Thomas G. Moses – Page 34

Tales from a Scenic Artist and Scholar. Part 628 – The San Francisco Scottish Rite, 1909

Part 628: The San Francisco Scottish Rite, 1909

In 1909, Thomas G. Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” These were only three of six Scottish Rite installations supervised by Moses in 1909 while he was working at Sosman & Landis. Others included Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia.

The San Francisco Scottish Rite built in 1909. It is now called the Regency.

The first San Francisco Scottish Rite outfitted with scenery by Sosman & Landis was destroyed during the fire after the San Francisco earthquake. The original 1906 collection was contracted with M. C. Lilley & Co., and subsequently subcontracted to the Sosman & Landis scenic studio. In 1906, the western sales representative for M. C. Lilley & Co., Bestor G. Brown, was in town attending a meeting at the San Francisco Masonic Temple when the earthquake struck. During the first tremors early in the morning of April 18, 1906, Brown was sleeping at the Union League Club. The San Francisco earthquake triggered several fires that burned the city for the next two days. Brown’s eyewitness account of his experience was first published in the “Topeka Daily Capital” (April 25, 1906, page 7).

The article reported, ““The Grand Chapter of Masons met in the forenoon at the Masonic temple and were holding their meeting when the military came in and said it was time to move as they were going to dynamite the Palace hotel.” Brown elaborated, “I went out to the street and saw the fire creeping up from two sides. I saw it creep up to the back door off the meat market on Market Street and the minute it touched the rear of the building it seemed to sweep through and bulge out into the street in front. About the time I took to the woods, I started for the waterfront and got there in about an hour and a half.”

Cornerstone laying ceremony took place after the building was constructed, on October 12, 1909. From “The San Francisco Call,” Oct. 13, 1909

The cornerstone for the second San Francisco Scottish Rite Temple was laid on October 12, 1909, by the Grand Master of California, Oscar Lawler. The “San Francisco Call,” reported “Cornerstone of Scottish Rite Cathedral Lowered Into Place Before Big Throng.” The trowel was a “handsome beaten silver blade of which the insignia f the order was an appropriate inscription” and presented to Grand Master Lawler by W. P. Filmer in behalf of the Scottish Rite Temple Association. Lawler was retiring and being succeeded by W. Frank Pierce. Remember that Pierce was also the Inspector General of California and the Grand Grand Chancellor of the Scottish Rite instrumental in advocating for the new House of the Temple. As part of the Finanace Committee, Pierce introduced the 1904 resolution that paid each SGIG and Deputy $2 per each incoming 32^nd degree Mason for each respective jurisdiction

The “San Francisco Call” article continued, “The dedication of the building itself was as a house erected to God, and destined to stand as a symbol of truth, intelligence, honesty and integrity in the pursuit of the highest ideals of mankind.” The time capsule placed under the cornerstone included a roster of the members of the San Francisco bodies of the Ancient and Accepted Scottish Rite of Freemasonry, a copy of the Trestle Board for October, 1909, the bulletin of the San Francisco lodges of perfection for August and September, 1909, the latest bulletins of the chapter, council, and consistory, the bulletin of the reception to Sovereign Grand Commander James Daniel Richardson, the notice of laying of the cornerstone, samples of the stationary used by the San Francisco bodies of Scottish Rite, the San Francisco morning daily papers of yesterday, the proceedings of the grand lodge of California for 1908, coins minted in 1909, a copy of the New Age for September of this year and business cards of the architects and contractors in charge of the construction of the building.”

Located on the northeast corner of Sutter Street and Van Ness avenue, the block was cemented in the foundation wall of the new building. The final cost of this four-story building was $330,000 and was home to the San Francisco Bodies No. 1, Ancient and Accepted Scottish Rite. As part of the ceremonies on October 12, 1909, the “San Francisco Call” noted that “many members of the grand body attended a meeting in King Solomon’s Hall, where Berkeley lodge exemplified the work in the apprentice, or first degree.”

The stage was outfitted with scenery by Sosman & Landis, and Moses supervised the production of the backdrops for the West Coat. These drops area still used on the same stage, but the building is now known as the Regency Center. It is no longer owned by the Fraternity and odd to see the Masonic settings as thematic backings for a variety of public events, including cabaret shows. The current stewards of the building now advertise the edifice as a unique venue with three separate event spaces. The Scottish Rite theater is now marketed as “The Lodge.” Generations of San Franciscans have now performed on the stage, worked the fly lines, or applauded from the audience, all marveling at the painting from years ago. Moses’ scenery, especially his forest scene, continues to thrill both spectators and performers.

Landscape scene by Thomas G. Moses (1856-1909) in the 1909 Scottish Rite building, now called the Regency

The Lodge of the Regency, once the 1909 San Francisco Scottish Rite

Scenery at the 1909 Scottish Rite building used for a cabaret show

In 1964 the San Francisco Scottish Rite moved to new building, new scenery constructed by the Western Scenic Studio, of Oakland, California. The backdrops were designed and painted by member Gus R. Schneider, an MGM artist. The third Scottish Rite constructed for the San Francisco Bodies is a sign of the times when it was built. I have included some images that from their Facebook page that give a sense of the degree work now being performed in the space with Schneider’s scenery.

Scenery at the San Francisco Scottish Rite

Scenery at the current San Francisco Scottish Rite

To be continued…

Tales from a Scenic Artist and Scholar. Part 627 – The Dallas Scottish Rite, 1909

Part 627: The Dallas Scottish Rite, 1909

Postcard of the Scottish Rite Cathedral in Dallas, Texas, completed in 1913.

