In 1914,
Thomas G. Moses wrote, “August found Germany starting a new war with the
Huns who helped them. France and England
are both in the game.”
At the time, United Stated newspapers reported, “The War in
Europe. Following the declaration of war by Austria-Hungary against Serbia,
Russia took up the gauntlet for Serbia whereupon Germany declared war against
Russia. In the mobilization of troops Germany invaded a French territory, a
practical declaration of war against France, and also Belgium, which is under
the protection of England. England asked the withdrawal of the German army from
Belgium, and not receiving a satisfactory reply, Wednesday declared war against
Germany. Italy proclaimed neutrality, but it is feared she will not be able to
maintain it. Hostilities have begun, both on land and seas, and the world fears
the most destructive war in history. President Wilson has proclaimed neutrality
of the United States, and Congress is busy with plans for bringing Americans
home from Europe and for protecting all interests of this country” (“Middletown
Transcript,” 8 Aug. 1914, page 1).
Although the United States did not officially enter the war
until 1917, the conflict overseas affected many American individuals and industries,
including the world of theatre. As with many political events and military
conflicts, we look back now with unknown “what ifs” and “we should haves.” It
often takes a century to pass for the lens of history to provide snapshots of
behind-the-scenes motives, mistakes, and missed opportunities of our leaders.
Here is a little background about the draft registration
pertaining to WWI in the United States. Three registrations occurred between 1917
and 1918. The 1st was held June 5, 1917 for men ages 21-31. The 2nd was held
June 5, 1918, for men who turned 21 since the 1st registration. The 3rd started
Sept. 12, 1918 for men ages 18-45. My maternal grandfather was not
drafted, but enlisted at the age of twenty-eight years old for WWI. Born and
raised in Maple Plain Minnesota, he grew up on a farm but went to work for the
Great Northern Railroad, where he became a bridge and building foreman. When he
enlisted, my grandfather was still single, only dating my grandmother, Elvina
Dressel. Both were German-American. My
great grandfather arrived in the US during 1861 and immediately fought in the
Civil War (Union Army). Then as now, there was an unjustified lash back against
immigrants; during WWI it was the German-Americans and their families, even
when they had resided in the country for decades. American intolerance, a
shameful legacy continues today.
John H. Kohnen. WWI photograph from when he enlisted in 1917.Wedding photograph of John H. Kohnen and Elvina Dressel, 1919.
WWI draft registration cards provide an amazing wealth of
information about the theatre professionals; a snapshot of men, their families,
and work. Due to the wide range of ages, 18-45, information for many
long-forgotten scenic artists is available in the draft registration
database. Instead of looking at a black
and white photo or reading a newspaper obituary, the height, physical frame,
hair color and eye color of these individuals in their prime is recorded. We
know if they were gainfully employed, or just starting at a new scenic studio.
We known if they were married, single, and where they were living.
WWI draft card for my grandfather, John H. Kohnen.
Moses did not mention the war again until its conclusion in 1918.
During the Fall of 1918, Moses wrote, “The Big World War ended November 11th,
and the biggest kind of rally was pulled off.
I never saw such a crowd. It was
not safe to be on the street with a hat on or a good suit of clothes.”
Keep in mind that his 1931 typed memoirs were a compilation
of annual diaries, of which only the last five years of his life remain. I have
scans of the five, each in a private collection. Of those five years, I have
transcribed two and am working on the remaining three. Moses’ daily records
provide a wealth of information not included in his final 1931 manuscript titled
“My Diary.” His thoughts on the WWI or friends that were lost in the fight may
have been mentioned, but are now lost.
From the “Chicago Tribune,” 17 March 1914, page 9.
In 1914, Thomas G. Moses wrote,
“One scene, 3rd Act, for Henry Miller in ‘Daddy Long Legs.’ It was a very delicate interior, real fabric
walls.” The first scene of the play is laid in the dining room in the John
Grier home, the second in the girl’s study at college, the third on a
picturesque New England farm and the fourth in a library in a New York home
(Hartford Courant, 28 September 1914, page 9). Moses painted the exterior
setting of a picturesque New England Farm.
From the “Chicago Tribune,” 9 August 1914, page 42.
“Daddy Longlegs” was a comedy written by Miss Jean
Webster (1876-1916) and first presented at Powers’ theater in Chicago on March
16, 1914. Based on the 1912 novel, the “Chicago Tribune” reported, “the love
story of a brilliant waif who falls happily in love with her affluent
benefactor” (Chicago Tribune, 7 June 1914, page 56). The story was first
published as a Ladies’ Home Journal serial (Inter Ocean, 17 March 1914, page
6).
From the “Chicago Tribune,” 18 March 1914, page 14.From the “Chicago Tribune,” 18 March 1914, page 14.
“Daddy Long Legs” centers around
orphan Judy Abbot, played by actress Ruth Chatterton. Judy is brought up in an
orphanage with a hundred little children. However, instead of being put out to
work when she turns fourteen, Judy is allowed to remain and attend high school
for four years. This was not a pure gesture of generosity, as Judy becomes the
maid, saving the orphanage the expense of having a servant. The head matron
berates her daily until Judy finally stands up for herself during a monthly
“Trustees Day.” A new, wealthy, and young trustee, Jervis Pendleton, discovered
that Judy was different from the other “ cowed, apathetic orphans” and sends
her to college (The Pittsburgh Press, 6 Dec. 1914, page 57). His identity
remains that of an anonymous benefactor, going by the name of John Smith, with
his becoming the “shadow of a father.” Judy is only allowed to see the shadow
of Jervis Pendleton, and Judy exclaims, “What funny long legs the shadow has!
He is like a spider. I’ll call him my dear old Daddy Long Legs.” As her anonymous
benefactor, Pendleton watches Judy grow, falling in love with her and becoming
jealous of her attentions toward another young man. At the same time, Judy unknowingly
meets her “Daddy Long Legs’ and falls in love, but is too embarrassed of her
past to proceed. Pendleton believes that he hesitation is due to her love for
another. It is only through a series of letters that Judy writes to Daddy Long
Legs that she reveals her true feelings, eventually finding her happy ending.
