesterday I explored Thomas G. Moses’ trip to Oconomowoc, Wisconsin. He stopped to visit theatrical manager Charles E. Kohl at his summer home, “Brier Cottage.” While researching the background for this story, I came across an interesting wonderful about the summer homes of theatrical managers. It was published in the “Chicago Tribune” on June 13, 1909:

“The call of the wild seems to have a peculiar charm for those engaged in theatrical business. Actors and managers alike are anxious to get back to nature during the brief intervals of leisure that an exacting business permits, particularly in the summer season when the pressure slackens and the charm, of the good old summer is potent.

Chicago managers like their associates in the east, most of whom have summer houses on seashore or mountain are quite given to indulging in the pleasures of country life.

Milward Adams of the Auditorium has a beautiful rustic place I upper Michigan. Will J. Davis has long possessed a big farm called Willowdale, near Elkhart, Ind. where he is always happiest when dispensing hospitality to his friends.

Charles E. Kohl, who, although unassuming to a degree, is the most influential personage in American vaudeville, has one of the show places in Lac La Belle, Oconomowoc, a place which twenty years of liberal expenditure and hard work have developed from the virgin forest into an ideal summer home.

Harry J. Powers long ago selected Geneva lake as the place where, with the aid of his family, he could recuperate during the salad season, when every prospect pleases and only business is vile.

The Hamlins of the Grand opera house have for many seasons enjoyed a lodge in the wilderness of the Adirondacks which possesses ten thousand charms at every turn for the lover of nature.

George Lederer finds the seashore to his taste and F. Wight Neumann, who has blossomed into the dignified estate of operatic impresario, inhabits a Massachusetts cottage when not hunting the coy and elusive sing bird in Europe.

Lyman B. Glover, manager of the Majestic theater, is one of the latest victims of this longing for nature, having purchased last year a valuable vineyard and fruit farm in the heart of the Michigan fruit belt and on the shored of beautiful Eagle lake. Here he may loaf and invite his soul on an occasional summer day. Perhaps living in an atmosphere of illusion sharpens the theatrical appetite for nature’s own charming reality”

To be continued…

Tales from a Scenic Artist and Scholar. Part 613 – Scenic Artists as Theatre Managers – Sosman, Landis & Hunt and Noxon, Albert & Toomey

Part 613: Scenic Artists as Theatre Managers – Sosman, Landis & Hunt and Noxon, Albert & Toomey

Greene’s Opera House in Cedar Rapids, Iowa

Greene’s Opera House opened its 1885-86 season under new management – the well-known scenic trio of “Messrs. Noxon, Albert & Toomey.” When I realized that this St. Louis scenic studio expanded their business to include theatre management, I immediately thought of another scenic studio who did the same thing – Sosman, Landis & Hunt. Sosman & Landis was not only involved with the manufacture of painted scenery and stage machinery, but also the founding of the American Reflector & Lighting Company.

Manufactured by the American Reflector and Light Co. Chicago. Found in the attic f the Yankton Scottish Rite during the fall of 2017.

Advertisement for the American Reflector & Lighting Co. in the Sosman & Landis Catalogue in 1894

The 1890s were a time of transition for Soman & Landis, as the two men expanded their business and diversified their investments. Although they were primarily involved with the manufacture of theatrical supplies, Sosman & Landis entered the theatre management business when they became involved with the construction and management of two electric scenic theatres atop the Masonic Temple Roof during 1894. When the Columbia Exposition closed during the fall of 1893, Sosman & Landis began plans to convert the Masonic Temple roof top into two electric scenic theatres. The “roof garden” space atop the Masonic Temple was 302 feet from the ground, an incentive to draw any audience to see a show. It was Sosman & Landis who designed and managed the venue, complete with chasing electric lights that ran up the center of the building from the first floor to the top.

Advertisement for the Masonic Temple Observatory and Roof Garden in the Sosman & Landis Catalogue, 1894.

