Thomas G. Moses – Page 35

Tales from a Scenic Artist and Scholar. Part 594 – David Higgins and “Captain Clay of Missouri”

Part 594: David Higgins and “Captain Clay of Missouri”

In 1908, Thomas G. Moses wrote, “Made such effective models for Dave Higgin’s show ‘Captain Clay of Missouri’ that we got a $3,200.00 contract, which I painted and went to Grand Rapids to put on. It was a success in every way.” “Captain Clay of Missouri” was first produced at McVickers Theatre in Chicago.

The four-act play was written by brothers David K. and Milton O. Higgins. The “Fort Wayne Daily News” reported, “David Higgins has provided himself with an ideally fitting role in his new play, ‘Captain Clay, of Missouri,’ in which he will be seen soon at the Majestic Theatre. He will play the title role, Captain Robert Claybourne, a southern gentleman of the old type; a man forty years old, perhaps, in whom reverence and love for women is inborn; who is as fearless and brave as he is chivalrous; who stands by a friend to the last ditch, and who fights his enemies with every power at his command” (10 Aug 1908, page 8).

David Higgins pictured as Captain Clay in the “New Castle Herald,” 1 Jan 1909, page

David Higgins in his role of Captain Clay, from the “Fort Wayne Sentinel,” 8 Aug 1908

David Higgins as “Captain Bob Clay,” pictured in the “Fort Wayne Daily News,” 13 Aug 1908, page 8

The play was set in a small town in southwestern part of Missouri. In the town of Cornville, Captain “Bob” Clay has control over of the political party in his district. The political intrigue, however, is a mere sub plot to the central love story.

The “Brazil Daily Times” described the production, “The new play, which had a run of several weeks at McVicker’s theatre, Chicago, deals with the men and women who people one of the small towns in Southwest Missouri – the land where Southern traditions and rules of conduct still hold sway. The chief citizen of the town is Captain Bob Clay, a genial, whole-souled man who loves Melissa Benton with his whole soul, but who has a strong liking for horse racing, mint juleps and gambling, and whose power in politics makes him the ruler of his party in the district. Melissa has held Captain Bob at arm’s length for ten years, and her gentle nature revolts at the sports and pastimes of her lover and it is not until accident reveals to her his magnanimous conduct in taking the guilt of her brother on his shoulders, that she yields her heart to him. With her love comes rehabilitation for Captain Bob and his nomination for a seat in congress. As Part of the story, and bearing strongly on some of its phases are an exciting base ball game in which are engaged the youths of two rival towns: a bit of political chicanery that threatens to defeat the dearest plans of the hero; a fiery combat on a banquet table, and the rescue of Captain Bob’s fine racing mare from the hands of a constable” (24 Oct 1908, page 7).

A scene from “Captain Clay of Missouri,” published in the “Brazil Daily Times,” 24 Oct 1908, page 7. The scenery for the production was by Thomas G. Moses.

The “Fort Wayne News” reported, “Captain Clay, the hero of the drama, is a very likeable character as Mr. Higgins portrayed him. Quietly, easily, and naturally the actor presented Captain Clay to his audience. Mr. Higgins was not lacking in the ability to strike the strongest notes surely and throughout the portrayal was consistent, Mary Servoss as Melissa Benton, the girl whom Captain Clay is endeavoring through his many and complicated difficulties to win, succeeding at last, was very good and she interpreted the role with charm and womanliness, Bliss Milford had the part of Charlotte Ross, a rather quaint and amusing girl of all work. Se played it capitally. Clare Armstrong as Leslie Benton creditably impersonated that character. Frederick E. Wright gave a good presentation of Charles Hadron, doing especially meritorious work in the third act where Hadron seeks to force Captain Clay to his side in the political contest. Mark Smith as Richard Hampton and John Webb Dillon as Smith Barnell enacted those roles capably. Good work was also done by Fred G. Hearn as Corporal Billy Cartmill, Bert S. Frank as Sergeant Orin Frye, Georgie Mack as the jockey and Margaret McDonald as Della Thurston. The baseball game scene with an umpire armed with sword cane was a good feature of the production (13 Aug 1908, page 8).