Ruth Chatterton as Judy Abbott in the 1914 play “Daddy Long Legs.”
An interesting article was
published in the “Inter Ocean” on 12 April 1914 titled “Accidental Art” (page
32). It described some of the lighting for the production: “When Henry Miller
was rehearsing ‘Daddy Long-legs,’ and while the play was in process of
formation (for many changes were made during the first rehearsals), he was very
anxious to show the shadow of Jervis Pendleton on the walls of the school room.
It was his idea that this shadow could be made to explain the reason why pretty
Judy nicknamed her benefactor Daddy Long-legs.
“Time after time Mr. Miller experimented with various lights and lighting effects to get the shadow on the wall, but he always found fault with the effect. Many sorts and kinds of automobile lights, spotlights and other devices were used to project the shadow into the room, and not one of them proved effective. In his mind Mr. Miller turned over the problems; thought of silhouettes. Lantern slides and dozens of other ideas, and turned them all down as impractical.
“Finally Miller and his
assistants were at their wits’ end. Nothing seemed to answer for the effect
desired. The company electrician had given up hope after exhausting all of his
ingenuity.
“While the final consultation
was ending, a house electrician was removing the various experimental
apparatus, and at the end he changed position of an ordinary spotlight used to
illuminate the stage for rehearsal. Across the stage swept a straight beam of
light, wavered on the side walls and left the stage.
“‘There! You’ve got it!’ cried
Mr. Miller. ‘There is the very thing we want! We can’t hope to make a Daddy
Long-legs shadow, but we can have a perfect effect of an automobile turning in
the drive outside and casting its lights through the window.’
“Since then the motor lights
have flashed through the asylum window nightly, a fine stage effect that des
not entail any expensive machinery and merely utilizes one of the usual
electrical effects with which every theatre is equipped.”
Under the direction of Henry
Miller, the 1914 cast included Frederick Truesdell (Jervis Pendleton), Charles
Trowbridge (James McBride), Mrs. Jacques Martin (Mrs. Semple), Mrs. Jennie A.
Eustace (Miss Prittchard), Miss Ethel Martin (Mrs. Pendleton), Miss Agnes Heron
Miller (Julia Pendleton), Miss Cora Witherspoon (Sallie McBride), Miss Margaret
Sayres (Mrs. Lippett) and Miss Ruth Chatterton (Judy).
Ruth Chatterton
In 1919, “Daddy Long Legs” was
made into a silent movie, starring Mary Pickford as Judy and Mahlon Hamilton as
Jervis Pendleton. Tomorrow, I will look at the production of Daddy Long Legs
dolls to help the war effort during 1914-1915.
1919 “Daddy Long Legs” movie with Mary Pickford as Judy.
Ruth St. Denis as “The Peacock” at Ravinia Park, 1914.Ruth St. Denis as “The Peacock” at Ravinia Park, 1914.Ruth St. Denis as “The Peacock” at Ravinia Park, 1914.
In 1914, Thomas G. Moses wrote,
“Did a big cyclorama drop for Ruth St. Denis; a dark blue sky, black trees and
a high wall, very effective drop.”
On May 25, 1914, “The Evening
Journal” announced, “Miss St. Denis after ending the summer season, will go to
San Francisco, where she is having a special theater built for her at the
Panama-Pacific Exposition” (page 2). Moses’ scenery was for this new theater.
1914 was a big year for St. Denis, as she also married Edwin Myers “Ted” Shawn.
Shawn was a young dancer from Kansas City, Missouri who toured with St. Denis’ production.
Ruth St. Denis and her new husband Ted Shawn, from the “San Francisco Examiner,” 29 nov 1914, page 25.Photograph by Otto Sarony of Ruth St. Denis in 1910.
St. Denis and Shawn later
founded their own studio that became known as the “cradle of modern dance,” where
students like Martha Graham, Charles Weidman and Doris Humphrey received their
training before beginning studios of their own (Tulare Advance-Register,
Tulare, CA, 22 July 1968, page 3).
Ruth St. Denis (1879-1968) was a
pioneer in American modern dance and noted as “the first dancer to introduce
the charm and mystery of Hindu dancing to Europe and American public” (“San
Francisco Examiner,” 29 Nov. 1914, page 25). During the spring of 1914, St.
Denis performed in “East of Suez,” a show that featured an exhibition of
“Hindoo dances.”
The “San Francisco Examiner”
reported, “Other forms of Oriental dancing had already become popular, but the
subtlest of all, the Hindu art, was first interpreted for us by this American
girl from Newark, N.J. Lately she has been giving Egyptian and Japanese dances”
(29 Nov. 1914, page 25).
Ruth St. Denis
St. Denis began her performance career
in 1893, dancing for vaudeville. She was part of an act called “The Cherry
Sisters.” Ruth’s performance caught the
attention of George W. Lederer who signed her up for his new production, “The
Passing Show.” From musical comedy, St. Denis’s passed to the management of
David Belasco. She toured for a period of five years under Belasco’s management,
and during this time she performed in “Du Barry” and “Zaza.”
The “Arizona Daily Star”
reported, “It was while under the tutelage of Belasco that she gained her first
knowledge of light effects and stage management –a knowledge which has been invaluable to her in
the creation of her Oriental dances first at trial performance in a New York
Vaudeville theater where they created such a sensation tat she was immediately
engaged for a Fifth avenue theater and subsequently for a long engagement at
the Hudson and Fullton theaters, New York. From there she went to London,
Berlin and Paris, achieving a far greater success than any other dance artist
has ever entertained. The creation of Hindoo dances by Miss St. Denis is the
result of patient study, infinite thought and a deep delving into the
mysterious philosophy of the Far East. Strange to say, she has never visited
India, and yet she posses more information regarding that land of occultism than
most Occidentals who have resided there during a lifetime” (23 Nov. 1914, page
8).