Sosman, Landis & Hunt also managed the Pike Opera House in Cincinnati during 1894. They soon added a second venue – the Grand Opera House in Indianapolis and the Grand Opera Stock Company there. By 1900 the theatrical management firm was contemplating a move to Detroit and I wondered if this was yet another connection to theatre architect J. M. Wood, as well as the Detroit Opera House and Temple Theatre. David Hunt, of Sosman, Landis & Hunt, was a manager and theatrical producer who ran this this particular branch of the Sosman & Landis empire.

David Hunt of Sosman, Landis & Hunt, from the “Detroit Free Press,”21 May 1903, page 12

Hunt first worked in a marketing position as an employee of Sosman & Landis until Sosman, Landis & Hunt was formed in 1894. By 1897, Hunt led the remodeling and redecorating the Pike Theater in Cincinnati, hiring Chicago theatric architect Sidney R. Lovell – J. M. Wood’s business partner of the time (Wood & Lovell, see past installment 610). This is also just prior to Wood’s work on the Temple Theatre in Detroit and the subsequent 1898 roof collapse.

Sosman, Landis & Hunt primarily managed big vaudeville theaters, but also managed touring stock companies, such as the Pike Opera House Company. In addition to large vaudeville houses, and touring shows, the firm also looking after four summer theaters that they controlled in Atlantic City and Asbury Park.

Hunt later moved to New York and founded New York Studios, the eastern affiliate of Sosman & Landis. Similarly, the Sosman & Landis Studio was referred to as the western representative of New York Studios. I have covered Hunt extensively in past posts (see installments #304-307)

For me, discovering a second studio that also entered the theatre management business is significant. Looking at the all the players and the relationships, it was really a small world with a very tight network for such a large country.

To be continued…

Tales from a Scenic Artist and Scholar. Part 612 – Noxon, Albert & Toomey, Lesees and Managers of Greene’s Opera House

Part 612: Noxon, Albert & Toomey, Lesees and Managers of Greene’s Opera House

Yesterday I explored the construction of Greene’s Opera House, built in 1879.

Greene’s Opera House opened its 1885-86 season under the new management – the well-known scenic trio of “Messrs. Noxon, Albert & Toomey.” In 1885, the firm advertised as “Scenic and Decorative Studios” with main offices located in the Olympic Theatre and Grand Opera House in St. Louis, Missouri. Their advertisements stated “Estimates and information for stocking new opera houses a specialty.” Noxon, Albert & Toomey decorated the interior of Greene’s Opera House in 1880 and painted the scenery for Greene’s Opera House in 1883. By 1885 they were managing the venue. Lets look at these three individuals as each man was remarkable in his own right.

1885 letterhead for Noxon, Albert & Toomey

Greene’s Opera House advertisement noting Noxon, Albert & Toomey as lessees and managers, from the “Evening Gazette,” 10 May 1886, page 3

Thomas C. Noxon and Patrick J. Toomey established a scenic studio in St. Louis, Missouri, during 1869. Ernest Albert joined the two by 1881 to form Noxon, Albert & Toomey. The firm rapidly expanded to have regional offices in Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade. This immediately peaked my interest because Sosman & Landis had also entered into the theatre management business during the nineteenth century, creating another company, Sosman, Landis & Hunt.

Thomas C. Noxon (1829-1896) worked as both a scenic artist and a decorative painter, heading four theatrical painting firms during his lifetime: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey. Noxon was always the senior partner and managed the various studios from each ones inception until his illness in 1896.

