Thomas G. Moses – Page 25

Tales from a Scenic Artist and Scholar. Part 853 – Mrs. Leslie Carter, 1913

In 1913, Thomas G. Moses wrote, “We did one act for Mrs. Leslie Carter, an Old English Garden.” That same year Carter starred in “a magnificent revival” of her great success ‘Zaza’ with “fine scenic equipment and a strong cast’” (Lansing State Journal, Michigan, 1 April 1913, page 6). This was likely the scenery delivered by Sosman & Landis studio.

In 1913 Carter’s name was also mentioned in regard to theater superstitions. An article in “Journal Gazette” reported, “Theatre Folk Are Superstitious” noting, “Mrs. Leslie Carter always raps three times on the wings before walking on stage, and she thinks the precaution will banish all evil influences” (Journal Gazette, Mattoon, Illinois, 4 July 1913, page 7).

Mrs. Leslie Carter featured in “The Sketch.”

Mrs. Leslie Carter was born Caroline Louise Dudley in Kentucky, and the exact date of her birth various greatly between sources. Carter’s acting career began in earnest after a scandalous divorce. She selected life on the stage instead of life with her first husband. By 1906, Mrs. Leslie Carter married a second time, yet under her maiden name. On July 14, 1906, the “Portsmouth Herald” announced:

“Queer Ceremony Performed Here. Mrs. Leslie Carter Becomes A Bride. Famous Actress Marries a Young New Yorker.”

The article reported, “One of the most mysterious marriages ever celebrated in this city was quietly performed shortly after half-past eleven on Friday forenoon by Rev. Henry Emerson Hovey, Pastor of St. John’s Episcopal Church. According to all evidence at hand, the bride was Mrs. Leslie Carter, the famous American actress. The groom was William L. Payne of New York, who calls himself a student. The Lady was married under the name of Caroline L. Dudley and gave her age as thirty. She told the clergyman she had never been married before.” The article described the families, “Payne’s birthplace was given as Elmira, N. Y., and his father’s name as Alfred T. Payne. The occupation of the father was stated to be that of a painter, his age fifty-eight and his present residence New York City. The elder Payne was born in England. The maiden name of young Payne’s mother was Frances Pelton and her birthplace was Rollins, Pa. She is fifty-one years old. ‘Miss Dudley’s’ father was Austin Dudley, formerly a Chicago lawyer. His age was sixty years at the time of his death and the license states that he was a Kentuckian by birth. The maiden name of the mother was Caroline Stevens and she was born in Lexington, Kentucky. Her present age, according to the license, is fifty-five years.”

Of the actress, the article noted, “Mrs. Carter was born on a plantation only a short distance from Lexington, Ky. Her father was of English parentage and her mother was a member of a prominent Kentucky family. When she was sixteen, her father died and her mother was soon afterward stricken with what was believed to be a fatal illness. In this crisis of her career, the young girl was married to Leslie Carter, a wealthy Chicagoan and a friend of her family, that she might not be without a protector. Contrary to the expectation, Mrs. Dudley recovered and her daughter’s marriage proved unhappy. A separation of husband and wife followed and later came divorce.

Mrs. Carter was left without means and after considering her situation, sought employment on the stage. After many futile attempts, she secured an interview with David Belasco and the great manager recognized at once that he had met one who desired to be a great actress. Mrs. Carter was given her first opportunity in a play called, ‘The Ugly Duckling,’ written for her by Paul Potter, who dramatized ‘Trilby.’ This was at the Broadway Theatre, New York, on Nov. 10, 1890. Her first venture was a doubtful success, but she was brave and her manager believed in her ability. There were years of discouragement and partial success and finally, in 1898, Mrs. Carter appeared in ‘Zaza.’ Since then, her career has been one of continual triumph.”

Despite the obvious obstacles and scandals listed above, Carter became known as the “Bernhardt of America,” especially achieving fame for her roles in “The Heart of Maryland” (1895), “Zaza” (1898), “Madame Du Barry” (1901), and “Andrea” from 1895-1905. In 1906, the same year as her marriage to Payne, she broke with Belasco. This proved to be a fatal move for her career as it began a downwards spiral. Payne was often her leading man and later managed her business affairs, another unfortunate move for the actress. As her career began to fizzle, Carter turned toward silent movies and supporting roles on Broadway. She passed away in 1935 of heart disease and is buried in Woodland Cemetery in Dayton, Ohio. Her theatrical career was fictionalized in “Lady With Red Hair,” portrayed by actress Miriam Hawkins in 1940. Her Payne was a technical adviser for the film.

Maurice Barrymore, father of Lionel, John and Ethel Barrymore, once recalled one entertaining story about Carter. The elder Barrymore was the leading support to Carter when she appeared in David Belasco’s production “The Heart of Maryland.” Barrymore told the following story about the Kansas City production to a local newspaper: “ In the big third act Barrymore, the hero, was in the hands of designing villain, who had caught him off guard. Two rookies bound Barrymore’s hand and the villain, left alone with his prey, taunted the hero. It was Barrymores “business” to squirm and to wail. ‘Oh, if my hands were free,’ he would repeat several times, as he tried vainly to break the rope which held him fast. The villain would approach and snap his fingers right under Barrymore’s nose. ‘Loosen my hands, you devil!’ Barrymore would exclaim. One night at this great and exciting moment in the scene Barrymore had just finished his dare to the villain to loosen his hands when the traditional gallery god yelled out in a sharp, clear voice: ‘Why don’t you kick him in the shins, Barry; your feet ain’t tied.’ Barrymore cursed that part from that moment until his dying day” (The Herald, Crystal Lake, Illinois, 6 Feb. 1913, page 3)

Mrs. Leslie Carter from section of theatre scrapbook, from the OSU Theatre Collection.