Karoun Tootikan for the “Los
Angeles Times” wrote a lovely article about St. Denis when she passed away in
1968 (28, July 1968, page 511). I am including it today, because St. Denis’
legacy is quite prolific in the history of American dance:
“Over the years, the great and
near-great have made pilgrimages to the Ruth St. Denis Dance Studio in
Hollywood to observe, to learn and renew friendship with the indomitable Miss
Ruth. The studio, with its faded front poser of the dancer (in a pose from her
interpretations of the poems of Tagore) is now a memorial, for Miss Ruth is
gone.
It was befitting, in a way, that
the dancer, whose career spanned five generations, should choose July 21, a
Sabbath, for the goodbye, since it was she who introduced the revolutionary
work, ‘Rhada,’ in 1906, which brought to America the completely new idea of
religious Hindu dancing in its purest and most esthetic forms.
She was helpful in her goal of
popularizing interpretive dancing as a suitable career for young people by
three contemporary dancers: Isadora Duncan, Loie Fuller and Maude Allen, who
all developed different forms of the dance. While St. Denis delved into
Oriental religions for her main inspiration, Duncan became responsible for
eliminating the old confines of classic movement, and danced barefoot in a
light tunic. Fuller dressed in billowing silk skirts and lighted by various
colored lights, she created spectacular forms with subtle variations and
silhouettes, while Allen drew from all three for her sensational dance forms.
Whereas Duncan’s talent was best
expressed by dancing with symphonies, Fuller’s in creating spectacular
serpentine movements, St. Denis’ famous solos were, for the most part, confined
to extreme discipline of movement and economy of gesture. Draped form head to toe
in voluminous silk and jersey, Miss Ruth presented each nuance of movement in
rippling waterfall effects inspiring great tranquility.
It was both Duncan and St.
Denis’ great purpose to found a school where the essence of the dance could be
taught to perpetuate their dreams. The Duncan Schools, both in Paris and
Moscow, did not outlive the death of the dancer, who was strangled when her
long red scarf became entangled in the back wheel of an automobile in 1928. By
the Denishawn School of Dance (formed in 1914 in Los Angeles, with her husband,
Ted Shawn) became a beacon of learning for some of America’s most illustrious
proponents of modern, interpretative dancing.
Out of this conservatory came
Martha Graham who toured extensively with the Denishawn Dancers and who later
developed the individualized choreography in such creations as “Appalachian
Spring” and “Night Journey.” Doris Humphrey, who joined Denishawn in 1916 and
danced with the company for 12 years, also made her mark wit the electric
‘Lament for Ignacio Sanchez’ and ‘Ruins and Visions.’
Miss Ruth never officially
retired and continued to give concerts as late as 1966. Separated from Ted
Shawn since 1931, the famous couple nevertheless appeared together occasionally
on the stage, most notably in recent years at the observance of the Golden
Anniversary in 1964 at Shawn’s School, Jacobs Pillow, at Lee Mass.
Of Miss Ruth’s wide repertoire
of original dances, four are perhaps indicative of her genius: ‘Incense,’ in
which the rippling arm and hand movements first drew the attention of Ted Shawn
who purportedly fell in love with her as she performed on stage in Denver;
‘Dance of the Cobras,’ wherein the hand movements become the snake charmer’s
pet in an Indian market place; ‘White Jade,’ which was inspired by a visit to
the Temple of Heaven in Peking and shows the Goddess of Mercy bestowing
compassion upon the world: and ‘The Minstrel of Kashmiri,’ a Nautch Dance for
which Charles Wakefield Cadman composed a special score.
A legend in her own time, Ruth
St. Denis, at 91, whom dancer Charles Weidman once called ‘the most beautiful
woman in the world,’ the mother of modern interpretive dance, will live on in
the students whom she inspired to carry on her work.”
From “The Missoulian,” (Missoula, Montana, 22 Jul 1968, page 2).
Detroit’s Palace Theatre, designed by C. H. Crane.Detroit’s Palace Theatre, built in 1914.
On February 15, 1914, the “Detroit Free Press,” reported
that Sosman & Landis delivered the scenery for the New Palace Theater. The
firm, under the direction of Thomas G. Moses, also delivered stock scenery to other Palace
theatres in Chicago (1912), Minneapolis
(1914), and Fort Wayne, Indiana (1914).
The “Detroit Free Press” announced, “Scenery is the Best.
The scenery is from the Sosman & Landis studio of Chicago, leaders in the
art, and for particular reasons the work is extraordinary. It is impossible to
produce more attractive scenery during the composition and painting in Chicago
many managers viewed it with not a little envy, as it is the last significance
of the word ‘Palace’ will be seen very readily by those who attend. The seats
are wide enough to be comfortable and are far apart. Every seat in the house
affords a perfect view of the entire stage.”
Detroit’s Palace Theatre was located at 130-132 Monroe
St, and advertised as “absolutely fireproof.” The article described all of the
fire safety measures, including a roof that consisted of six-inch concrete.
Interior of the theater. Notice the small section of painted drop curtain by Sosman & Landis in left fo the picture. From “American Architect and Architecture,” Vol. 106, 1914. From “American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.
C. A. and Graham Hoffman were responsible for the venue
and selected Detroit for their new playhouse. Early in the spring of 1912, they
started securing lease on the property in the “Great White Way” district of
Detroit. The Palace Theater Co. was organized and incorporated on April 5. C.
A. Hoffman was the general manager, with Graham acting as assistant manager and
secretary.
Detroit’s Palace Theatre was designed by C. Howard Crane and later featured in “American Architect and Architecture,” Vol. 106, September 1914. Crane also designed Detroit’s Liberty Theatre, Opera House, Filmore, Fox Theatre, and the Detroit Symphony Orchestra’s Orchestra Hall.
“American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.
In 1914, Thomas G. Moses wrote, “Went
from Fort Wayne to Indianapolis by trolley – a good ride. Saw Tom Taggert and Mr. O’Neill regarding a
picture and built foreground, representing four famous health resorts of
Indiana to go to San Francisco fair.”
Postcard of the Indiana State Building at the Panama-Pacific Exposition in San Francisco, 1915.