The show also played at the Majestic Theatre in Grand Rapids, Michigan, opening on August 10, 1908. The “New Castle Herald” reported, “The scenes of the play are laid in the mythical town of Cornville, Missouri and it has true Missouri flavor. There is love making, horse racing, mint juleps, political fights and other elements that go to make up life in a small town” (1 Jan 1909, page 4). The Star Tribune added that “An integral part of the story included a jockey, a horse, and a race upon which many important things hang” (Star Tribune, Minneapolis, 13 Sept. 1908, page 36). The company was composed of thirty-two people that traveled with the show. In regard to Moses’ scenery for the production, “Captain Clay of Missouri” was advertised as traveling with “Two carloads of beautiful scenery” (Fort Wayne News , 13 Aug 1908, page 8). The “Fort Wayne Journal” stated that the scenery was “magnificent” (13 Aug 1908, page 7).

To be continued…

Tales from a Scenic Artist and Scholar. Part 593 – The Wheeling Scottish Rite, 1908

Part 593: The Wheeling Scottish Rite, 1908

For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.

*Scottish Rite Cathedral in Wheeling, West Virginia, that had scenery produced by Sosman & Landis in 1908. This building was destroyed by fire in 1915.*

The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).

*The auditorium of the Wheeling Scottish Rite, pictured after a devastating fire during 1915.*

Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:

“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)

The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.

*Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The 1916 auditorium. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The bowling alley. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Scottish Rite room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Ladies Room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Blue Lodge room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.

The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”

Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.

*The 1916 drop curtain at the Wheeling Scottish Rite.*

*Yankton Scottish Rite drop curtain delivered in 1910 by Sosman & Landis is similar to the one delivered by Toomey & Volland to the Scottish Rite in Wheeling, West Virginia, during 1908.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 592 – The Approach to Jerusalem

Part 592: The Approach to Jerusalem

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I began with the Sosman & Landis scenic design for “Darius Palace” yesterday. Today, I am looking at the “Approach to Jerusalem” design, also titled the “Road to Jerusalem,” by some scenic studios.

Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Backdrop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Cut drop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Moses’ statement suggests that he found these two specific compositions interesting to paint. This is a consistent sentiment, as throughout his memoirs Moses mentions that Masonic scenery was enjoyable to work on due to the variety. It may also imply that the standard design used for past installations changed and was now more interesting. For example, in 1908 the Darius Palace scene design took on a new look when the composition shifted from vibrant colors, to a classical ivory interior with colorful garlands.

Sosman and Landis design for Darius Palace in 1898.

Sosman & Landis design for Darius Palace in 1914

The approach to Jerusalem was a fairly straightforward design that included a cut drop and backdrop. The cut drop depicted the beginning of a dirt road that continued into the distance toward a walled city. This particular cut drop was able to be used for multiple Scottish Rite degrees, not with just the Jerusalem backdrop. The design was generic enough to be pair with not only an ancient city, but also a variety of other exterior backdrops.

Design for 16th degree approach to Jerusalem by Thomas G. Moses, 1931.

The beauty of Scottish Rite stage designs is their versatility, with many being relatively generic compositions that could span continents and eras. Unfortunately, many Scottish Rite stage crews and degree directors do not understand that there are many more compositions that can be created beyond the specific shipping label located on the stage right side. For example, the cut drop for the approach to Jerusalem was also paired with the wood drop. Instead of a road to Jerusalem, it became a path into the forest or to a distant medieval castle. This shifted the setting from a biblical one to a medieval one. Just as there were certain masking drops to accompany many scenes – drapery, wood, rough cut stone, or classical – there were many cut drops that would alter the stage setting.