Noxon was born in Montreal, Canada, and immigrated to the United States as a child. Initially living in Zanesville and in Millerburg, Ohio, Noxon attended public schools there. For a time he lived in Detroit, and that was where he entered the theatrical profession. At the age of sixteen in 1845, he moved to St. Louis and studied art. According to his certificate of membership in the American Dramatic Fund Association, he entered the theatre profession in 1852 at the age of 22. On a side note, Noxon designed the St. Louis production of “The Black Crook” in April 1867. Noxon was married twice. His first wife, Ann Hazzard, and the couple had three daughters. In 1885, Noxon married for a second time to a “Mrs. Selvers.” first name unknown at this time. In 1884, the St. Louis Post-Dispatch reported, “Mr. Noxon stands in front rank of curtain and scene painters, and for special features like Mardi Gras and Veiled Prophet pageants, is recognized throughout the Mississippi Valley as the most competent man in the profession” (St. Louis Post-Dispatch, 21 Jan. 1884, page 8). At the time of his passing in 1898, the “Dramatic Mirror” reported, “His name appears on the corner of theatrical curtains in almost every large city in the country, and is also seen in the theatres of Europe” (2 July 1898, page 6).

Patrick J. Toomey from the “St. Louis Post-Dispatch,” 2 April 1896, page 5

Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He received his education in the public schools and at Christian Brothers’ College. His first employment was in the retail grocery trade, but he soon found the work untenable and apprenticed himself to Noxon at Deagle’s Varieties. The two continued to work together until Noxon passed away in 1898. Toomey was best known for his electrical floats, excelling in this line of work for 25 years. Three years before he passed, Toomey retired as president of Toomey & Volland, handing the reins to his business partner Hugo R. Volland. Toomey died from a heart attack in 1922. At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14). Toomey married Miss May Vogt had only one child, a son -Noxon Toomey.

Ernest Albert Brown (1857-1946) was born to Daniel Webster and Harriet Dunn (Smith) Brown in Brooklyn, New York. His father was a member of a clothing merchants firm, Whitman & Brown in New York City and Albert attended public schools. He later entered the Brooklyn Institute of Design, winning an award in 1873. During his time at the Institute, he also worked as a newspaper illustrator and later began painting for the theatre. Albert started working for the famed scenic artist Harley Merry in 1877. By 1881, he was working as a scenic artist and art director at Pope’s Theater in St. Louis with his work attracting much attention. There that he met and partnered with Noxon and Toomey by 1883; the three establishing the firm Noxon, Albert & Toomey.

The firm expanded John Norton, the manager of the Grand Opera House of St. Louis, moved to Chicago, when he accepted a new management position at the Chicago Opera House. There the firm sent Albert to paint there. Noxon, Albert & Toomey used the paint frames at the Chicago Opera House to paint scenery not only for the Chicago opera house, but also scenery for smaller theaters and combination companies. Albert stayed with Noxon, Albert & Toomey until 1889. After his departure, the firm was name Noxon & Toomey.

As for Albert, in 1890 he went on a few sketching trips with Oliver Dennett Grover (1861-1927), Walter Burridge (1857-1913), and Thomas G. Moses (1856-1934). They were all around the same age, each an accomplished artist in his own right. Upon their return, a new scenic studio was established in Chicago – Albert Grover & Burridge. This company built a new type of scenic studio, complete with a full-scale display area, complete with electrical lighting to show completed settings to their clients. It only lasted a few years before each artist went his own way – again.

Tomorrow, I will present the parallel to the theatrical management side of Noxon, Albert & Toomey’s management endeavors – those of Sosman, Landis & Hunt.

To be continued…

Tales from a Scenic Artist and Scholar. Part 590 – The Cort Theatre in Chicago

Part 590: The Cort Theatre in Chicago

In 1908, Thomas G. Moses write, “I did several shows for H. H. Frazee.” At this time, Harry H. Frazee Harry H. Frazee was involved in the construction of the Cort Theatre in Chicago. Frazee’s later success. Seattle architect Edwin Walker Houghton designed Chicago’s Cort Theatre as a counterpart to his Seattle-based version. The theater was located at 126-132 North Dearborn Street.