Thomas Taggert (1856-1929) was an
influential political figure and member of the Democratic National Committee. In
1877, he moved to Indianapolis where he became a financier, hotelier and
politician. Taggert was elected auditor of Marion Country, Indiana from1886-1894,
and later became mayor of Indianapolis from 1895-1901. When he left office in
1901, Taggert and a group of investors purchased French Lick Springs Hotel in
Orange Country, Indiana. By 1905 Taggert bought out his partners’ interests and
transformed it into a first-class spa and gambling resort. Taggert had a vested
interested when meeting with Moses and Lieut. Gov. O’Neil about the “picture
and built foreground, representing the four famous health resorts of Indiana.”
His mineral springs resort was one of them.
On July 6, 1914, the “Daily
Republican” announced, “Contracts for the erection of the Indiana building at
the San Francisco fair were awarded in that city by Lieut. Gov. O’Neil and T.
C. McReynolds who are members of the building committee of the commission” (Rushville,
Indiana, page 1). The article continued, “The awards were made with West coast-builders
are exceptionally favorable in prices, it is considered. Several Indiana firms
were ready to enter bids had exorbitant process been demanded. The general
contract was for $20,597; piling for $2,100; tile roofing for $1,200. Donations
of material by Indiana manufacturers will affect a heavy saving for the state.
The building is to be completed in six month time…While the Hoosier building
will not have a gallery especially constructed for the display of finer arts,
yet its design will permit an advantageous showing of the state’s achievements
in this direction, while adding to the comfort, cheer and attractiveness of the
rooms. The Commission is hopeful that state pride may prompt the support of
such artists as whose production reflect credit on Indiana’s culture and
accomplishment.”
Not all Indiana residents were
in favor of the $75,000 appropriation for the Indiana Building. The “Princeton
Daily Clarion,” argued, “The commissioners announce that of this amount,
$35,000 has been spent for a building. Therefore, only $40,000 is left for the
interior fittings and for traveling and hotel expenses. True, traveling is
expensive. It is also pleasant, and the climate of California is said to be
salubrious. An inkling of how the Indiana commission has mismanaged Indiana
affairs thus far, at San Francisco, was given a special dispatch to the news
from San Francisco a few weeks ago. Commissioner McReynolds, one of the members
apparently desirous of giving the state all that is possible for the money, did
not seemed to be pleased with the way work was proceeding. And now Lieutenant
Governor O’Neil contemplates asking for the forthcoming legislature to make an
additional appropriation for $60,000, or $75,000. For what? For interior
decorations? Or for traveling expenses?” (Princeton, Indiana, 4 June 1914, page
2).
During World Fairs, states
constructed elaborate buildings to feature products and tourism in each state. Many
country’s had similar buildings with amazing exhibits. Thousands of dollars
created ornate structures for fair visitors to experience, but ones that were
temporary to the world fair. I am including postcards of a few state buildings
for the Panama-Pacific Exposition of 1915 as it shows the scope of funds
utilized on World Fair buildings.
Postcard of the San Francisco State Building at the Panama-Pacific Exposition in San Francisco, 1915.Postcard of the Iowa State Building at the Panama-Pacific Exposition in San Francisco, 1915.Postcard of the Texas State Building at the Panama-Pacific Exposition in San Francisco, 1915.Postcard of the Maryland State Building at the Panama-Pacific Exposition in San Francisco, 1915.Postcard of the New York State Building at the Panama-Pacific Exposition in San Francisco, 1915.Postcard of the Wisconsin State Building at the Panama-Pacific Exposition in San Francisco, 1915.Postcard of the North Dakota State Building at the Panama-Pacific Exposition in San Francisco, 1915.Postcard of the Idaho State Building at the Panama-Pacific Exposition in San Francisco, 1915.
In 1914 Sosman & Landis created scenery for the Ringling
Bros. grand circus spectacle “Solomon and the Queen of Sheba.” Over a decade
earlier, the John Robinson circus also included “King Solomon and the Queen of
Sheba” at a circus spectacle. It
provided a rich and popular subject for a variety of nineteenth-century and
twentieth century entertainment venues.
King Solomon and the Queen of Sheba circus spectacle advertised in the “Wichita Beacon,” 18 Aug 1900, page 5.John F. Robinson and his circus spectacle “King Solomon and the Queen of Sheba” from the “Knoxville Sentinel,” Oct 15, 1903.
The King Solomon story was also staged for Ancient and
Accepted Scottish Rite of Freemasonry degree productions at this time. Masonic designs included a variety of settings
from King Solomon’s reign, including the Temple, Sanctum Sanctorum, his private
apartments, audience chambers, and the throne room. The story of the construction of King
Solomon’s Temple was a subject dramatically presented in both Blue Lodge rooms
and on Scottish Rite stages as part of their ceremonials. The construction of the Temple and the
assassination of its chief architect Hiram, are a prominent topic in Masonic
degree work. This story dramatically presented in lodge rooms was theatrically
staged for Scottish Rite degree work. Never exclusive to the Fraternity,
the reign of King Solomon was a popular subject for a variety of visual
spectacles throughout the nineteenth century.
King Solomon degree setting for Scottish Rite degree work by Sosman & Landis Scene Painting Studio, ca. 1904.
In past posts, I
have covered the subject of King Solomon on both public and private stages,
including two 1840s touring show that featured “Chemical Paintings,” also known
as “Magic Pictures.” These were small painted backdrops that transitioned from
day to night as the composition was alternatively lit from both the front and
back (see past installment #320). Newspapers at the time reported, “by modifying the light upon the picture, exhibits two
entirely distinct representations upon the same canvas” (The Times-Picayune, 20
Dec. 1842, page 3). The “Inauguration of
Solomon’s Temple” was one of four scenes that toured with the show.
Here is the 1842 description of “The Inauguration of Solomon’s Temple”
as published in “The Times-Picayune:”
“This painting represents the
magnificent Temple of Solomon, son of David, which he caused to be erected in
Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and
elegance of its exterior architecture. The same Painting soon after passes
through all the modifications of light: then night comes on, (effects obtained
by the decomposition of light, a new process of painting invented by Daguerre,)
the Temple appears illuminated interiorly by degrees, reflecting a bright light
exteriorly, which discovers a great multitude of people flocking to adore the
Ark of the Covenant, which the High Priest has deposited in the Tabernacle”
(New Orleans, December 29, 1842, page 3).