I have noticed that over time, there were certain stage designs for Scottish Rite degree production that “evolved,” while others remained cemented in the past. I am not simply suggesting that the Northern Masonic Jurisdiction of the Scottish Rite altered its stage settings for specific degrees more frequently than the Southern Jurisdiction. Although this is true, I believe that there is much more to Moses’ statement. The 1908 the scenic interpretation for the two sixteenth degree settings “evolved,” breaking from past designs.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Wichita, Kansas, 1898 This setting is now at the Salina Scottish Rite.

Becker Studios approach to Jerusalem for the Scottish Rite in Moline, Illinois, 1930.

In some cases, scenic studios unified the Scottish Rite degree work and established a standard expectation for every Valley throughout the United States. In the nineteenth century, many of the theatrical interpretations for degree work on the Scottish Rite stage were similar. Both the Southern Jurisdiction and Northern Jurisdiction purchased similar settings for their respective degree productions. During the first decade of the twentieth century, this began to change.

To place the production of Scottish Rite scenery in context, we also need to look at the studio artists at Sosman & Landis during that time. Often a variety of scenic artists contributed to the production of new Scottish Rite scenery collection. In scenic studios during the early twentieth century, many of the scenic artists specialized in a particular genre – draperies, exteriors, interiors, etc. This was a shift from the previous generations of scenic artists – it was implemented for efficiency, increasing the overall speed of production. This also makes sense from an efficiency standpoint; the studio would want and artist familiar with the scene to do the work, one who had painted it before. Moses was known for his exterior woodland scenes, however, he was trained as a scenic artist during a period in American history when theatre worked necessitated that itinerant artists be equally skilled in all genres.

Keep in mind that in 1908, Moses had been working as a scenic artist for 44 years. His skill at painting landscapes was well-known and sought after, but he could also paint draperies, exteriors, ornament and figures. It would certainly make sense that he painted both the Darius Palace and the approach to Jerusalem drops for Wheeling. The approach to Jerusalem was a picturesque landscape with a road winding to a city in the distance. The palace of King Darius was often decorated with floral garlands that held dozens of roses.

Detail of a rose in a floral garland from Darius Palace, painted by Thomas G. Moses in 1909.

It is relatively easy to identify individual artists who produced certain settings for Scottish Rite scenery collections. Although they may currently remain nameless, their paint application is like a signature, and a specific artist can be traced from one collection to another; it just takes time and energy to make the identification. It is obvious when a particular setting is produced by a different hand at Sosman & Landis. I have tracked the painting techniques for various scenes from one Scottish Rite to another. The approach to Jerusalem provides an ideal opportunity to examine aesthetic shifts from 1896 to 1914.

Almost identical Sosman & Landis designs were produced for the Scottish Rite in Little Rock, Arkansas, in 1896 and Wichita, Kansas, in 1898. A similar design was again produced in 1914, for the Scottish Rite in Tucson, Arizona. Comparing and contrasting these designs provides an ideal opportunity to examine shifts in composition, artistic interpretation, predominant colors, and scenic art techniques.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Little Rock, Arkansas, 1896. This setting is now at the Pasadena Scottish Rite.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Tucson, Arizona, 1914.

To be continued…

Tales from a Scenic Artist and Scholar. Part 591 – The Sixteenth Degree Setting for King Darius’ Palace

Part 591: The Sixteenth Degree Setting for King Darius’ Palace

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I am beginning with the Sosman & Landis scenic design called “Darius Palace.”

Darius Palace setting by Sosman & Lanids for the Scottish Rite in Winona, Minnesota, 1909.

Painted detail on Darius Palace cut drop by Sosman & Landis, 1909

For the Scottish Rite’s sixteenth degree production, it is important to consider the historical context and inspiration for the stage work. The exiled Hebrews returned to Jerusalem in approximately 530 BCE, yet they had to wait for Darius’ ascension to the throne for the rebuilding of King Solomon’s Temple. The Second Temple was completed about 510 BCE. There is much more to the story, but this provides us with the basic context that inspired three Sosman & Landis scene designs: King Solomon’s Temple ruins, King Darius’ palace, and the rebuilding of the Temple. I have recently posted a series of images regarding stage settings that depict the ruins of King Solomon’s Temple from the 15^th degree. This degree includes the story of when King Cyrus reigned and Zerubbabel was sent to check on the site. The 15^th degree stage setting carries over the 16^th degree and was often used again. Understand, however, that what appears on Scottish Rite stages now does not always use the scenery as intended.