The opening show for the Cort Theatre, from the “Chicago Tribune,” 23 Oct. 1909, page 11

Looking at the namesake for Frazee’s Chicago theater, John Cort, provides some context to Frazee’s tale. Born in New York, Cort started his career as part of a comedy duo called “Cort and Murphy.” Cort briefly managed a theatre in Cairo, Illinois, before heading west to Seattle, Washington, where he managed the Standard Theater. Cort was considered one of the pioneers for theater circuits under Cort’s management. Cort booked the same act successively into multiple cities, making it worthwhile for an acting company or any performance troupe to tour to remote locations. By 1903, Cort’s circuit controlled 37 theaters throughout the American West. This allowed him to compete with some success against the Eastern entertainment establishment. He even signed an agreement with Marcus Klaw and Abraham Erlanger who were leading booking agents and Cort’s theatres became part of the Klaw and Erlanger Circuit.

However, Klaw and Erlanger’s power continued to spread, negatively impacting many other theatre circuit owners such as that ran by Cort. By 1910, Cort helped organize the Independent National Theatre Owner’s Association. This was a group of circuits that attempted a break with the New York-based theatre syndicates, such as Klaw and Erlanger. They allied with the independent Shubert Organization and eventually forced many theatre that were controlled by eastern syndicates to book other productions. In retaliation for Cort’s participation with this movement, Klaw and Erlanger backed the construction of Seattle’s Metropolitan Theatre. In turn, Cort headed to New York where he became a notable producer and manager. Frazee would follow Cort to New York, constructing another theater in 1913. Designed by architect Henry Beaumont Herts in 1912, Frazee’s new theatre was named for Longacre Square, the original name for Times Square. The Longacre’s first show was a production of the William Hurlbut–Frances Whitehouse comedy Are You a Crook?, which opened on May 1, 1913.

Moses also painted scenery for Cort’s Seattle Theatre, twenty years prior to the construction of Cort Theatre in Chicago. In 1888, Moses traveled to Seattle where he closed a deal with Cort (ca. 1861– November 17, 1929). The scenery was painted in Chicago and shipped to Cort in Seattle. Frazee worked closely with John Cort during the planning and construction of Chicago’s Cort Theatre. On the books in Chicago for the Cort Theater, Cort was listed as president of the firm, with H. H. Frazee as the vice president and U. J. Herrmann as both the secretary and treasurer. Cort was a key factor in Frazee’s success.

The planning began for the Cort Theatre began in 1907, with its official opening on October 25, 1909.

In 1910, the Cort Theatre in Chicago had a seating capacity of 1,344. Admission prices ranged from $1.50-$2.00 in the orchestra to 50c. and 75c. in the gallery. The proscenium measured 38 feet wide by 33 feet high. The depth from the footlights to the back wall was 24 feet and the distance from the curtain line to the footlights was 1 foot. The height to the rigging loft was 69 feet and the height to the fly gallery was 36 feet. The depth under the stage floor was 12 feet.

The Cort Theatre in Chicago with painted steel fire curtain

Sadly, like many other theaters, it was razed in the name of progress. The Cort Theatre was demolished in 1964 to make way for a new thirty-one-story building in 1966 – the Richard J. Daley Center.

To be continued…

Tales from a Scenic Artist and Scholar. Part 589 – Thomas G. Moses and H. H. Frazee

Part 589: Thomas G. Moses and H. H. Frazee

In 1908, Thomas G. Moses write, “I did several shows for H. H. Frazee.”

Harry Herbert Frazee (1880-1929) was a producer, director, and theatre agent. He grew up Peoria, Illinois, starting his theatre career at the age of sixteen. Frazee worked in the Peoria Theater’s box office and as an usher, but soon left to travel the West as an advance agent with a small touring company. He then toured the country with a small musical show that primarily did one-night stands. Frazee began his career as a producer when he staged “Uncle Josh Perkins,” a show was an popular success. Over the next five years he produced several other musical comedies that were immediate hits; these touring productions would create the foundation for Frazee’s immense fortune.