Any Mason who attended
the 1842 exhibit might leave full of ideas that could make the degree work in
my small lodge room better. The scenic effects exhibited at the end of a
darkened room suggested the possibilities for dramatic effects during degree
work. By the 1850s, the first Scottish Rite stages began to appear, with
painted settings and costumed figures under stage lights. Fast-forward a few
decades.
In 1891, a King
Solomon spectacle was a feature for the Piedmont Exposition in Atlanta, with nightly
performances from Tuesday until Saturday (Atlanta Constitution, 19 Oct 1891, page 6). Although
met with some controversy from the conservative Christian faction of the time,
a series of rebuttals supported the productions. It was a popular production.
By 1899, the King Solomon story was picked up by the John Robinson Circus.
Newspapers in 1900 announced “a magnificence of a scenic
spectacle of Solomon and Queen of Sheba” produced by the John Robinson Circus
(Marshall County Independent, Plymouth, Indiana, 25 May 1900, page 8). It was one of ten big shows that toured with
his circus Advertised as the oldest circus on the road in 1824; by 1900 the
third generation of John Robinson descendants advertised it as the Robinson
Show (Fort Scott Weekly, 9 Aug. 1900, page 8). The John Robinson Circus was one
of the oldest running family circuses in the United States. The four
generations that managed the circus were John Robinson I (1807 – 1888), John
F. Robinson II (1843 – 1921), John G. Robinson III (1872 – 1935) and
John G. Robinson IV (1893 – 1954). Here is a link to the circus’ history as it
is quite fascinating: http://www.circusesandsideshows.com/circuses/johnrobinsoncircus.html
Three of the four Robinsons who would run the Robinson Circus.
John Robinson
Circus advertisements promised, “Nothing Old But the Name” and the “Wichita
Daily Eagle” reported, “The most interesting feature in the performance that
the Robinson show has is the spectacular production of King Solomon, which was
especially beautiful under the dazzling lights in the evening. This part of the
show is gorgeously staged and in effect if like the great spectacle production
in America of 1893. Triumphal marches, to the music of trumpets, and an
acceptionally [sic.] good band, fifty or more girls attired in oriental
costume, a hundred on horses representing various clans and allies, correctly
costumes true to history, and later ballet and dancers, the story in pantomime
of the judgment of King Solomon on the parable of the babe claimed by two
women, and closing with the visit of the queen of Sheba, were all produced in
magnificent manner. The regular circus performance which followed contained
some old features always seen, but it also contained many new features and
original idea which makes the show more interesting than the simple old
fashioned circus” (Wichita Beacon, 18
Aug. 1900, page 5).
Advertisement for the John Robinson’s circus “King Solomon and the Queen of Sheba,” form From the “Ottawa Herald,” 5 Aug. 1900, page 5.
In 1900,
Robinsons Circus advertisements noted that the production included 1,000 men
and women, 500 horses, elephants, camels and 100 ballet dancers, transported
across the country in several trains of cars.
Furthermore, $2,000,000 was purportedly invested in the show. There were
“20,000 seats for 20,000 people under an absolutely water-proof canvas,” “40
camels hitched to a $20,000 Golden Chariot,” and “Forty Soul Stirring,
Fearless, Madly Ridden Hippodrome Races, Forty” (Wichita Beacon, 18 Aug. 1900,
page 5).
John Robinson Circus advertisement from the “Kingman Journal,” 10 Aug. 1900, page 6
By 1902, the
“Knoxville Sentinel” advertised the Robinson Circus, reporting, “The Bible
contains within its covers no pages so attractive in interest, so impressive in
description, so reverential and so expressive of divine devotion, so rand in
developments, as those which relate to King Solomon and his reign. It was a felicitous
thought, then of the celebrated artist, John Rettig, that led him to
contemplate the reign of Solomon as the subject for a spectacle, and to select
that period of Solomon’s administration when the king is visited by the Queen
of Sheba, as the theme for his grand and all overshadowing masterpiece of vast
spectacular presentations (15 Oct. 1902, page 2). A year later, the “Courier
Journal” added, “It was a wise thought of the celebrated artist John Rettig,
that led him to take the reign of Solomon as the subject for a spectacle” (23
April 1903, page 4). The Robinson Circus show was designed by Cincinnati scenic
artist John Rettig and directed by Charles Constantine. Rettig (1858-1932) was
a friend of Thomas G. Moses and the two traveled in the same circles.
John Rettig, scenic artist and design for the John Robinson Circus spectacle, “King Solomon and the Queen of Sheba.” From his obituary notice, May 2, 1932, page 2.
“The Oswego
Independent” published, “The ‘Queen of Sheba’ was a sight to behold, Arrayed in
circus tinsel, with cheap finery and frippery, supposed to represent the
original in her journey to view the wonders and glories of King Solomon, she
was a sight never to be forgotten, and was a libel on the original, as word
painted in the scriptures” (Oswego, Kansas, 31 August 1900, page 3). The
“Newton Kansan” added, “The spectacular representation of scenes in connection
with the lives of King Solomon and the Queen of Sheba was a novel feature and
was one of the best things in the show, but would be vastly improved if
shortened as it becomes tiresome” (17 Aug, 1900, page 1). Most reviews,
however, were pleased with the presentation. The “McPherson Weekly Republican,”
commented, “The presentation of King Solomon’s court, the temple and the
amusements of the ancient Hebrew court were a big surprise in excellence and
would have done credit to a large opera house performance” (24 Aug. 1900, page
7).
Of the
production, an advertisement in the “Wichita Daily Beacon” stated, “King Solomon
and Queen of Sheba. Dwarfing and overshadowing to comparative insignificance
interior and out door spectacular events of the era. Replete in sacred
realisms, historical accuracies, Biblical events, colossal processions, and
introducing all the ceremonies with the original pomp and splendor of the Court
of Solomon.” In 1929, the John Robinson Circus was still featuring “King
Solomon and the Queen of Sheba.”