Two of the sixteenth degree settings were noted in the “Buffalo Consistory” during 1908. An article describing the upcoming events at a Scottish Rite Reunion reported, “On Tuesday morning there is no class, but in the afternoon the sixteenth degree, prince of Jerusalem, will be presented in three sections. The first and third represent the ruins of the Holy City and the second the court of Darius, King of Persia” (Buffalo Morning Express, 21 April 1908, page 6).

That same year, the “Brooklyn Daily Eagle” also mentioned the 16th degree production at the Scottish Rite: “The sixteenth degree, Princes of Jerusalem, was the work in Brooklyn Consistory on Wednesday evening last.” After listing the cast members, the newspaper commented, “This beautiful, instructive, historic degree is one of the most interesting in the entire Scottish Rite system.” (5 April 1908, page 25).

For those unfamiliar with King Darius I, here is a brief recap. Darius the Great was born in 522 BCE. He is recorded as being one of the greatest rulers of the Achaemenid dynasty, ascending to power in 522 BCE and reigning until 486 BCE. Darius was known for his administrative genius and monumental construction projects, including his palace in Susa located at the center of the Persian Empire. Stretching from the Nile and the Aegean to the Indus Valley, at its peak, the Persian Empire included much of West Asia, the Caucasus, parts of the Balkans (Thrace-Macedonia and Paeonia), most of the Black Sea coastal regions, parts of North Caucasus, and Central Asia. It reached as far east as the Indus Valley with portions of north and northeast Africa including Egypt, eastern Libya and coastal Sudan. A great book on this subject is Jean Perrot’s “The Palace of Darius at Susa: The Great Royal Residence of Achaemenid Persia.”

King Darius was known for centralizing and unifying the Persian empire, He divided land under his reign into provinces, placing satraps to govern it. Darius established a new uniform monetary system, introduced standard weights and measures, as well as making Aramaic the official language of the empire. He also instigated several construction projects throughout the empire, including Susa, Pasargadae, Persepolis, and Babylon. This is the part that we are most interested in as nineteenth-century archeological discoveries would greatly impact popular culture and Masonic stage design.

It was the information and illustrations published about archeological discoveries that were incorporated into Masonic degree productions designs by Sosman & Landis and other scenic studios. King Darius’ Palace at Susa (western Iran) was one of the most important of the Achaemenid Persian palaces. When it was rediscovered in 1851, details of the architecture and ornamentation remained in the public eye and were eagerly sought after by all types of artists.

These discoveries especially fueled the designs of stage settings for the 16^th degree. Scenic studios labels became more description over time, going from a simple “Darius Palace” to Darius Festival Rose Palace.”

Darius Palace by Sosman & Landis for the Scottish Rite in Tucson, Arizona, 1914

Early twentieth century Sosman & Landis scenic designs were characterized by Persian columns and double-bull capitals, replicating discoveries in Persepolis and Susa. Floral garlands were draped throughout the scene, wrapping around orate columns. Skilled scenic artists at Sosman & Landis painted hundreds of roses in varying shades of pink, depicted from every conceivable angle. These floral garlands are some of the most beautiful examples of scenic art that I have encountered to date.