To be continued…

Tales from a Scenic Artist and Scholar. Part 852 – George Damerel and Myrtle Vail, 1913

In 1913, Thomas G. Moses wrote, “We did a hurry up job of ‘Girls’ – a burlesque show for Geo. Dameral [sic.].” Keep in mind that family burlesque was primarily parodies that followed a variety show format, like vaudeville. Burlesque included comically exaggerated imitations in a dramatic work.

In regard to the 1913 entry, it is likely that Moses was referring to Damerel’s production of “The Heart Breakers” when he wrote, “Girls.” Damerel toured with ‘The Heartbreakers” and “The Knight of the Air” that year. “The Heartbreakers” was a play was about the Heartbreakers Club, an organization of young men “formed for the purpose of lacerating the feelings of young women who [had] ruthlessly trifled with the affections of young men” (Nashville Banner, 7 Jan. 1913, page 5). The young men sought revenge after being jilted by kissing the young women who have wounded their hearts. In seeking one particular girl the leader of the club loses his heart. The musical was managed by M. H. Singer, and enjoyed a six-month run at the Princess Theatre in Chicago in 1913. This is likely when Damerel sought out assistance from Moses at Sosman & Landis. The burlesque show had already been on the road for five years prior to their stint in Chicago. The production was described by the “Nashville Banner” reporting, “”It is a question whether this play is a vehicle for good or bad influence on the stage, but it is a clever performance. Its doubtful air is offset by making a burlesque of what might be termed some risqué situations” (7 Jan. 1913, page 5).

George Damerel in “The Heartbreakers,” from the “Daily Times,” 28 Oct 1911, page 24.

In 1913, Damerel was also featured in the leading role for “The Knight of the Air” (Star Tribune, 16 Nov. 1913, page 60). The operetta was written by Bela Jenbach and Leo Stein with music by Herman Dostal. The show satirized the current craze for “aeroplaning.” Damerel was quite a character and newspapers loved him.

In 1913, an interesting article appeared in the “Star Tribune” that provides a little insight into Damerel at this time (Minneapolis, Minnesota, 21 Nov. 1913, page 7):

“George Damerel has developed a dual personality. Oh, yes, he’s still matinee idol. The folks on the other side of the footlights won’t let him give up that side of his character. And he just couldn’t give it up even if he wanted to, which he doesn’t. He dances and sings and makes love as ‘Knight of the Air’ with much ginger as he did in ‘The Merry Widow.’ Because he’s just naturally a gingery person, his French ancestors are probably responsible for that. And he loves it. He declared so yesterday as he came dancing off the stage at the Orpheum at the close of the Vienese [sic.] operetta. And he’s going to keep right on dancing and singing and making love before the footlights until – to his own words – he’s too old. Imagine George Damerel too old! And right here’s where the new side of his character comes in. He is a businessman. He’s owner and manager of the tabloid opera he’s in this season and tremendously interested in the business side of it. He pays himself a salary and also gives his wife her pay envelope each week along with the other members of the company. And when all expenses are paid he pockets the profits, which is also interesting.

When he ceases to please – that is when he drops off the matinee idol side – he’s going in for the business end of the show business exclusively. The business side of the performance doesn’t occupy quite all of Mr. Damerel’s attention off the stage. For there’s little 5-year-old Donna Celeste Damerel who inherits a good deal of the vim of her lively father and demands a large chunk of his attention. Mr. Damerel says that if she wants to go on the stage when she’s older, he’ll raise no objection. ‘I’ll feel perfectly contented to have my daughter on the stage. The pitfalls and dangers are exaggerated. There’s no reason for objection. If one has talent, it’s smooth sailing. And my little girl has already shown that she has talent.”

In 1907 the Damerel married Myrtle Vail, mother of Donna. Vail was only 16 at the time and a vaudeville actress touring with Damerel in the “Heart Breakers.” In 1913, the “Coshocton Daily Times” included three separate articles on the popular vaudeville artist (11 March 1913, page 3).

From the “Coshocton Daily Times,” 11 March 1913, page 3.

One of the articles described Damerel’s dual roles as both actor and ball player:

“George Damerel who will be seen in the leading role in the ‘Heart Breakers’ the latest of musical comedies is under the management of Mort H. Singer, was a professional ball player before he took up the stage. He was a pitcher in the Great Northern League, having started with the Grand Forks team at the same tie that Deacon Phillipi was playing in the Fargo, North Dakota, club.

Damerel was finally drafted to the Minneapolis club, during the time that Perry Weedon was captain, and although he has been out of baseball for a number of years, yet he has never been released by Minneapolis. Each summer if he is not acting he takes about three weeks with the team and practices with them, as he thinks baseball is the best exercise in the world and that he is ready to put in another hard season of traveling. Mr. Damerel was asked why he gave up the profession of base ball and in reply said that he found out that he was not what you would call a wonder at the game and as he had a good voice, he had been advised to try the stage. Also another thing he found that actors were better paid than ball players unless they were top notchers. The young man is an ardent fan and can be seen at all times to back his judgment as for instance last season he cleaned up quite a tidy sum on the New York Nationals, winning the pennant and then came back and bet that the Red Sox would win the world’s series. This early spring he wagered that the Washington team would be in the first three at the end of the season and the way that they played ball shows that the young man must watch the game quite closely. Mr. Damerel is an all around athlete, being a fine swimmer and he has had the gloves on with all the fighters of any note.”