1929 photograph of the John Robinson Circus for sale online. Note the costumes for the King Solomon circus spectacle.1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/Detail of 1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/
By 1914, spectacles
depicting King Solomon’s life were still a popular to many, including the thousands
of men who continued to tell the story in Masonic ceremonials. The Ringling
Brothers’ spectacle of “King Solomon,” however, was produced on a much grander
scale than any other circuses or fraternity. The Masonic settings at Scottish
Rite theaters paled in comparison with the grand spectacle at the circus, yet
the same scenic artists were painting the sets for each venue.
Thomas G. Moses designed the scenery for the Ringling Brothers grand circus spectacle, “King Solomon and the Queen of Sheba.” Sosman & Landis delivered the scenery for the production in 1914.
In 1914, Thomas G. Moses wrote,
“Jan. 6th, went to Baraboo, Wisconsin, to see the Ringling’s for the
new spectacle, ‘King Solomon.’ Another big show. Made a model for one scene and
got $2,900.00.” Moses was referring to the 1914 Ringling production “Solomon
and the Queen of Sheba” that toured throughout the United States. Later in
1914, Moses wrote, “Ringlings’ work came out very good. Everyone was pleased and that is saying a
good deal.”
I have mentioned this grand
circus spectacle, or spec, in the past, but it is worth repeating. It provides
an additional layer of context for the painted tradition preserved in Scottish
Rite theaters.
“King Solomon and the Queen of
Sheba” was presented in a series of dramatic pantomimic pictures staged with
“all the lavish splendor and opulence that marked the period when the wise
Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in
Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba” (Star
Gazette, Elmira, NY, 21 May 1914, page 3).
The Star Gazette reported, “The spectacle is presented on an enormous,
specially constructed stage, which occupies nearly one entire side of the main
tent. The tent measures 560 by 320 feet
and seats 14,000 people at a performance” (21 May 1914, page 3). Remember that
two shows were given daily; one at 2pm and one at 8PM, and the doors opened an
hour before show time, allowing spectators to visit the 108 cages in the
Ringling zoo and purchase candy and souvenirs!
In 1914, the “Indianapolis Star”
reported, “Nero has watched his Rome burn to a cinder beneath a circus tent.
Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatra
has taken her last look at Egypt before the clown’s entry. And now the wise King Solomon and the Queen
of Sheba have been made the hero and heroine of the circus spectacle,
surrounded with all the gorgeous pageantry and lavish costumes a showman can
devise” (4 May 1914, page 3).
Thomas G. Moses designed the scenery for the Ringling Brothers grand spectacle, Solomon and the Queen of Sheba” in 1914.
On May 21, 1914, the “Star
Gazette” reported:
“Nearly half of the entire train
section is used to transport the scenery and costumes used in the massive
spectacle, ‘Solomon and the Queen of Sheba.’ The spectacle includes a cast of
more than 1,250 characters and a ballet of 300 dancing girls under the personal
direction of Ottokar Bartik, ballet master of the Metropolitan Opera House, New
York, and late of La Scala, Milan. The
music for this spectacle has been written by Faltis Effendi, formerly
bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90
musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a
cathedral pipe organ, costing $100,000.
The Ringling Brothers’ have expended $1,000,000 in the production of
this mammoth spectacle which faithfully and accurately portrays the pomp and
ceremony, life and wisdom of a period a thousand years before Christ, and
introduces Solomon in all his glory and Balkis, Queen of Sheba, the most
interesting woman of her day” (Star Gazette, Elmira, NY, 21 May 1914, page 3).
From the “Reading Times,” 16 May 1914, page 9.From the “Pittsburg Press”, 5 May 1914, page 16.
The US Inflation Calculator
measures the buying power of $1,000,000 in 1914 to be the equivalent of
$25,200,600.00 in 2018. Fifty men were needed to handle scenery and special
effects (Dayton Daily News, 26 April 1914, page 31).
When the circus arrived in
Elmira, New York during 1914, the “Star Gazette” included a large article about
the early morning arrival and events, advertising:
“The big circus is almost
here. Tomorrow morning in the small
hours just before dawn, four long red and yellow trains, made up of 86 cars
will roll quietly into Elmira coming from Binghamton, over Lackawanna
railroad. They will be unloaded
immediately and within a few hours the big aggregations of world wonders which
comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered
under twenty acres of white canvas on the show grounds.”
From the “Sheboygen Press,” 7 July 1914, page 1.From the “Sheboygen Press,” 7 July 1914, page 1.
The circus included an elaborate
parade that traversed the principal streets of each town on the morning of
their arrival. The “Star Gazette”
announced, “The cavalcade which, it is promised, will be the longest and most
gorgeous display ever seen in the streets of this city, will start from the
show grounds promptly at 10 o’clock. It
will be more than three miles in length and will include all the performers and
animals, in addition to the long procession of handsome tableau wagons and
allegorical cars, filled with pretty dancing girls in gay costumes. Six bands and two calliopes will furnish the
music for the cavalcade and the fifty famous Ringling clowns will be on hand to
keep the sidewalk spectators in good humor.
A striking feature of the procession will be the long line of elephants,
forty in all, and a team of sixteen camels, broken to bit and harness driven the
same as horses. These beasts draw a huge parade wagon and this is the first
instance on record where the ‘ship of the desert’ has ever been successfully
broken to harness and bit.”
The “twenty-four hour man”
arrived a day ahead of the circus to set up the infrastructure needed to feed
an enormous amount of people and animals. Other circus staff that arrived a day
early included “a number of stage and electrical experts who precede the show
to make arrangements for the staging and lighting of the big spectacle “Solomon
and the Queen of Sheba.” It is important to remember that the King Solomon
spectacle was just one of the principal features for the Ringling Brothers’
program that season; it was not the whole show.
This makes theatrical touring shows, such as “Ben-Hur,” seem like
child’s play when compared with the logistics of a touring circus with
thousands of moving parts.