Sosman & Landis delivered 119 drops and stage machinery to the Scottish Rite at 500 S Harwood Street, Dallas. This Temple was not completed until 1913, however, degree productions took place on the stage by 1909. The scenery contract for the stage was negotiated by Bestor G. Brown of M. C. Lilley & Co.

On April 26, 1913, the “Dallas Morning News” described the Masonic Cathedral and Architect Herbert M. Green’s contributions. Keep in mind that the theater of the building was referred to as “the great degree room.”

The article reported, “On the second floor one will find the lobby, which is in Roman Ionic; the Corinthian lodge room is green and gold: candidates lounging room, modified Colonial with color scheme of brown and blue and smoking foyer in the same effect. In the great degree room are columns copied from those in the Temple of Karnak at Thebes. Over sixty shades of color are used harmoniously in the ornamental beams and columns supporting the ceiling of sky blue – a ceiling whereon the stars of the twelve signs of the Zodiac are so cunningly constructed, and with such ingenious electrical attachments that when the great hall is in total darkness, the constellations seem to blaze in all reality from the very heavens above.

The largest stage in Texas is in this degree room – and the largest pipe organ. There are offices restrooms, wardrobe rooms, bowling alley, grill and kitchen – heating, ventilating and lighting systems which are unsurpassed, push button elevator and house telephone system – In short every device by which modern ingenuity can add to beauty and comfort and convenience.”

The article further described that the theater, “a proscenium arch 28×22 feet is the largest stage in Texas, 24 feet deep and 60 feet in width. One hundred and nineteen scenic drops are so delicately counterweighted that the stage picture can be changed in two seconds, and if necessary in the dark. These drops are hung over the entire ceiling of the stage, being spaced three inches apart from the proscenium arch to the rear wall of the stage. Each degree has its own scenery, some degrees three and four scenes, all forming an extensive and complete equipment that it is possible to produce more different scenes than on any stage in the country. Fifteen hundred white, blue, red and amber lights, controlled from a switchboard seven feet high and twelve feet long are required to light the stage properly. These are subdued and softened as necessary by bank after bank of dimmers arranged by interlocking devices to control the degree of light at any one point of en masse. The dawn of day, a nightfall or a moonlight effect can be reproduced with marvelous fidelity…To the rear of the stage are property rooms, etc. and on the third floor a large wardrobe room, with cases for the various costumes.”

The 1913 article concluded, “”The complete cost of the building has not been, as yet, made public but it is expected to be close to $230,000. Other items not included in the building cost are:
Organ $23,000.00
Stage Scenery $28,000.00
Furnishings $21,000.00
Ground $34,000.00
Making an estimated cost of the complete equipment of about $350,000.”

The article ended here.

Today’s monetary equivalent of $28,000 spent in 1909 for a Scottish Rite scenery collection is $773,024.62. Dallas was only one of six Scottish Rite collection supervised by Thomas G. Moses that year. The others were in San Francisco, CA, Cleveland, OH, Kansas City, KS, Winona, MN, and Atlanta, GA. Keep in mind that Masonic work only made up 25 -30% of all work at the Sosman & Landis studios. The firm, like the Scottish Rite, was accumulating a massive amount of money at this point.

In a letter from Brown to William G. Bell at the Austin Scottish Rite, dated July 7, 1912, Brown provided further information pertaining to the Dallas Scottish Rite stage. This correspondence was to help Austin Scottish Rite bodies understand the design and delivery process; Sosman & Landis could not provide estimates or cost and installation without knowing how much scenery was needed and the structural condition of the building. Brown used the Dallas Scottish Rite as an example, writing, “the Dallas stage has in the neighborhood of 25,000 lineal feet of wire and rope in its installation; the quantity of wire and rope necessary, is determined by the heighth of the gridiron, the location of the fly gallery, and the general dimension of the stage. We would also have to look into the question of freight charges and be advised as to what prices we could obtain common gray iron castings in Austin for use as counterweights. We would have to determine on the correct number of drops to be used, because each drop requires eight pulleys besides counterweight frames and eye bolts.” These costs all needed to be estimated prior to providing a number, yet the Austin Scottish Rite kept asking, “but how much will it cost?”

Brown continued, “In our original correspondence, Mr. Green of Dallas, indicated that he was preparing plans for remodeling an old building [in Austin] and that when these plans were determined upon, he would send us the dimensions of the stage. Mr. Green understands what would be wanted, as he had the experience on the Dallas Temple.” Again, Brown was referring to Herbert M. Green, the architect and a member of the Scottish Rite and the Ancient Arabic Order of the Nobles of the Mystic Shrine.

To be continued…

Tales from a Scenic Artist and Scholar. Part 621 – Meanwhile in Lawrence, Kansas

Part 621: Meanwhile in Lawrence, Kansas

In 1909, the Topeka Scottish Rite membership was soaring and the scenery provided by Sosman & Landis to the Valley in 1906 was still an unprecedented success. Meanwhile in Lawrence, Kansas, there were new plans a brewin’…

“The Lawrence Daily World” included the article “Scottish Rite Temple Here” (29 April 1909, page 1). The first four lines printed in bold included:

Plans Are Underway for a $20,000 Building

AN OLD MUSIC HALL CORNER

Secured Option on Property Today for $10,500.

Will Probably Erect New Building This Coming Summer – To Help Masonry Here.”

There you have it; big beautiful buildings incited men to join the Ancient and Accepted Scottish Rite of Freemasonry. The bigger, the better. Impressive edifices signaled a successful group of men doing exciting things.