H. H. Frazee’s first big success, “Uncle Josh Perkins.” Advertisement from the “Brazil Daily Times,” 21 March 1908, page 8

By 1907, Frazee was involved with planning a new theatre in Chicago – the Cort Theatre. It was around this same time that he hired Moses, representing Sosman & Landis. to create scenery for various productions, such as the “Isle of Spice” and “A Knight for a Day.” Other Frazee touring productions in 1908 included “Facing the Music,” “The Flower of the Ranch,” “The Royal Chef,” “Uncle Josh Perkins,” and “Piquant Musical Mixture,” and “Yankee Regent.” The amount of newspaper ads for shows credited to Frazee is staggering during the period from 1907-1908.

A scene from “The Isle of Spice” from the “Leader Telegram,” (Eau Claire, WI), 11 August 1907, page 7

From the “Los Angeles Times,” 8 Nov 1908, page 27

From the “Rosenburg Review,” 3 Oct 1907, page 4.

After enjoying immense success as a Chicago producer, Frazee built the Longacre Theatre in New York during 1913. Early productions at his eastern theater included Eugene Walter’s “Fine Feathers,” the musical “Adele,” and “A Pair of Sixes.” His most spectacular success, however, was “No, No, Nanette,” first seen in New York during 1925. Although a failure at first, Frazee acted against all advice and revised the show, ultimately causing it to become a show that made millions. Frazee’s last theatrical production was “Yes, Yes, Yvette” during 1927. Unfortunately, it was not as successful as Frazee hoped, resulting in heavy financial losses.

Frazee was a spectacular figure; not only in the theatre world, but also in the sports world. He is most recognized as the baseball manager who sold Babe Ruth to the New York Yankees in 1920, effectively crippling the Red Sox for decades and beginning the team’s “curse.” Frazee’s connection with baseball began when he purchased the Boston Red Sox for $500,000 in 1916, immediately after their World Series victory.

The team achieved another world championship under Frazee’s ownership in 1918. However, this success did not last for either the team or Frazee. Frazee soon sold Carl Mays, “the submarine pitcher,” to the Yankees, as well as other baseball stars for high prices.

His decisions were not well received and ultimately resulted in litigation with Byron Bancroft “Ban” Johnson, the president of the American League. In addition to legal battles, Frazee was engaged in another war, as he was the first American League owner who had not been “hand-picked” by Johnson. Unlike many others, he was unwilling to do Johnson’s bidding, causing a series of backlashes against the theatre mogul. Frazee’s feud with Johnson continued for years, and garnered ill-will toward Frazee in the region. Regardless, he remained the owner of the Red Sox until August 1923. There is much more to this story, but I am not going onto it today. There are two great books that describe the times: “Harry Frazee, Ban Johnson and the Feud that Nearly Destroyed the American League” and “The Selling of the Babe: The Deal That Changed Baseball and Created a Legend.” Here is a pretty good link to the history of the Boston Red Sox ownership: http://boston.redsox.mlb.com/bos/fenwaypark100/own.jsp?year=1916_1923

In 1929, Frazee passed away at the age of 48 years old. His obituaries reported, “The high spots of Mr. Frazee’s career were his ownership of the Boston Red Sox at the time they won the world championship, and his production of ‘No, No, Nanette.’ For years he seemed to possess the golden touch, but recently was reported among his associates that his fortune had dwindled. His more recent ventures were less fortunate and he was always a generous spender.”

New York’s Mayor James J. Walker was a close friend of Frazee who gave out the following tribute to Frazee in 1929:

“Harry Frazee was one of the most popular figures in the theatrical and baseball world. I have known him for a great many years. His was a unique character – unique in his friendship for others – and he was immensely popular with everyone who knew him. He was a man of great energy, great mental ability and was greatly respected in the business and baseball world.”

Toward the end, Frazee suffered from Bright’s disease. It was after a recuperative trip to Europe that he relapsed and slipped into a coma. When he quickly passed away, the news shocked both the entertainment and sports worlds.

One of H. H. Frazee’s many obituary notices in 1929

To be continued…