The first train to arrive was
the commissary department and the first tent to be pitched on the show grounds
was the “cook house.” The second and
third trains pulled the heavy red wagons, loaded with canvases, properties, the
elephants, the 730 horses and the other animals. On the last train, composed entirely of
sleeping cars, arrived all of the performers and ancillary staff members for
the show.
The Queen of Sheba was played by
Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French
teacher of pantomimic art.
From the “Indianapolis Star,” 4 May 1914 page 3.
One of the things that I keep thinking about is the
logistics of organizing and managing a touring circus a century ago, especially
the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The
Pittsburgh Press published an article that provides insight into the 1914
circus (11 May 1914, page 14):
“The big enterprise bearing the name of the five brother
showmen arrived in Pittsburgh in the small hours of Sunday morning and with
very little noise and no confusion an enormous tented city was quickly
established on the show grounds in East Liberty. The show came from Wheeling, W. Va., where it
exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad
by a vast horde of excited youngsters who had braved both the displeasure of
parents and Sunday school teachers in order to be on hand to help unload the
elephants and lead the spotted ponies to water.
All day yesterday they loitered around the East Liberty grounds watching
the erecting of the tents and other unusual sights.
Twenty-four tents are required this season. The main canvas – the big top is the largest
the Ringlings have ever used – is especially constructed, not only to
accommodate the circus with its three rings, stages and hippodrome track, but
also arranged for the massive spectacle ‘Solomon and the Queen of Sheba,’ which
is presented on a stage five the size of that found in the largest theater. The
Ringling circus is a perfect city in itself traveling every night, making a new
city every day and morning with more system, rapidity and less fuss and noise
than any branch of the army. To prepare
for its coming exactly 106 representatives, each with a various mission to
perform, have visited this city.
All of the cooking for this enormous enterprise is done
by steam and in ranges built in a wagon weighing six tons and drawn by eight
horses. As a mere detail of the
marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs,
800 pounds of bread, 150 pounds of sugar and other items equally as large. The first order to the cooks in the morning
is for 5,200 griddle cakes and yet, as large a number as this may seem, it is
only four a piece. For the stock and animal department there are used daily: 10
tons of hay, five tons of straw, 300 bushels of oats, while no well behaved
elephant would think of starting his day’s labor without his morning cereal – a
bale of hay. Most of all, these
purchases are made from local merchants.
The circus travels on its own trains and only requires
engines and crews from the railroads.
The show also carries its own blacksmiths, horseshoers, wagon and
harness makers, tent makers, rope splicers and a corps of decorators are kept
on hand continually touching up the gilded and brilliantly painted tableau
wagons and cages. Two men are employed
eight hours a day doing nothing but greasing axles. In the wardrobe department presided over by
Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000
costumes have to be handled daily and kept in repair. Five dressmakers and six
tailors, besides armorers, are in this department. The circus has its own physician who carries
with him a complete surgical and medical outfit. There is also a barber shop
and, incidentally, no driver or man appearing before the public is allowed to
leave the show grounds until he is shaved. This also suggests another rule
strictly enforced by the Ringling Brothers’ which absolutely forbids the use of
whips by any of their drivers.
It costs $8,000 a day to run the circus and it represents
and investment of nearly $4,000,000. The
show maintains winter quarters and shops at Baraboo, Wisconsin, and
Stoke-on-Trent, England. The firm is now planning an expedition of its own to
trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on
the alert to secure novelties.
Starting as mere boys with a borrowed tent in which they
were given a few juvenile attempts at entertainment, these five brothers have
seen their dreams realized and have become master showmen of the world.
The afternoon performance began at 2 o’clock and the big
tent was crowded. Opening the bill came
the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or
so effectively presented has ever been given here before. The opening pageant, the ballet of dancing
girls and the dramatic action were veritable surprises. The spectacle was followed by surprises. The spectacle was followed by the circus
performance in which 400 men and women appeared. More novelties that ever before are
presented, the Ringlings having brought from Europe the majority of their
people.
The final performance will take place Tuesday night at 8
o’clock. The doors open an hour earlier,
allowing time to visit the extensive menagerie and also enjoy the operatic
concert rendered by the military band of 80 pieces.”
To be continued…
In 1913, Thomas G. Moses wrote,
“A new set for the Hippodrome, city.” Moses was referring to a cityscape
setting for Chicago’s Great Northern Hippodrome Theatre. Later that year he
added, “I did a drop curtain for the Great Northern Theatre. A very delicate
Italian Landscape.” For such a popular space to see live entertainment, little
is known of the actual venue.
Postcard with Great Northern Theatre, date unknown.Postcard of Great Northern office building with theater next door to Great Northern Hotel.
Here is all that I could track
down:
The Great Northern Hippodrome was located in a massive
high-rise building at 26 West Jackson, between State and Dearborn Streets. The
Great Northern Office and Theatre Company building was designed by D. H.
Burnham and Co. in 1896 and adjoined an earlier Great Northern hotel building.
Burnham & Root designed the Great Northern Hotel before John W. Root’s
passing.
Great Northern Hotel with theater and office building.Great Northern Hotel with theater and office building.
Opening on Nov. 9, 1896, Great
Northern Theatre productions included legitimate theatre, vaudeville, movies,
and stock company productions. During February 1910, the Schuberts took over
the building, redecorating the theater and renaming it the Lyric Theatre. The
theater was again renamed, becoming the Great Northern Hippodrome.
The new theater offered a
variety of continuous performances from 11 a.m. until 11 p.m. daily.
Advertisements promised, “All that’s great in circus, vaudeville, hippodrome,
and novelty features” (Chicago Tribune, 23 May 1913, page 10).
From the “Chicago Tribune,” 28 Dec 1913, page 49From the “Chicago Tribune,” 5 Oct 1913, page 20From the “Chicago Tribune,” 13 Oct 1913, page 8From the “Chicago Tribune,” 23 May 1913, page 10
When Sosman & Landis delivered scenery to the Great
Northern Hippodrome in 1913, it was part of a program change, the venue now
focused on live entertainment. On July 27, 1913, the “Chicago Tribune” reported, “The Great
Northern Hippodrome, having discontinued motion pictures, is now offering
fourteen acts of vaudeville divided into two bills of seven acts” (page 14).