Little did Lawrence Masons realize that their vision for the future would never last. Could they have even conceived that by the summer of 2018, the Lawrence Scottish Rite Bodies would move once again from a space in a shopping mall to a nondescript metal warehouse.

Home of the Scottish Rite in 1911. Lawrence, Kansas.

Home of the Scottish Rite in 2018. Lawrence, Kansas.

As we drove through Lawrence on our way home last summer, I desperately tried to find the current Scottish Rite location; we were making stops along the way from Santa Fe to Minneapolis. After making several circles around a shopping mall parking lot, we finally found the new building a few blocks over, and my expectations were crushed. I have never encountered any building with less character and I could not help think of the irony when reflecting on the degree work that heralded King Solomon’s Temple and the chief architect Hiram. I could hear the arguments to move to a smaller, and less-expensive location, citing declining membership and increasing building expenses. I am sure not all jumped on board as the Scottish Rite Masons left their magnificent home.

So lets go back to 1909 and see how these beautiful buildings ushered in a wave of membership and newspapers reported that new buildings were being constructed to “Help Masonry”

The Lawrence Daily World” reported,

“A committee of five from the Ancient and Accepted Scottish Rite lodge of Perfection visited J. B. Watkins this morning and secured an option for the old Methodist church at the corner of Berkely and Massachusetts street, for $4500 less than what Mr. Watkins figured was a reasonable interest on his investment.” Today’s monetary equivalent of $4500 in 1909 is $124,173.79. That is a lot of money to give up for a good cause, even if you are a Mason.

The article continues, “Mr. Watkins made this special price of $10,500 because he said he considered the property as sacred ground, and favored a Scottish Rite temple being built on the site.

This encouragement and the words of Governor Stubbs in Topeka yesterday, that the Scottish Rite body of Lawrence ought to have a temple, together with the enthusiasm of the fifty members present at the meeting last night, and the recent words of Grand Inspector General Thomas W. Harrison, of Topeka, encouraging the Scottish Rite bodies to press forward enthusiastically and increase their membership and build a building if they ever expected to have a consistory here, all seemed to make this an opportune time to seize this opportunity and start immediately effecting plans for the building, and raising the money from the members by subscription to stock to build a temple that would easily accommodate and enrolled membership of a thousand.

A Lawrence consistory of 32^nd degree, Ancient and Accepted Scottish Rite Masons would have jurisdiction over the state of Kansas, except those countries in which there were already established consistories – like Topeka, Wichita, etc. Also it would have the added advantage of securing new members from among the student Masons attending K. S. U., besides the 500 Blue Lodge Masons in Lawrence, and all Blue Lodge Masons in adjoining towns, the insuring continued and rapid growth and assured success to the enterprise.

The plans are estimated to require an expenditure, all told, or some $20,000, and figured on a strictly business basis of income from the building, and increase in the membership to create a sinking fund expected to clean up its indebtedness in from five to seven years, as that has been the history of the success of every Scottish Rite body that has taken an aggressive stand and started to build a temple, as can readily be proven by the records of the many temples in Kansas.

It is eminently fitting that the Lawrence bodies should have a template of their own, as it was the first Scottish Rite organization in Kansas, and has installed the bodies of the Topeka, Fort Scott, and most of the other prominent lodges in the state.

This is also a good thing for Lawrence, and the Masonic bodies in general, as it is aiding to cement them all the more closely together, and is evidence of the rapid march of Lawrence to the front as one of the wide awake towns in the state.” The Ancient and Accepted Scottish Rite Cathedral Committee of Lawrence Kansas, was listed as J. H. Cohn, C. W. Murphy, F. P. Smith, T. J. Edmonds, and Frederick Crowe.

In 2003, the “Lawrence Journal-World” included the article “Landmark sheds its wraps; Masons seek temple buyer” (14 May 2003). The executive secretary of the Scottish Rite commented that the Scottish Rite in Lawrence, Kansas, was “Faced with aging membership and ever-increasing costs.” Lawrence-area Freemasons decided to sell the majestic Scottish Rite Temple.

Executive Secretary of the Lawrence Scottish Rite in an article that reported the intended sale of the Masonic Temple. He is pictured in front of a Sosman & Landis backdrop. At the time, area Mason believed that nearby college students created the scenes.

The Scottish Rite auditorium pictured in 2003.

The asking price for the 1911 Egyptian-Revival style building was $775,000. At the time, the stage included 55 backdrops. It was another collection that Thomas G. Moses recorded being responsible for at Sosman & Landis. The fate of the scenery is currently unknown.

Sosman & Landis backdrop created for the Lawrence Scottish Rite, 1910.

To be continued…

Tales from a Scenic Artist and Scholar. Part 620 – 1909 Masonic Work – Topeka

Part 620: 1909 Masonic Work – Topeka

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” He also commented, “I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas; Winona, Minnesota; and Atlanta, Georgia. From 1906-1907, he had already supervised scenery for Scottish Rite theaters in Detroit, Michigan; Topeka, Kansas; Fort Wayne, Indiana; Salt Lake City, Utah; Wheeling, West Virginia; Dubuque, Iowa; Danville, VA; Wichita, Kansas; and Clarksburg, West Virginia. By 1909, Moses’s resume recorded that he had supervised the creation of eighteen Scottish Rite scenery installations.

Masonic work now made up between 25% and 30% of all projects in the Sosman & Landis studio. The Scottish Rite was growing extremely fast. Newspaper articles even detailed the necessary qualifications for Scottish Rite membership: “An applicant for the degrees of the Ancient and Accepted Scottish Rite must be an affiliated Master Mason of good standing and a resident of the state of Kansas” (Topeka State Journal, 19 March 1909, page 1).