On the same page, the “Coshocton Daily Times” included another article on Damerel, pictured with his wife Myrtle Vail (11 March 1913, page 3). Under the heading “Footlight Flashes” the caption described, “George Damerel and Myrtle Vail Singing ‘Your Eyes, Your Smile and You’ in ‘The Heart Breakers.” This dance between Damerel and Vail in “The Heart Breakers” was said to have eclipsed his performance in the “The Merry Widow” waltz.

Later in life, Damerel became best known as husband to Myrtle Vail. Vail achieved even greater fame as a vaudeville actress, film actress and writer. She was a well-known radio personality from 1932-1946, starring in the popular show “Myrt and Marge.” She created, wrote, and starred in the show, playing the role of the experienced chorus girl Myrt who takes the inexperienced chorus girl Marge under her wing. Vail’s actual daughter Donna paled the role of Marge. The radio serial was eventually transformed into a film, with the film’s plot centering on Myrt Spear’s touring vaudeville revue. Although Myrt’s show was full of talent, it lacked the necessary funding. In steps a lecherous producer who will help, but only if he can romance the young chorus girl Marge Minter. It doesn’t take much imagination to compare the tale with Vail’s own life as a chorus girl and early marriage to her husband in 1907 that subsequently resulted in their marriage and immediate birth of their daughter. Interestingly, Myrt, with the aide of Marge’s boyfriend step in to save the revue and the young chorus girl from the clutches of the producer. Other notable characters in the film were some comical stagehands, actors who were the famed Marx Brothers.

As an older actress, Vail became known for her roles in “A Bucket of Blood” (1959) and “Little Shop of Horrors” (1960), written by her grandson Charles B. Griffith.

To be continued…

Tales from a Scenic Artist and Scholar. Part 850 – Father McCann of Elgin, 1913

In 1913, Thomas G. Moses wrote, “I got $3,000.00 contract from Father McCann of Elgin, for a scenic decoration for their Coliseum. This represented a tropical island and was very effective, and the Bazaar that was given with the decoration was a very wonderfully successful one, netting $6,000.00.” To put this project in financial perspective, $6000 in 1913 is the equivalent of approximately $155,000 today. That is a lot of money for a church to spend on a bazaar. Father McCann at St. Mary’s Roman Catholic Church, however, was a poet, lover of the arts, and tango enthusiast. The 1913 church bazaar was set in the Elgin Coliseum, a venue with a seating capacity of 4,000. The tropical theme in 1913 supported a variety of performances, including the controversial dance. For a little perspective, by 1913 dance instructors who taught the tango in Paris were banished from the city due to the sexual overtones. It is understandable why McCann had to defend the dance in the regional papers, as he was certainly pushing the envelope of social acceptability at the time.

The church bazaar was mentioned in the “Joliet Evening Herald-News” article:

“TANGO O.K. SAYS ELGIN PRIEST” (29 Sept 1913, page 2).

Here is the article, as it provides a little more background about this quirky clergy member:

“Elgin, Ill., Sept 29.- Father John J. McCann, pastor of St. Mary’s Catholic church, wants everyone to learn and dance the tango in its appeared form, which he highly endorsed. He announced today that an exhibition of the new dance by three children couples under supervision of a professional teacher will be the feature of the church bazaar next month. His first idea was to have the teacher instruct adults at the bazaar, but she said improper steps would creep in unless there had been careful training beforehand, He expects to throw the dance opinion to all at the next bazaar.”

Moses previously worked for the McCann in 1912, writing, “Went to Elgin to see Father McCann about a show for their Coliseum – a big street effect.” Sosman & Landis did another big contract for a pained street scene for the event. This was another substantial project for the firm that brought in significant income. Unfortunately, McCann would not remain in Elgin.

Father McCann’s dismissal from St. Mary’s, published in the ” Chicago Tribune,” 18 March 1918, 1-10

Only a few years later, McCann’s career turned south, after a conflict with Bishop Peter J. Muldoon that dramatically escalated. McCann was even taken into custody after a police standoff from inside St. Mary’s Church in Elgin (see past post # 811 for the sordid details). However, in 1913 McCann was still poplar with the public and flush with funds, even purchasing fine artworks from Moses at his 1913 Palette & Chisel Club art exhibition. Moses recorded that McCann bought one canvas for $200.00 and another for $100.00, “starting the sale in good shape.”

In 1913, McCann made headlines again in the “Herald” newspaper article “Priest Named in Elgin Case” (Crystal Lake, 13 Oct. 1913, page 7). I think that this was the beginning of the end for Father McCann. Here is the article:

“Elgin.- On the witness stand before Police Magistrate Thompson, William J. Peer, manager of the Chicago Motor Cab company, testified that the automobile in which Joe Connor made his escape from the Elgin State hospital, July 25, was ordered by Father John J. McCann, pastor of St. Mary’s Catholic church, Elgin.” Oh my. It had to have been hard to explain that to Bishop Muldoon.

In 1914, Moses wrote, “The Elgin Coliseum that we started in the fall was put up in February and it was very effective; good lighting. The committee was well pleased with it. The Palette and Chisel Club loaned some pictures. I took up half a dozen and we made a little Art Gallery, and I think we put our name on the map, if nothing else. ”

To be continued…

Tales from a Scenic Artist and Scholar. Part 849 – The Dairy Show, 1913

In 1913, Thomas G. Moses wrote, “Did an exhibition for the Dairy Show at the Coliseum, November 1^st.”