Artists in scenic studios relied on printed source material for these ancient palaces, such a Dr. Franz von Reber’s “The History of Ancient Art.” This publication provided beautiful examples of ancient architectural ornamentation for the sixteenth degree. Here is a link to Dr. Von Reber’s 1882 publication, as it is a wonderful addition to any library: imageshttps://www.gutenberg.org/files/42082/42082-h/42082-h.htm#page_025

To be continued…

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

Part 590: The Cort Theatre in Chicago

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

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

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

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

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

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

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

The Cort Theatre in Chicago with painted steel fire curtain

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

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 588 – “A Day in Japan” for the Pittsburg Exposition

Part 588: “A Day in Japan” for the Pittsburg Exposition

In 1908, Thomas G. Moses wrote, “Built a fine little show for Pittsburg Exposition “A Day in Japan.” I went down and put it on and started it off to good business. It was a little too classy.”

Advertisement for attractions and amusements at the Pittsburgh Exposition in 1908. From the “Pittsburgh Press,” 27 Sept 1908, page 34

A Day in Japan advertised as an amusement at the Pittsburgh Exposition, from the “New Castle Herald,” 8 Sept 1908, page 8

Moses was referring to one of the amusements at the Pittsburgh Sesqui-Centennial Exposition tha ran from July 4, 1908 to November 26, 1908. On June 21, 1908, the Honorable George W. Guthrie, mayor of Pittsburgh had issued the following proclamation that described the 150^th birthday celebration for the city of Pittsburgh:

“To the citizens of Pittsburgh: On November 25, 1758, the British and Colonial troops under the command of General John Forbes, took possession of the smoking ruins of Fort Duquesne, which had been abandoned the day before by the French and Indians. As the sun was setting, the British flag was raised by the brave Pennsylvanian, Colonel John Armstrong, in the presence of Washington, Forbes, Bouquet, Mercer, and other noted American and British soldiers, and the name of the great Pitt, whose genius had conceived the expedition, thus signally crowned with success, was conferred most appropriately upon the site between the Forks of the Ohio, which was long thereafter known as the Gateway of the West. On November 25th of the present year will occur the 150th anniversary of the permanent founding and naming of Pittsburgh, and it is most fitting that the event be celebrated in a manner appropriate to the city’s important history and its great growth and achievements in many lines.”

The planning for the celebration began during the fall of 1906. By spring of 1908, the plan was presented to Mayor Guthrie and the City Councils. After approval, twenty-eight committees, involving almost 600 individuals, made it possible for Pittsburgh’s celebration.

The Daily Republican reported “Among the amusements is the military spectacle of the Spanish-American war, which is a vivid reproduction of the blowing up of the ‘Maine’ and the historic battles; the scenic cyclorama, ‘A Day in Japan’: the Theatorium, and many other entertainments” (Monongahela, Pennsylvania, 6 Oct 1908, page 4). The “Sedalia Democrat” commented, “Among the new attractions in the main building are an electrical scenic cyclorama, ‘A Day in Japan’”, while he “Pittsburgh Press” advertised that it was “an electric novelty” (Sedalia Democrat, 2 Sept 1908, page 7, and Pittsburgh Press, 9 August 1908, page 6).

Postcard depicting exposition buildings in Pittsburg during 1908. Notice roller coaster by the bridge.

There is a lovely article about this project and Moses’ involvement that was posted in the “Pittsburgh Daily Post” on September 2, 1908 (page 8):

“Visitors Taken to Japan.

“A Day in Japan,” one of the most enjoyable entertainments of the Exposition, will transport spectators in an instant to the “Flowery Kingdom,” the realm of the Mikado. The wonders of electric lighting and manipulation are carried to a height rarely attained. A picturesque Japanese mountain village is shown nestling at the base of the historic, snow covered mountain, Fujiyama.

With scarcely conceivable realism, the soft radiance of moonlight, bathes the quiet scene, then the break of day, the white light of noonday, the yellow of late afternoon, the gradual coming of dusk and darkness, and the lighting of lamps within the dwellings, are portrayed with extraordinary faithfulness to detail.

A storm gathers, trees are tossed by the wind, lightning flashes and thunder of the preceding calm, is welcomed with relief.

The entertainment is not a moving picture show, nor an acted play. A model of a village taken from active life has been built on the stage, representing the minutest details of Japanese home life, in a style never before attempted. A pagoda, rising high in the foreground, occupied a skilled artisan many days in making it, so delicate is the workmanship.