Moses’ drop city setting and drop curtain were part of this makeover.
Like many historic venues of the time, the Great Northern
Office and Theatre Building were demolished, in 1961 to make room for the
Dirksen Federal Building.
In 1913, Thomas G. Moses wrote,
“I did a ‘swell’ curtain for Holland, Michigan, and I sincerely hope they will
like it.” Moses was referring to the Knickerbocker Theatre of that city,
managed by J. A. Simon. Little is known of Moses’ painting beyond his diary
entry. In 1913, Holland boasted a population of 11,000. Julius Cahn’s Official
Theatrical Guide listed an overall drawing population of 15,000 for the venue.
The Knickerbocker TheatreThe Knickerbocker TheatreThe Knickerbocker TheatreThe original Knickerbocker Theatre after the name changed to the Holland Theatre
Located at 86 East 8th Street in
downtown Holland, the ground-floor venue had a seating capacity of approximately
883, with 17 Loges. The proscenium opening measured 26 feet wide by 21 feet
high. The stage was 30 feet deep and 48 feet wide. It was 50 feet from the
stage floor to rigging loft and 24 feet to the fly gallery.
Holland is situated in the
western region of Michigan’s Lower Peninsula, and was settled by Dutch
Calvinist separatists under the leadership of Dr. Albertus van Raalte. The
Dutch immigrants sought religious freedom and a better life, establishing their
village near the Black River where it streamed into Lake Macataw near the
shores of Lake Michigan.
Postcard of Holland, MichiganHolland, Michigan
Holland features an annual Tulip
Time Festival, an event that originated in 1930. Currently, six million tulips
are used throughout the city, planted along city streets, in city parks and
outside municipal buildings. There is also a large tulip farm, named Veldheer
Tulip Gardens. Other tourist attractions include De Zwann, an original
250-year-old Dutch windmill situated on Windmill Island, and Dutch
Village.
The De Zwann windmill in Holland, MichiganWindmill Island in Holland, MichiganWindmills in Holland, MichiganWindmill Island in Holland, Michigan
Although the city is best known
for its Dutch heritage, there is also an annual Fiesta organized by Latin
Americans United for Progress, with the Tulipanes Latino Art & Film
Festival that celebrates the Latino cultural contribution.
Holland is home to Hope College, a private Christian liberal
arts college. The institution was established in 1851, as a Pioneer School by
Dutch immigrants. Hope received its state charter in 1866 and it is affiliated
with the Reformed Church in America. The schools 125-acre campus is adjacent to
the downtown commercial district and has been shared with Western Theological
Seminary since 1884. In 1988 the
Knickerbocker Theatre was acquired by Hope College and remained opened to the
public, offering a variety of events throughout the year, including films and
theatrical productions. The website notes that Knickerbocker translates to
“best in life.”
The current Knickerbocker Theatre operated by Hope College
In 1913, Thomas G. Moses wrote
that Sosman & Landis delivered, “A new interior for the Olympic Theatre.” This meant that they designed and installed a
new painted interior set (box set) for the stage at the Olympic Theatre. An
interior set included a series of interchangeable flats that could be lashed
together to form a box set. I transported an interior set to the Matthews Opera
House (Spearfish, South Dakota) that was manufactured by the Twin City Scenic
Co. around that time and set it up. Cleats and cords lashed the various flats
together, and we rapidly assembled the set in a manner of minutes. Previously,
I had set up a series of vintage interior sets at the Czech-Slovak hall
(C.S.P.S. building) that was similar in construction for documentation. In both instances, I was amazed at how
quickly a box set could be assembled and torn down. What an ingenious system.
Interior set produced by the Twin City Scenic Co., now in Spearfish, South Dakota, at the Matthews Opera House.Double-painted interior set at the C.S.P.S. Hall in St. Paul, Minnesota. This is the backside. Note cleats and cords.Double-painted interior set at the C.S.P.S. Hall in St. Paul, Minnesota. Front side.Fancy interior set at the C.S.P.S. Hall in St. Paul, Minnesota.
In regard to the theater where
Sosman & Landis delivered the interior set, Chicago’s Olympic Theatre was located
on Clark and Randolph streets. At the time, Sam Lederer managed the venue,
featuring Klaw & Erlanger productions. The ground-floor theater,
illuminated by electricity, had a seating capacity was 1,584. The proscenium
opening measured 37 feet wide by 24 ¾ feet. The stage was 26 ¾ feet deep with a
back stage width of 71 feet. The height to the rigging loft was 53 ¾ feet and
the height to the fly gallery 25 feet. The under stage area was 8 feet deep. A
pretty standard space for the time.
Like many entertainment venues
in Chicago, the Olympic Theatre has a very complex history. Originally named
the New Chicago Theatre in 1873 by James H. McVicker, it was built on the
previous site of Kingsbury Hall, a building that had been destroyed during the
great fire of 1871. This venue enjoyed a series of names changes between 1873
to 1893, switching from the New Chicago, to Grand Opera House, Cristy’s Opera
House and the Music Hall. An extensive remodel of the space then resulted in
the newly named Olympic Theatre. However,
in 1907, a fire caused extensive damage to the building, resulting in the
rebuilding of the space. When Sosman & Landis delivered the interior set,
it would have been an extension of their stock scenery collection.
The Olympic Theatre name did not
last, however, and soon became Schubert’s Apollo Theatre. This name change was
after the 1921 Apollo Theatre at Dearborn and Randolph Streets was converted
into the United Artists movie house in 1927.
Plan of the Olympic Theatre that I discovered online.Image of the old Olympic theater (74 W. Randolph St.) after it became the Apollo Theatre and was going through renovations.
It is the repetition of theater
names across the country that makes tracking down the history of some venues so
very difficult. I of ten feel like a detective, verifying all of the specifics
before including any specific details.
The Olympic Theatre/Schubert’s
Apollo Theatre building was eventually closed and razed in 1953 for a Greyhound
bus terminal. Unfortunately, even the bus station did not last and was replaced
with the Chicago Title & Trust building in 1992.