During 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.” The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5). Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka.

Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. In many ways, membership growth and the construction of Scottish Rite theaters across the country became quite a competition. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity. Spring and Fall Scottish Rite Reunions were big news in many areas. I have heard so many people say, “My grandfather was a Scottish Rite Mason, but he never spoke of it and we had no idea what he did.” I believe that communities from the first decade of the twentieth century had a pretty good idea of what happened during Scottish Rite Reunions. Schedules were published, candidates were listed by name, and impressive images of Scottish Rite building interiors dominated newspapers around Reunions time. Sure, not ever detail was provided, but one was able to gather quite a bit of information pertaining to the various events and banquets held throughout the Reunion.

The “Topeka State Journal” described the four-day Fall Reunion from November 8-11, 1909, in great detail. It was the thirty-third semi-annual gathering and included a Scottish Rite Class of 100 candidates (30 Oct. 1909, page 6). Images included with the article, pictured two stage settings for the Peristyle Scene (3^rd Apartment of the 18^th Degree) and the Egyptian Scene (31^st degree Hall of Justice).

“Topeka State Journal,” 30 Oct. 1909, page 6

Slide taken by Professor Emeritus Larry Hill of the Peristyle cut drop in Topeka, Kansas. A different backdrop was paired with it for this picture.

The fact that they pictured two stage settings used during degree work is mind boggling to me. This was a “look at the cool stuff we do” moment for area Masons.” I am including a few paragraphs about the Topeka Reunion as it really provides some historical context for the Fraternity using media to entice new members across the country. One just had to read the paper to understand the extent of activities happening at the Scottish Rite in many cities at this time. Here is a small section of the article from the Topeka State Journal:

“The Rite of Freemasonry called by the French writers the ‘Ancient and Accepted Scottish Rite,’ which title is now generally adopted as the correct one, although one of the youngest of the Masonic Rites, having been established not earlier that the year 1801 is today one of the most popular and extensively diffused. Supreme councils and governing bodies are to be found in almost every country of the world and in many of them it is the only Masonic obedience.

Outline of Work.

In speaking of the new features among the detail program of the reunion this fall, William M. Shaver, director of the work said: ‘With a view to placing candidates who reside outside of Topeka on the same basis with those who reside in Topeka, as nearly as may be, as to the cost of obtaining the Scottish Rite Degrees, the Topeka bodies have adopted a new rule which will go in to effect with this coming fall reunion. The rule is this: Non-residents of Shawnee county, who take the entire series of degrees form the 4 degree to the 32 degree inclusive at the same reunion, will have refunded to them their actual railroad expense from their home to Topeka and return…The bodies will continue to bear the hotel expense of candidates as has been the custom on the past.”

Topeka was trying many new things to increase membership. Earlier that year, “The Topeka Daily Capital” reported, “The Topeka bodies of the Scottish Rite began their evening class work in the Lodge of Perfection degrees at the Masonic temple on Friday evening. This evening work is designed for the accommodation of Topeka Masons who thus avoid the loss of time in business hours necessarily attendant upon regular reunion work and the plan is increasing in favor. About one hundred and twenty-five members and visitors sat down to a 6 o’clock supper in the new banquet hall and this number was largely increased as others dropped in later in the evening to see the work. A number if sojourning legislators and politicians were among the visitors” (25 Jan. 1909, Page 8).

The Topeka Scottish Rite figured something out in 1909, they had to invest in their members and understand their outside obligations that may prohibit men from joining. They took this into account, and made it possible for many more men to join.

To be continued…

Tales from a Scenic Artist and Scholar. Part 602 – Chicago Athletic Club, 1908

Part 602: Chicago Athletic Club, 1908

Happy New Year!

In 1908 Thomas G. Moses wrote, “Chicago Athletic Club. We fitted up a complete stage to be ‘Struck’ within an hour. I have been obliged to stay at the Annex, an awful place to heat.”

Postcard of the Chicago Athletic Club, 1908

To decipher his statement, the main studio for Sosman & Landis was located on Clinton Street. In 1892, the Sosman and Landis Company opened a second studio space on the West Side of Chicago, renting the “old Waverly theatre” and referring to the second space as “the Annex.” According to Thomas G. Moses, the first annex studio had four paint frames with plenty of floor space for all kinds of work. This space was specifically secured for Moses and his crew to accept additional work for the Columbian Exposition. Moses’ arrangement with Sosman & Landis was to receive all of their sub-contracted work.

Another annex studio was secured in 1907 for Moses and his crew at Sosman & Landis to accommodate the increase in special projects and Masonic work. Moses wrote, “We opened our annex studio at 19 W. 20^th 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.”

The stage and scenery for the Chicago Athletic Club was produced at the second annex studio on 20^th Street. In this studio, Moses also wrote that they completed “a good sized job for Wichita, Kansas” during 1908.

Chicago clubs, including the Chicago Athletic Club

In regard to the actual Chicago Athletic Club project, I have uncovered very little information about any theatrical event mentioned by Moses. I located one advertisement in the Chicago Tribune for an amateur actor “tryout,” however, where participants could make their first appearance on stage at the Chicago Athletic Club in 1908.

Here is the 1908 Chicago Athletic Club advertisement for amateur actors:

“Amateur actors wishing to make their first appearance on stage will be given a tryout at the Chicago Athletic Club next Saturday evening April 11 at 8:30; a representative committee of Chicago and New York managers will be present. Prize money will be given to those making the biggest hit. Apply today between 3 and 4 p.m., to the stage door of Auditorium theater” (Chicago Tribune, 10 April 1908, page 21).