No details of instructive value are omitted. The beauty of the production is extraordinary. The scheme of decoration in the Oriental style is carried into every detail. Even the ticket office is a structure quaintly built on lines of Oriental architecture. Its position in the gallery, midway down the main hall, on the Allegheny side, makes the entertainment a prominent feature of the Exposition.

A carefully prepared lecture accompanies the entertainment, as the scene shifts from night to day and back to night again. It has been the aim of the acting manager, Thomas G. Moses, vice-president of Sosman & Landis Company, of Chicago, to afford the maximum of both instructive and entertainment values.”

This was the first mention that I have discovered about Moses being vice-president of the company. He returned to Sosman & Landis in 1904 to manage the main studio, but his becoming vice-president is not mentioned in his memoirs. Perry Landis left the company in 1902 due to poor health. By 1904 Sosman was desperate for help in the studio, as he had assumed all of the sales responisbilities; those duties previously handled by Landis.

By 1915, immediately after Sosman’s death, Moses became the president of the Sosman & Landis. For me, this transition now makes sense in regard to the board of director’s decision to elect Moses president.

To be continued…

Tales from a Scenic Artist and Scholar. Part 587 – “A Little Sister of the Rich” at the Olympic Music Hall

Part 587: A Little Sister of the Rich at the Olympic Music Hall

In 1908, Thomas G. Moses wrote, “We did a show for Murdock at the Olympic – a failure, scenery and play.” Moses was referring to – “A Little Sister of the Rich,” a production that received much criticism.

From the “Inter Ocean,” 10 Jan 1909, page 36

Manager of the Olympic Music Hall, J. J. Murdock, featured in the Feb. 4, 1909, issue of The Show World.

The Olympic Music Hall opened on November 2, 1908, and “A Little Sister of the Rich” was featured at the close of the vaudeville program that December. It was a satire written by Irving B. Lee that included comedians such as McKay & Cantwell, Gus Weinburg, Catherine Rowe Palmer and some other members of the Olympic Company.

The “Inter Ocean” reported, “The Olympic Music Hall offers the Tom David trio, London bicyclists; the Big City quartet; Miss Elizabeth Murray in negro and Irish songs; Vinie Daly, the dancer, and other vaudeville numbers” (27 Dec 1908, page 34). The other acts included the Four Fords, Mabel Sinclair’s ventriloquism, the musical Amatis, Cora Beach Turner and company in a sketch called ‘A Bluffer Bluffed,” and Frankie La Marche, the Buster Brown girl.

The article continued, “’A Little Sister of the Rich,’ a one act musical entertainment will close the bill, and the Eight Berlin Madcaps, a dancing quartet, have been added to the performers in the play” (27 Dec 1908, page 34). The Moline “Dispatch” added, “A Little Sister to the Rich” includes “a chorus of 37 bewilderingly beautiful girls, gorgeously costumed” (The “Dispatch, Moline,” Illinois, 24 Dec. 1908, page 4).

As indicated by Moses, the show was not well-received by the public. Here is a review of the production in the “Chicago Tribune”(Chicago Tribune, 11 Dec. 1808, page 10):

“The best joke connected with “A Little Sister of the Rich,” a fifty minute musical comedy with which the vaudeville bill in the Olympic music hall has been supplemented, is that it bears absolutely no relation to its attractive title. This joke is on busy Manager Murdock, who permitted the authors of the sketch to sell it to him.

“Reading the title of “A Little Sister” the natural inference of the average citizen would be that the authors had anticipated the dramatization of Joseph Medill Patterson’s widely discussed novel concerning society’s extravagances, physical and financial, which is scheduled for local production in the Grand opera house next month. But evidently Irving B. Lee, who wrote the music hall affair, never heard of either the novel or proposed play.