Ribbon and picture from the 1913 National Dairy Show in Chicago.

Three Educational Expositions were held in Chicago during the fall of 1913, the National Dairy Show, the U. S. Land Exposition, and the International Live Stock Exposition (“Journal Gazette” Mattoon, Illinois 22 Oct. 1913, age 4). The National Dairy show was held from October 23 to November 1, with exhibits of milk, butter and cheese. Activities included judging cattle, instructive laboratory work, and discussions on problems of breeding, feeding and fitting dairy cattle. Dairy Association meetings were also held throughout the event at Chicago’s International Amphitheatre and the Union Stockyards; the stockyards included a coliseum. There were also a series of athletic events staged at the Chicago National Dairy Show, such as motorcycle polo (Joliet Evening Herald-News, 0 Dec. 1913, page 10).Very little is available about the Chicago Dairy beyond a few advertisements and some souvenirs for sale online, so it is difficult to know what was delivered by Sosman & Landis that year.

Entrance to the Union Stockyards in Chicago, 1913.

I did come across one entertaining article that described the milking championship at the 1913 Dairy Show. On October 30 ten dairymen contested for the milking championship of the world. Of the event, the “Indianapolis News” reported, “Milking Cow is an Art,” describing the event in detail(30 Oct 1913, page 18). The article reported, “Although in the aggregate they handle nearly two hundred thousand quarts of milk daily, not one of the contestants had milked a cow in the last twenty years, and several had never sat on a one-legged stool before, trying to soothe “bossie,” and hold the milk pail, drive off flies, dodge the cow’s tail, and milk. The first prize, a leather medal, big enough to half sole a pair of shoes, was won by S. C. Shedrick, of Buffalo, proprietor of the Queen City Dairy Company. S. O. Dungan, proprietor of Polk’s Sanitary Milk Company, of Indianapolis, won second prize, a glass of milk. While third honors went to John Bingham, president of the Ottawa Dairy Company, of Ottawa, Canada. Bingham started under a handicap. In the first place, he forgot which was the proper side to introduce himself to “boss” and was kicked to remind him of the breach of conventionalities. Later, when his pail was half full, he moved his one-legged stool and spilled the milk. John LeFeber, of Milwaukee, claimed fourth honors and clamored for a prize, although only three were offered. He said the cow selected for him did not know how to be milked.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 847 – The Elkins Opera House, 1913

In 1913, Thomas G. Moses wrote, “A small job for Elkins, W. Va. Brought back to mind the enjoyable sketching trips to that region in 1885, which I have written up in detail elsewhere.”

I have explored many of Moses’ sketching trips during the late 19^th century, including his 1885 journey to West Virginia with fellow scenic artists Henry C. Tryon and John H. Young, see past post 202-212 for the complete story. In regard to his 1913 project, Elkins is a city in Randolph County, West Virginia. The community was incorporated in 1890 and named in honor of Stephen Benton Elkins, a Senator from West Virginia. Elkins’ first opera house built during 1892 was destroyed by fire in 1897 and immediately replaced.

Online map of historic Elkins, with the opera house location being #4.

Description of the Wilt Building that once house the Elkins Opera House.

The second Elkins opera house was built in 1898 and renovated in 1908. That year the theater was expanded from a 550-seat house to an 800-seat house. The stage house was also increased at this time, adding a fly loft and expanding the depth of the stage. This four-story building situated at 303 Davis Avenue. It was ideally located, situated on the corner near the major hotel, Hotel Delmonte, city hall and railroad station. Julius Cahn’s Theatrical Guide for the 1910-1911 season listed that the seating capacity for the venue was 800 and the stage illuminated with electricity. The proscenium opening measured 21’-0” high by 30’-0” wide. The height to the gridiron was 41’-0” suggesting a fly loft. The depth of the stage was 28’-0.” Although there are no specifics about the exact scenes delivered by Sosman & Landis to Elkin in 1913, it was likely a replacement set due to the age of the venue, and/or a renovation. The Julius Cahn description in 1905 noted a proscenium that was only 24’-0” wide and 16’-0” high, not 30’-0” wide and 21’-0” high. Furthermore, the 1905 height from the stage to the rigging loft as 18’-0” and not the 41’-0” notes in 1911. In 1905, Cahn also noted, “grooves cannot be taken up flush with fly gallery.” The scenery for the first venue was likely wings and shutters or wings and roll drops. The depth of the stage also expanded in 1908, when it increased from 23’-0” to 28’-0.”

In regard to Moss’ 1885 sketching trip to the region and his meeting the namesake of the town, here is an excerpt from Moses’ account of the sketching trip:

“Early in the morning, before we reached Piedmont, I noticed a large and very distinguished-looking gentleman pass through our car several times. He seemed to be very interested in our traps, easels, sketching umbrellas and stools, which we had to carry. He inquired of the Pullman conductor who we were, and was informed that we were artists looking for some wild country to paint. He told the conductor to advise us to go up to Davis, on the West Maryland road, which he did. The gentleman was Stephen B. Elkins, U. S. Senator [namesake for Elkins]. His father-in-law was H. G. Davis, who lived at Deer Park, where they left the train. We were also instructed to see Mr. Harrison, Superintendent of the West Maryland road, in Piedmont, for transportation. This we did on Monday morning, and we furnished passes to Davis.