What I find most interesting about Moses’ entry, however, is his use of the term “Struck,” typed in quotes. Moses seldom used quotes in his writing, unless he was referring to something new or an unfamiliar term. He typed this sentence in 1931 when he assembled his “My Diary,” based on his annual handwritten diaries started in 1873. So by 1931, he still treated the term “struck” as something unfamiliar. He did not create his diary for the general public, but his family and colleagues, writing in 1922 “I trust my diary will be of some interest to my relatives and brother scenic artists.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 601 – “Custer’s Last Rally” at Ravinia Park

Part 601: “Custer’s Last Rally” at Ravinia Park

In 1908, Thomas G. Moses wrote, “I closed a contract for ‘Custer’s Last Rally’ at Ravinia Park for $3,150.00. It was a big show.”

Ravinia Park opened in 1904 on land purchased by A.C. Frost. It was intended to be a year round amusement park, complete with a pavilion, theater, spectator stadium, casino, skating rink, slide and a small hotel.

Although he referred to “Custer’s Last Rally,” he likely meant “Custer’s last stand fight spectacle” that was included in the 108Ravinia Park production – “The Battle of Little Big Horn.” Moses’ show was possibly held in the spectator stadium as a large outdoor spectacle.

The “Chicago Tribune” reported, “The ‘Battle on Little Big Horn’ – the Custer’s last stand fight spectacle – is drawing better than ever” (Chicago Tribune, 28 June 1908, page 64). The newspaper also noted that the three-act spectacle had considerably changed and was “a great deal improved.”

Postcard of Ravinia Park entrance, circa 1908. Published by The Rotograph Co. in Germany. Highland Park Historical Society

Ravinia park reopened during June of 1908 after the park shifted management. Early in 1908, an interesting article appeared in the “Chicago Tribune” – “Ravinia Park to Continue as an Amusement Resort. North Shore Pleasure Ground Will Be Operated Under a Lease, with Its Customary Features.”

The article reported, “Speculation as to the effects of the tangle of the affairs of the Chicago and Milwaukee electric road upon the management of Ravinia park was ended yesterday by an announcement that the park will be operated next summer under a lease.

Ravinia Park main entrance with theater in background

President A. C. Frost built the park, as an adjunct to the trolley line, at an expense of $300,000. It never has been a profitable enterprise, for no outlay has been spared in giving the north shore suburbs the highest class entertainment procurable, chief among which have been the concerts of the Thomas and Damrosch orchestras.

It is expected that they extensions of the Northwestern elevated railroad of the Evanston terminal of the Milwaukee electric next summer will increase the number of park patrons to an extent that will make a continuation of this program possible.

Bion J. Arnold’s report of the expense of completing the Frost road into Milwaukee will be submitted today to the receivers. It will verify the estimates of the engineers of the road that about $600,000 is needed for the work” (Chicago Tribune, 18 Feb, 1908, page 7).

The park lease receiver was George M. Seward. Seward announced that the park would reopen June 20, 1908. The park was open by June 5. Admission to the park was set at twenty-five cents, with reserved seats in favorable locations costing an additional fifty cents to a dollar. On May 1, 1908, the “Inter Ocean” announced that park tickets would be available for sale in books of forty for $10.00. The hope was that 2000 books would sell in the first few days, helping the financial situation of the park (Inter Ocean, 1 May 1908, page 9).

Unfortunately, by 1910 the railroad failed and the property went into receivership. It was a group of North Shore residents who believed in the potential of Ravinia Park, purchasing the park and founding the Ravinia Company. The Company was under the leadership of philanthropist Louis Eckstein, who served as impresario for 20 years.

Ad for Ravinia Park from the Chicago Tribune, 21 Aug 1908, pg4

The park reopened in 1911, featuring classical music in the summer. Opera was added in 1912 and Ravinia soon gained the reputation as “America’s summer opera capital.” The park only went silent for five years during the great depression, but reopened by 1936. Today, Ravinia is internationally known for its music festivals. Here is the link to Ravinia Park: https://www.ravinia.org/Page/AboutUs

To be continued…

Tales from a Scenic Artist and Scholar. Part 598: – “Polly of the Circus”

Part 598: “Polly of the Circus”

In 1908, Thomas G. Moses wrote, “I started ‘Polly of the Circus’ for Fred Thompson. When completed I went to Troy, New York, to put it on. Everything was good. “

The “Washington Times” reported, “Frederick Thompson, who has recently branched out as a producer of plays and who is to present for the first time on any stage, ‘Polly of the Circus,’ at the National, December 9, was the manager of the Pan-American Exposition at Buffalo. Mr. Thompson also founded and constructed the famous Luna Park, Coney Island, the most gigantic outdoor amusement place in America. He is thirty-two years of age” (Washington, D.C., 1 Dec. 1907, page 36).

Moses first mentions working for Thompson in 1901. That year, he wrote, “We had the contract for the ‘Trip to the Moon,’ a big amusement park novelty owned by Thompson and Dundy.” In 1902, Moses completed another project for Thompson, creating the attraction “20,000 Leagues Under the Sea” his new amusement Park on Coney Island – Luna Park. Moses and his partner Will F. Hamilton were involved in both painting the scenery and engineering some of the scenic effects for this wildly popular ride.