The train did not leave until 2:00 P. M. We were agreeably surprised to see Mr. Elkins, Mr. Davis and two boys get on the train, having come down from Deer Park on an early train. Mr. Elkins soon introduced himself and the other members of his party. They were not only interested in the road but in the vast coalmines all along the road. As we started to climb the mountains, the Blue Ridge, every half-mile revealed to us new beauties of this wonderful mountain country; here was indeed a virgin forest.

We arrived in Davis about five o’clock. The first thing we saw at the depot to remind us that we were in a wild country were six good-sized deer, dressed for shipment. They were piled on a truck and a number of eastern hunters, with dozens of deer-hounds, were strolling about, enjoying the wild life. The log hotel was certainly very picturesque and nicely situated on the banks of the Blackwater River, a branch of the Cheat River. It was pretty well filled, but Mr. Elkins requested the landlord to take good care of us, which he did.

While we were waiting for our dinner, and were all seated on the big porch, Tryon was seized with stomach cramps. Mr. Elkins noticed Tryon’s groaning and said, “Mr. Tryon, if you will go up to Room 3 you will find a black grip; open it and right on top you will find a cure for stomach trouble.” Tryon did this and came down feeling better, thanked Mr. Elkins, and within fifteen minutes had another cramp. Mr. Elkins said, “Go after it again, Tryon,” and he did. This time he must have taken a good long one, for it seemed to settle him.

We certainly did full justice to our dinner. We had plenty of fresh venison steak, thanks to our hunters, and after dinner we gathered in the big living room, or smoking-room as it was soon made by the dozen or more cigars and pipes. As the hunters were for the most part from New York, one can readily imagine the big yarns that were told, but we enjoyed them.

During the night a heavy thunder storm passed over us, and the wind through the big pine and hemlock trees, together with the constant baying of the hounds, made the night one of unpleasant dreams. Tryon and I had a double room. As he was very careless with his clothes – the floor was better than a chair – he stepped on his derby hat. A fine kind of hat to take on a sketching trip! Strips of paper glued to the inside of it put it in good working shape again. The storm soon cleared, the sun was warm, the howling hounds were fed, and the wild huntsmen were ready for another day of slaughter.

So were we. After a big breakfast Mr. Elkins, Mr. Davis, young Elkins, young Davis, Tryon and myself started out on an exploring trip. We tramped through the wet underbrush and found a great many places for good sketches. We returned for luncheon, then took our sketching outfits and Tryon and I started out for business. I found a big mass of rock that was very interesting. We were quite a puzzle to some of the natives, who could not understand why we had come all the way from Chicago to sketch rocks and trees. “Didn’t we have any of these anywhere near Chicago?” One trouble we experienced in the eastern mountains, especially in Virginia, Kentucky, Tennessee and the Carolinas, was the constant quizzing by the natives to find out whether we were really what we said we were, or revenue men looking for moonshine whiskey in the general stores.

A few days of sketching at Davis with some success rather encouraged us to remain longer. We each had an idea that something awaited us further down the valley, so we started for Schell. Mr. Elkins had left a day ahead of us, and we found that he had stopped at Schell, instructing the store-keeper, the proprietor of the only boarding-place, to take good care of him, and we appreciated the courtesy. Tryon had told Mr. Elkins that he was writing an article for the Chicago Tribune and that he would send him a copy; Mr. Elkins was much pleased.

The General Store at Schell was some store and included the post office. Back of that was the living-room and kitchen and there were three rooms upstairs. Tryon and I occupied one of these. John Young joined us here and entered into the spirit of the outing.

The evening of Young’s arrival we were all in the store. Young was stretched out on the counter, with his head resting in the scoop of the scales, and Tryon, with his immense meerschaum, was hitting it up like an engine. We missed the talkative huntsman, but everyone here was interested in us and our work because Mr. Elkins had told them who we were.

We had two beds in our room, but had to pass through a room occupied by the landlord’s son. If he happened to be awake when we retired, Tryon would always stop and talk with him. The landlord was an infidel, which pleased Tryon, for it gave him the opportunity to assist in tearing all of the religion of the world into shreds. In one way, Tryon did not believe all he said. I believe he only wanted a chance to argue.

The store loafers were a motley crowd. As there was a train arriving every evening at seven o’clock, it was an excuse for the men to for their mail, though some of them never received a letter. The landlord was also the postmaster. The government paid him a salary according to the number of canceled stamps that passed out of his office. Some salary! There were only about one hundred people living in Schell and these were mostly miners, so the post office probably did very little business.

The chief topic of conversation while it varied at times was ‘moonshine,’ and denouncing the government for keeping so many revenue men about. It was policy, of course, for us to enter the fight and stick with the men. We had felt, in spite of what Mr. Elkins had told them, that they had their suspicions regarding us; we had too much money for artists. Some of the mountain people did not know who was President of the United States, and others hardly knew that the Civil War was closed. A very shiftless and lazy crowd, although a few of them had good positions in the mines. This particular quality of coal mined here was used for sea-going vessels; it was very small and dusty.”

I am always amazed at the scope of the people who Moses encountered throughout the duration of his career. He was almost always in the right place at the right time. I have to wonder if Moses reconnected with any of the local citizens that he met there in 1885.

To be continued.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 844 – McVicker’s Vaudeville Theatre, 1913

In 1913, Thomas G. Moses wrote, “Started a lot of work for McVicker’s Theatre – that was in June. I did all the exterior drops.”

The venue had changed hands again, and Moses created a set of scenery for the new lessees of the new “McVicker’s Vaudeville Theatre.” The well-known Chicago establishment had just become a combination house. McVicker’s Theater, located on West Madison Street, near State, was once considered the oldest playhouse in Chicago.

From the “Chicago Tribune,” 27 Aug 1913, page 8.

On May 10, 1913, “The Lancaster Intelligencer” reported,

“OLD THEATRE IN FILM RANKS

Chicago’s Fire-Baptized McVickers Sold for $500,000.

McVicker’s Theatre, Chicago’s historic playhouse, which has passed through five fires, including the great fire of 1871, and which has been rebuilt or remodeled after each fire, passed from the ‘legitimate’ on Thursday when it was sold to a moving picture firm for $500,000.”

The Jones, Linick & Schaefer circuit began leasing McVicker’s Theatre in 1913, presenting “popularly priced” vaudeville acts along with motion pictures. The ticket prices were 10,15 and 25 cents, an affordable option when compared with legitimate theater and you could stay as long as you wanted from 1p.m. to 11p.m. (Post-Crescent, Appleton, Wisconsin, 9 May 1913, page 7).

From the “Inter Ocean,” 14 Sept 1913, page 32.

The firm’s partners were Aaron J. Jones, Adolph Linick and Peter J. Schaefer, They first established their firm in 1899, leasing Keebler & Co., a store on Clark Street just south of Madison Street, and establishing a penny arcade. As their operation grew, Jones, Linick & Schaefer became primarily interested in entertainment, running amusement parks and theaters. They eventually managed the Orpheum Theatre on State Street, opposite of the Palmer House (Chicago Tribune, 5 Jan. 1913). By 1913, the firm operated eight Chicago theaters.

On April 29, 1913, the “Chicago Tribune” announced, “All arrangements for the acquisition [of McVicker’s and the Colonial] have been made…The Jones, Linick & Schaefer people will open a vaudeville booking agency of their own on Thursday in offices in the Orpheum Theatre building in State street, in preparation for the increased business. They have been booking from the Western Vaudeville Managers’ association” (page 3).

From the “Chicago Tribune,” 1 Aug 1913, page 12.

On May 22, 1913, the “Washington Herald” reported, “Jones, Linick & Schaefer, Chicago’s new theatrical triumvirate, who practically dominate the popular vaudeville and moving picture field in the Windy City, have just signed a contract with the Kinemacolor Company of America to install the original nature-colored features of the vaudeville bills at the Colonial and McVicker’s Theatres, their latest acquisitions…Both are located in the heart of “The Loop,” and their cosmopolitan patronage demands the best and latest novelties. Kinemacolor scored such popular success at the Willard, Wilson, and other theaters of their circuit that Jones, Linick & Schaefer decided to make it a permanent feature of their vaudeville bills. In this they were following the example of F. F. Proctor, William Fix, Oswald Stoll, and other leading showmen of America and England” (page 11).

“Moving Picture World” published an article about Jones, Linick & Schaefer, commenting that moving pictures were replacing all other vaudeville at the Willard Theatre by 1914. The article, “Picture Programs Supplant Vaudeville in the Willard” noted, “Vaudeville has been withdrawn from another of the Jones, Linick & Schaefer houses – the Willard, at Fifty-first street and Calumet avenue. The Willard was closed Sunday night, Jan. 18 to make the necessary changes for straight picture programs. A $10,000 organ will be installed. It will be reopened Monday, Jan. 26. ‘There is no significance in this change, ‘said Mr. Linick. ‘Our patrons in that neighborhood prefer moving pictures to vaudeville, and we’re trying to give then what they want. The price will be ten cents, as against the ten-twenty-thirty we charged for vaudeville. Our downtown houses, the Orpheum, La Salle, Colonial and McVickers will go along just as they have been” (Sat. January 14, 1914, page 551).

Moses would also deliver scenery to the Colonial Theatre, also managed by Jones, Linick and Schaefer. In 1913, Moses wrote, “ “A good, big contract for the Colonial, city– a very complete set.” The addition of “city” means that it was a complete city setting for the theater, a perfect setting for many vaudeville acts.

To be continued…

Tales from a Scenic Artist and Scholar. Part 843 – Ambition and Hustle, 1913

In 1913, Thomas G. Moses wrote, “On the 20^th of May, I completed in less than eight hours, a dark wood drop, 24×40, without any help. That is something I never accomplished before – that much in that time. Sosman was pleased with it. I didn’t wait for anything to dry – worked in the wet.” We can get some sense of Moses’ woodland composition for the stage at the time. Many of his landscapes still hang in in Scottish Rite theaters across the country, including his 1912 setting for the Santa Fe Scottish Rite that Jo Whaley photographed for our book “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018).

Scenic art by Thomas G. Moses for the Santa Fe Scottish Rite Theatre, 1912. Photograph by Jo Whaley.

Moses was 57 years old in 1913, with almost four decades of experience as a scenic artist behind him. His specialty remained landscapes, particularly picturesque woodland scenes with babbling brooks or small waterfalls running through the composition. He was very good and very fast by this point in his career.

Moses’ reputation was built on his speed, a skill set that he remained proud of until his passing. He was certainly a workhorse and asset to any project, or studio. As a young scenic artist he wrote, “I was full of ambition and hustle. If I had been endowed with a like amount of ability I would have set the world on fire… The others were able to draw more, because they were better in the artistic end, but I had it over them when it came to speed.”