By 1908, Thompson still sought out Moses to manufacture his theatrical vision for “Polly of the Circus.” Moses would have been a natural choice, especially in light of his recent work for Ringling Brothers’ circus spectacles. The scenic requirements for the production ranged from a Midwestern parson’s home to spectacular acts under the big top. On June 26, 1907, the “New York Times” reported, “Mabel Taliaferro, who is to appear next season in the leading role in “Polly of the Circus,” left yesterday for Albany with her husband, Frederick Thompson. The object of her trip is to get the proper ‘atmosphere’ for her part in the circus play. She will be the guest of John Ringling of the Ringling Brothers’ Circus” (page 7).

“Polly of the Circus” was written by Margaret Mayo as a novel. Transformed into a in three act play with two tableaux for the stage, the “Sandusky Star-Journal” reported, “The play is a strange but pleasing conglomeration of humor, pathos and melodrama, and spectacular stage business. It runs strongly to the pathetic, but the vein of humor is prominent enough to overshadow the tearful effects” (Sandusky, Ohio, 28, 1907, page 8).

“Polly of the Circus” tells the story of trapeze artist Polly Fisher who is hurt while performing her act, falling fifty fett. Taken to the house of nearby minister, John Hartley, The doctor advises against moving her, and as she recuperates, Polly and the minister fall in love and secretly marry. However, when their marriage is discovered, John’s congregation rebels at having a circus woman as their minister’s wife, and he is fired. Seeing how miserable her husband is, Polly goes to plead for the bishop’s help, but he remains unmoved. She is willing to give John up, but is told that a divorced minister is equally unacceptable. Polly sees only one way out – as a widower, John could return to the church. She pretends that she has tired of her husband and returns to the circus, planning to have a fatal “accident.” John discovers her plan and arrives at the circus in the nick of time.

The original play opened in New York on 23 December, 1907 at the Liberty Theatre, 234 W. 42nd St. and ran for 160 performances until May, 1908. Mabel Taliaferro played Polly. The rest of the cast included Herbert Ayling, Joseph Brennan, Mattie Ferguson, John Findlay, Guy Nichols, Elsie St. Leon and Malcolm Williams.

Wildly popular, a third “Polly of the Circus” company was organized with Fay Wallace in the title role. The “Evening Star,” reported, “Miss Wallace took Mabel Talliaferro’s part in the piece during the recent illness of the latter” (Evening Star, Washington, D.C., 13 Dec 1908, page 27). It is possible that this was the production that Moses worked on during 1908.

Of located a program from the production when it was performed at the Illinois Theatre in Chicago during September 1908. Mable Taliaferro starred in the leading role of Polly. Fred Thompson was credited with the design of all scenery and effects. The show was built a the Luna Park Studios and Shop.

Here is the synopsis of the scenes:

Act I – Scene 1: The Pastor’s Study. (Night.) Scene 2: Bedroom Above Study. (Next Morning.)

Act II-Rear Garden of Parsonage Eleven Months Later (Afternoon.)

Act II-Scene 1: Behind the Scenes Adjoining the Main Tent. Scene 2: The Circus Scene 3: Circus Lot After the Performance. (Night.)

PLACE-A Small Town in the Middle West

Interestingly, the “New York Times” reported, “The circus performance on the stage was omitted from the production of ‘Polly and the Circus’ at the Liberty Theatre last night. Fred Thompson, under whose management the piece is offered, explained that he omitted the scene purely as an experiment on the advise of friends, but the scene will henceforth be included. ‘I followed the advice of people who said that the scene had been ‘dragged in,’ said Mr. Thompson. ‘However, many people said the same thing of the ship scene in Brewster’s Millions.’ And one experiment has convinced me my original plan was correct” (25 Dec. 1907, page 7).

There were two film versions of “Polly of the Circus.” In 1917, the film starred Mae Marsh and Vernon Steel. The 1932 film starred Marion Daves and Clark Gable. Here is a short clip showing Polly during her recovery at the minister’s house: https://www.youtube.com/watch?time_continue=3&v=et49CmRpycE

To be continued…

Tales from a Scenic Artist and Scholar. Part 597 – Fred Thompson’s “Polly and the Circus”

Part 597: Fred Thompson’s “Polly and the Circus”

In 1908, Thomas G. Moses wrote, “I started “Polly of the Circus” for Fred Thompson. When completed I went to Troy, New York, to put it on. Everything was good. “

There is an entertaining tale that tells of the play’s origin. I am including it in its entirety today, as it provides some historical context. Here is the article written by Matthew White, Jr. and published in “Munsey’s Magazine” (Munsey’s Magazine, Vil. 32, page 846).

“I tell you a play ought to please over here,” said an American whom I met in London. “That’s ‘Polly of the Circus.’”

Without committing myself in respect to this prophecy, I have no doubt that Londoners would like Mabel Taliaferro, whose personal charm, in its ability to reach out over the footlights, bids fair to rival even that of Maude Adams.

By the way, I have learned of a pretty little romance in connection with Miss Taliaferro and ‘Polly of the Circus.’ It seems that ‘Polly,’ like so many other recent successes was originally a one act play. When Margaret Mayo – it’s author, and wife of Edgar Selwyn, the actor – developed it into three acts, an actress who wished to star became interested in the thing, but her manager could not see it, as the phrase runs on the Rialto. This was some three or four years ago, and meanwhile the piece awaited production, passing through various vicissitudes in its manuscript stage, until finally Mrs. Taliaferro, Mabel’s mother, heard of it and thought it might suit her daughter, who was then playing with Henry Miller in “Pippa Passes.” So an arrangement was made that Miss Taliaferro should dine one night with the Selwyns and hear all about the play. Just before she arrived, Mr. Selwyn received a telephone message from his friend, Fred Thompson, founder of Luna Park and manager of “Brewster’s Millions.”