In the end, it was a scenic artist’s speed that turned a profit at any studio. It was speed that initially secured Moses a position Sosman & Landis, and speed that elevated him to the position as Sosman’s right-hand man. Moses’ innate drive resulted in the rapid production of painted settings at Sosman & Landis throughout his duration there, amassing large profits for the stakeholders. This is one of the reasons that Sosman pleaded with Moses to return to the studio in 1904 and supervise all design, painting, construction and installation from that point on; his drive would ensure success. Moses left his growing business in New York City (Moses & Hamilton) and returned to Sosman & Landis’ main studio in Chicago.

In the end, Moses expected all of his colleagues to work at his same rapid pace. I completely understand where he is coming from as I also expect that of my fellow artists too. Moses’ impatience with slower co-workers is very apparent throughout his memoirs. For example, in 1907, he commented on the speed of fellow scenic artist Ansel Cook who was the shop manager at Sosman & Landis’ annex studio on 19th street. Moses wrote, “We opened our annex studio at 19 W. 20th Street in July, and Ansel Cook went there as a manager…He did some very good work but was a long time doing it, which, of course, didn’t pay us.” Moses divided his time between Sosman & Landis’ main and annex studios that year and after one extended absence wrote, “Took charge of the 20^th Street Studio on my return weeks. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” In Moses’ eyes, anyone that didn’t “hustle” couldn’t pull his full weight at the studio.

I too have built a reputation based on quick turn around times and high productivity. Much has to do with my individual drive and incentive; the other reason is that I don’t like stopping for breaks or slowing down. I hate sitting still and frequently forgo breaks or meals maintain my pace and productivity. I often don’t want to stop until the end of the day. For me it is difficult to watch any co-worker puddle around or stop mid-way in a project to take a fifteen-minute break.

I have also noticed that one slow person can drop the overall productivity in any shop, reducing any group speed to match that of the slowest worker. So, I sympathize with Moses, sharing his views of those who did not “hustle.” Any supervisor of a shop looks for an excuse to drop the dead weight, which Moses touched upon in 1913 when commenting on a Union strike.

Moses wrote, “The Union called a strike because Sosman refused to sign a new scale of wages. I prevailed upon Sosman to sign as I disliked any labor trouble. It only results in being obliged to weed out some of the non-producers.” Weed out some non-producers. That says a lot and may have been Sosman’s main goal. Sosman was also known for his speed, as were most of the top scenic artists of the day. An artist working at a snail’s pace gouged the profit margin of any project.

Moses also touches upon an interesting perspective regarding union strikes; providing an opportunity for a company to “weed out the non-producers.” As the vice-president of the company and supervisor of all Sosman & Landis activities, Moses was on the front line, not Sosman. Regardless of Moses’ desire to make peace with the staff, Sosman still controlled the administrative end of the business and held a tight fist on wages. In 1913, Moses was in charge of all design, construction, painting and installation at the main studio and annex studio in Chicago, but not the wages.

If the strike ended poorly, Moses was the one who would have to continue supervising a group of disgruntled workers, realizing the potential problems if a significant number of the scenic artists were to leave “en masse.” Moses would have been left holding the bag and scrambling for their replacements, all the while understanding the deep-seeded sentiment of his fellow artists. He was really caught in the middle during 1913, and his fear of a group of journeymen artists leaving the studio would happen seven years later. In 1920, six scenic artists left the Sosman & Landis studio to form Service Studios. This would have caused more than a ripple in the shop, especially is a large project was in the studio at the time. The former Sosman & Landis employees even marketed black and white photographs depicting Sosman & Landis designs as their own, carefully compiled in sales books. This is really the beginning of the end for Sosman & Landis. The shift in demand for painted scenery, the rise of the modern designer, the pressure of the union, and the desires of stock holders are just a few factors that are all at odds during this time. Sure, business will keep pouring in, but the challenges will continue to gain ground and suddenly seem insurmountable after Sosman’s death in 1915.

To be continued…

Tales from a Scenic Artist and Scholar. Part 842 – “The Bulgarian Romance,” 1913

In 1913, Thomas G. Moses wrote, “We had a road show called ‘The Bulgarian Romance.’ Rather a good opportunity for effects.”

The play was reported to be a version of the first act of “The Balkan Princess.” Both “The Balkan Princess” and “The Bulgarian Romance” starred the same leading lady, Julia Gifford, a vaudeville actress who later married Bob Fitzsimmons. The “Edmonton Journal” reported, “The one-act musical comedy was written especially for the ex-champion’s wife [Mrs. Bob Fitzsimmons], and after rehearsing in Chicago the company started for Edmonton, which is the first on the circuit” (Edmonton, Alberta, Canada, 19 May 1913, page 2).

Advertisement for “A Bulgarian Romance,” in “The Vancouver Sun,” 28 July 1913, page 8

Fitzsimmons was formerly known to vaudeville and musical comedy fame as Julia May Gifford. The show was described as “Light, airy and witty, with well defined plot, with characters attired in the gay gowns of the ‘Near East’ and with graceful nymphs of dancing girls and well trained mail chorus…Pleasing and wholesome with plenty of adventure and fun, and with music of exquisite sweetness throughout, this operetta easily leads anything which has appeared at this popular theatre since it opened to the Eugene [Oregon] public” (The Eugene Guard, 14 July 1913, page 6).

The show ran approximately 50 minutes in lengths and was billed with other vaudeville acts. In Salt Lake City, acts that accompanied “The Bulgarian Romance,” included the Velde Trio and their trained dogs, Leonard and Drake, Lopez and Lopez, Edith Haney and company, and Courtney and Jeanette” (The Salt Lake Tribune, 21 Sept 1913, page 46).