Mabel Taliaferro in ‘Polly of the Circus,” at the Liberty Theatre, published in the “New York Tribune,” 22 Dec. 1907, page 48

“I’m coming to dinner tonight, Edgar,” he said. “It’s alright, I hope?”

“Y-e-s,” answered Mr. Selwyn; “only we are having a young actress to see about one of my wife’s plays, and we shall have to talk that almost exclusively at the table. You won’t mind, will you?

“Oh, that’ll be alright,” replied Mr. Thompson.

In due course the self-invited guest arrived in his automobile, and he was presented to Miss Taliaferro as they sat down. As soon as he heard that the play under discussion had a circus in it, he became interested, for it must be remembered that Mr. Thompson built the New York Hippodrome and managed it for two seasons.

“What’s the name of the piece?” he inquired.

“Polly of the Circus,” he was told.

“Splendid!” exclaimed Mr. Thompson. “I’ll take it and star you as Polly, Miss Taliaferro.”

“But you have never seen me act,” protested the girl in astonishment.

“And you have never read the play,” added Mrs. Selwyn.

“Don’t have to do either,” insisted the manager. “I have seen you, Miss Taliaferro, and I know the play is about a circus. That is all I consider necessary. Now that that’s settled, let’s talk about something besides business for the rest of the evening,”

“But Mr. Miller may want the piece,” Mr. Selwyn ventured to interpose. “Miss Taliaferro is now playing under his management.”

“He hasn’t signed for the play, or said in so many words he would take it, has he?” Mr. Thompson inquired.

“No, but do you really –“

“I’ve said I want to produce it, and I will, if Miss Taliaferro will be Polly.”

Miss Taliaferro was delighted to accept, and after dinner retired to her corner with Mr. Thompson to discuss- well, as the manager had said he was tired of business, it was probably not circuses or acting. In any event, when it was time to leave, Mr. Thompson took her home in his car; and three days later the Selwyns were electrified to receive a telephone message to the effect:

“You people come around and celebrate to-night. Mabel and I have just been married!”

As all playgoers know, Mr. Thompson kept his promise. He produced “Polly of the Circus,” last winter, and it ran in New York for five months. Mabel Taliaferro’s younger sister, Edith, is to play Polly in the piece this autumn, while Mrs. Thompson prepares for her début in the new version of “Cinderella,” in which her husband is to star at Christmastime.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 596 – Charles Rann Kennedy and “Winter Feast”

Part 596: Charles Rand Kennedy and “Winterfeast”

In 1908, Thomas G. Moses wrote, “Made a model for Charles Rand Kennedy for his new play “Winter Feast” late in September.” Moses’ designs included a setting that depicted the interior of a Viking chieftain homestead.

Portrait of Charles Rann Kennedy in 1909, from the Elizabeth Tyson Vaughan photograph collection

“Winterfeast” was a tragedy in five acts written by Charles Rann Kennedy. The “Los Angeles Herald” provides a description for the play’s setting: “Its scenes are laid in Iceland of the heroic age, when Druidism still lingered there, and there is an echo of the early discovery of America as Vinland by the sturdy Icelanders of that time” (Los Angeles Herald, 14 Sept. 1908, page 2). The “Inter Ocean,” added, “The time, 1020 A.D., will place the story in the atmosphere of the conflict between the White Christ of the new generation and the grim Thor of the old Scandinavian mythology. Echoing through the drama will be the romance of the Viking voyages to ‘Vinland,’ by which Eric and Leif and Bjorn and other bold navigators forestalled Columbus in reaching the new world” (27 Sept 1909, page 37).

Advertisement for “Winter Feast” from the “New York Times,” 24 Nov 1908, page 16

Advertisement for “Winter Feast” from the “New York Times,” 8 Dec 1908, page 16

“Winterfeast” was first staged in Chicago where it was performed at a series of special matinees. After a brief success in the windy city, the show opened in New York at the Savoy Theater. The reception was not as well received in the East, as its run was less than three weeks.

The tragedy was described in the “Democrat and Chronicle:”

“Thorkel, the old Viking, according to the drama, had been a Skald, a poet and singer of his people, and like his son Valbrand, had been more at ease in verse than in fight, though his foster brother, Bjorn was a mighty man with the sword. It was to the latter that the heart of the beautiful Herdisa turned, for that is the way with women, to love that which is strong, through she herself is weak. So Herdisa, unasked, had told Bjorn of the love and placed her bracelet upon his arm as a testament of her affection. Then Thorkel and his two sons sailed for Vineland, the new country, the father returning with Valbrand later to tell Herdisa that Bjorn had scorned her love and sent back a taunting message. When the play opens, some twenty years after that is supposed to have happened, Herdisa is the wife of Valbrand and it is through the malevolent utterances of Ufeig, a turncoat priest, that the old story is revived.

Bjorn returns, is coldly received, but refuses to regard himself as an unwelcome guest and ultimately in a powerful scene, he learns of the trick practiced upon him and the woman he loves. He had been married in the far off country, but he tells Herdisa that she alone has had his heart through all the years. Then she sends him forth to do vengeance. Through a skillfully contrived arrangement the spectator is left in uncertainty as to which of the two men has been killed in combat” (Democrat and Chronicle, 1 Dec 1908, page 7).

The cast included Edith Wynne Matthison (Herdisa), Robert Cummings (Thorkel), Frank Mills (Valbrand), Walter Hampden (Bjorn/Olaf), Arthur Lewis (Ufeig), Ben Field (Odd), and Gladys Wynne (Swanhild). Matthison was the author’s wife.