“The Eugene Guard” described the play on 14 July 1913:

“The plot tells of a defiant prince, who reuses to yield to the invitation of a match making king, who wants the prince to meet and love his daughter. The princess appears incog. at a music hall, which the prince frequents, and wins his heart. When he makes love to her and is really smitten, she divulges her identity, and having in the meantime fallen in love with him herself, she accepts both his apology and proposal of marriage and the result that they ‘live happily ever after’” (page 6).

The show toured with a company of “fourteen splendid singing and dancing girls” “The San Francisco Examiner, 21 July 1913, page 5). The leading man was N. E. Dano, who “first won his laurels in Vienna and they showed with even brighter luster under the critical glare of the footlights of Paris, where critics bestowed unstinted praise” (The Eugene Guard, 14 July 1913, page 6).

Advertisement for “A Bulgarian Romance” with Sosman & Landis scenery in the background, from the “Eugene Guard,” Eugene, Oregon, 14 July 1913, page 6

Of scenery produced by Sosman & Landis, newspaper articles reported, “The stage setting is elaborate, artistic and beautiful” (The Eugene Guard, 14 July 1913, page 6). When the show toured Minnesota, the Bemidji “Pioneer” reported, “There is one great scene, that of a Bulgarian café and during the action of the beautiful musical skit there are six sweet musical numbers…there is a world of beautiful lighting, especially a stone bridge, which is lighted from the rear” (1 May 1913, page 3).

The mention of lighting is a marked departure from many newspapers reviews prior to this time. Lighting for any effect was seldom described in any detail. Once the scenic artist was recognized alongside the leading performer. By 1913 stage critiques take a new direction, emphasizing other technical aspects of the show.

To be continued…

Tales from a Scenic Artist and Scholar. Part 841 – Detroit Again, 1913

I transfer planes in Detroit today on my way to teach at Cobalt Studios in White Lake, New York. It seems an appropriate time to include this particular post about Thomas G. Moses before taking a week off from writing. I will return to the life and times of Thomas G. Moses on Monday, November 10, 2019.

In 1913, Thomas G. Moses wrote, “Detroit again. New contract with Temple Theatre Company.” Sosman & Landis first delivered scenery to Detroit’s Temple theatre in 1908. The Elks Temple and Temple Theatre originally opened on Dec. 23, 190, and was next door to the Detroit opera house. Located on the north side of Monroe Street in the Campus Martius area, the building boasted a 1500-seat theater designed by Col. J.M. Wood. The Temple Theatre originally hosted the Wonderland Theatre Company and curiosity museum of oddities before the 1908 renovation. Sosman & Landis painted a drop curtain as part of an extensive renovation.

In 1908, the Temple Theatre closed for three weeks during July to complete the renovation of the theater space. On July 2, 1908, the “Detroit Free Press” reported, “Sosman & Landis, the scene painters of Chicago, are in consultation with the William Wright artists carry out in the new drop curtain, to cost $1,000.” The same newspaper further described the new drop curtain on July 26, 1908: “Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense” (page 7).

In 1909 and 1910, Sosman & Landis again completed a large scenery projects for Detroit’s Temple Theatre, as the venue hosted touring productions. Much of the firm’s success was based on repeat customers, the return of satisfied customers who ordered additional scenery over the years. Sosman & Landis Scene Painting Studio was a well-known entity by the first decade of the twentieth century. The fact that the Temple Theatre ordered more scenery in 1913 is not a surprise, especially with Sosman & Landis’ continued work in the city at various venues.

From the very beginning of Moses’ scenic art career, he had completed many projects in Detroit. Later in 1913, Moses reminisced, “I made a business trip to Detroit and Cleveland in July. I left Detroit for Cleveland by the night boat. As I sat on the upper forward deck enjoying a good cigar, my thoughts ran back to 1875, when I was in Detroit broke with no place to go, nothing to do. I sat down on the dock, just below where I was now sitting and wondered if I would be missed and forgiven for falling off the dock. I was either too much of a coward or had a sudden change of heart, for I went on the road very soon afterwards as a ‘butcher’ another name for candy or newsboy on the railroad. A young man was sitting near me and to open the conversation for the evening, I told him the above. He was very much interested, and I found that he knew some of my Oak Park friends, so we put in a very pleasant evening as we sailed or steamed towards Cleveland.”

Our minds often wander back to trying times, whether past events, places or friends. Past obstacles that seemed unbearable became our defining moments. Challenges can provide an opportunity for growth. In 1875, Moses made a choice; he refused to give up and end it all on the docks of Detroit. Thirty-eight years later, he recognized that moment as a defining one in his life.

When I read this passage as a young college student, it shaped my perspective for many future trials. I was nineteen years old and constantly working in between classes. Reading of Moses’ continued struggles made any of my own problems pale in comparison. Although there was that brief period where I lived out of my car and solely ate ramen noodles, I could always return home if I really needed help. Moses could not, yet persevered anyway. I also recognize that some people cannot overcome some obstacles, regardless of a support network.

I made a conscious choice to succeed, regardless of what life threw at me. For me success was never defined by acquiring a large fortune or living in a fancy house, but how I could make myself better and how I could clear the path for those who came after me. That is one of the reasons that I post so many pictures of historic scenes every day, for my fellow scenic artists who may have never been exposed to this history. I hope that this small and consistent gesture will help my colleagues.

To be continued…