Charles Rann Kennedy (1871-1950) was an actor, playwright, press agent, and theatrical business manager. Born in Derby, England, he began his career as an office boy, but soon began writing and lecturing. He wrote short stories, critical articles and poems, later teaching for several years at Bennett Junior College in Millbrook, New York. His first theatrical success as a playwright was “The Servant in the House.” Produced in 1908, it was this success that caused Kennedy to immediately produce an earlier play that he had written – “Winterfeast.” Other Kennedy plays included, The Terrible Meek (1911), The Necessary Evil (1913), The Idol-Breaker (1914), The Rib of the Man (1916), The Army with Banners (1917). In 1898, he married English actress Edith Wynne Matthison who was identified with “Everyman” and Shakespearean productions. She played the female lead in “Winterfeast.” The Kennedys retired in Los Angeles, California.

Charles Rand Kennedy and his wife, Edith Wynne Matthison, actress from the “Inter Ocean,” 27 Sept 1908, page 37

To be continued…

Tales from a Scenic Artist and Scholar. Part 595 – A Postcard from Victor Higgins in 1908

Part 595: A Postcard from Victor Higgins in 1908

In 1908, Thomas G. Moses received a postcard from Victor Higgins, A.N.A. (1884-1949). Higgins was once a scenic artist at Sosman & Landis studio who left to persue a fine art career in 1905. When Higgins left studio, Moses wrote, “Victor Higgins, one of our promising young men, quit to take up picture painting and started with a strong determination to win, and I think he will.” Moses was right.

Postcard from Victor Higgins to Thomas G. Moses in 1908, while Higgins was plein air painting in Los Angeles.

On May 5, 1908, Higgins sent a postcard to Moses prior to his departure for Europe. It was a picture postcard showing Higgins outside with his easel and umbrella while plein air painting. The front of the postcard read, “Dear Mr. Moses, Notice that pained expression on my face. V. Higgins.” Although the face is scratched out and faded, it once held a cartoon expression. This shows the camaraderie between Moses and the young artist.

A postcard from Victor Higgins to Thomas G. Moses when Higgins was studying in Europe.

Another postcard from Higgins was mailed from London during 1909. It was addressed to “Mr. Thos. G. Moses, 417 So Clinton St, Chicago, Ill, USA.” On the back, Higgins wrote, “Your letter received. With the gift settled, I will write you all of it. Lots of fun in sights. Regards to the boys. V. Higgins.” The boys were the scenic artists at Sosman & Landis. Moses frequently referred to his painting crew as “the boys.” The London postcard depicted the entrance to the hotel and grill room at the Strand Palace Hotel part of the Kingsway Real Photo Series. The image is reminiscent of the many palace interior drops produced for the stage during that time. I wonder if that was one of the reasons for selecting this particular subject, or to share that the hotel had recently opened.

The front of the postcard sent from Vitor Higgins to Thomas G. Moses at the Sosman & Landis studio on Clinton Street in Chicago. This composition is reminiscent on many Palace drops produced by the studio.

Palace drop in the Twin City Scenic Co. Collection in the Performing Arts Archives, University of Minnesota. Her is the link to the online collection: https://umedia.lib.umn.edu/scenicsearch

Although I have explored life and work of Higgins in the past, here is a brief recap. Born in Shelbyville, Indiana, historical records indicate that it was a visiting sign painter who inspired Higgins to become an artist. Higgins left home at the age of 15 in 1899 and entered the Chicago Art Institute. During this time, he also worked as a scenic artist, a common practice for many aspiring artsts. He soon met Moses at Sosman & Landis. While there, Higgins worked with Art Oberbeck, Fred Scott, Edgar Payne, Ansel Cook, Walter C. Hartson, William Nutzhorn, and David Austin Strong. He was one of the artists who also migrated east to work for David Hunt at Sosman & Landis’ eastern affiliate New York Studios. In New York, he worked alongside William Smart, Art Rider, and Al Dutheridge. During this time, he maintained close ties to Chicago’s artistic and theatrical scene.

Higgins’ artistic training prompted him do what many young aspiring artists did at this time – continue his training in Europe. Higgins had the opportunity to study at the Académie de la Grand Chaumière in Paris, becoming a pupil of Rene Menard and Lucien Simon. He then traveled to Munich where he studied with Hans von Hyeck. His travels were funded, however, by the former Chicago Mayor and avid art collector, Carter H. Harrison. I have mentioned this before, but Chicago offered many opportunities for aspiring artists during this beginning of the twentieth century during Mayor Harrison’s administration. Although Harrison would personally fund the travel of many artists, he was instrumental in in the creation of the Commission for the Encouragement of Local Art in 1914. This commission used taxpayer money to purchase paintings and sculpture created by Chicago artists.

Higgins kept in contact with Moses over the years, even returning to paint at Sosman & Landis every once in a while. In 1909, Higgins briefly returned to work for Sosman & Landis again, including the interior decoration of the Chicago’s American Music Hall. Beginning in 1912, Higgins exhibited his artwork with the Palette & Chisel Club, He earned national recognition and was awarded the Gold Medal in 1913. Other artistic awards included the Municipal Art League (1915), the Logan Medal of the Art Institute of Chicago (1917), and the first Altman prize for the National Academy of Design (1918). Higgins work is part of many public and private collections across the United States, including the Art Institute in Chicago, the Corcoran Gallery in Washington, D.C., and the Los Angeles museum.

To be continued…