“‘A Little Sister’ is an empty musical trifle, prettily staged. The scene is a department store and the fringe of a plot deals with a shrewd floorwalker who acts in collusion with a shoplifter. There are six musical numbers, three of them interpolated. Two of the six, “Would You Like to Take Me Home with You?” and “The Old Red, White, and Blue,” both sung by Adele Oswald, an attractive soprano of pleasant voice, are worth hearing. Cathryn Rowe Palmer, an eccentric soubrette of whom much was expected, contribute the toe dancing specialty which she introduced in “The Merry-Go-Round,” and that, added to the new costume lets Cathryn out. Cantwell and McKayes are the comedians. They are good dancers and promise to be amusing comedians when they get their stride and a new set of lines.

“There is no use getting ‘het up’ over ‘A Little Sister of the Rich.’ No manager in the country is more certain to discover the deficiencies in his performances and to correct them that Mr. Murdock. He has worked so far at a disadvantage. On of his principles, Harry Walters, fell ill the day of the dress rehearsal and the author, Mr. Lee, was pressed into service. It will require a lot of pressing to make a comedian of Mr. Lee. Mr. Walters will be back in the cast the last of the week.The vaudeville bill preceding the musical comedy is good, and includes the Four Fords, dancers extraordinary, and the Patty Frank troup of acrobats.”

In February 1909, “Variety” reported “the production was sent over the circuit as a headline act under its present name” (6 Feb 1909, Vol. XIIL, No. 9). I guess they kept trying to make it work.

To be continued…

Tales from a Scenic Artist and Scholar. Part 585 – John J. Murdock and the Olympic Music Hall

Part 585: John J. Murdock and the Olympic Music Hall

In 1908, Thomas G. Moses wrote, “We did a show for Murdock at the Olympic – a failure, scenery and play.” He was referring to the newly opened Olympic Music Hall in Chicago. The venue was previously known as the Olympic Theatre before the purchase and renovation by J. J. Murdock in 1908. The Olympic Music Hall opened on November 2, 1908.

John J. Murdock and his Olympic Music Hall, from the “Inter Ocean,” 8 Nov 1908, page 30

An article in the “Inter Ocean” reported, “The work of converting this famous landmark of amusement into a music hall is being carried on day and night, the men working in shifts of eight hours each. The playhouse is now under the control of J. J. Murdock, who successfully operated the Masonic Temple roof garden, and who had been at the head of the Western Vaudeville Managers’ Association. Mr. Murdock will adopt a policy along the lines of the Palace, or Tivoli, London, England, on a more elaborate scale” (Chicago, 25 Oct 1908, page 41). The mention of the Masonic Temple Roof Garden caught my eye.

The Masonic Temple roof garden and observatory was transformed into two electric theatres by Sosman & Landis in 1894. Advertised as Chicago’s first roof garn theatre, it included two electric scenic theatres that were design, constructed and operated by Sosman & Landis. An images of the Masonic Temple roof garden theatre was even pictured on an 1894 catalogue for Sosman & Moses. Although their control of this venue was short-lived, it provides an earlier connection between Murdock and Moses at Sosman & Landis. Murdock’s association with unique and innovative performance venues such as the roof top garden and music hall provides additional context.

High class vaudeville was to be the dominant feature at the Olympic. The “Inter Ocean” published an article on the new Olympic Music Hall (8 Nov 1908, page 30). In it, the question was asked, “When is a vaudeville theatre not a vaudeville theatre?” The response was “When smoking is permitted, then it is a music hall.” In Chicago, Murdock afforded patrons that privilege. The article continued, “Mr. Murdock is a connoisseur of everything pertaining to the entertainment of the public, and realizing that the great majority of men are addicted to the smoking habit, he conceived the happy idea of permitting the patrons of the Olympic Music hall to indulge in that pleasure.” The article noted, “The new Olympic will be different from other Chicago playhouses, in that smoking will be permitted. This innovation, new to Chicago, is familiar to London and Paris theater-goers, and Manager Murdock is convinced that this feature is destined to be as popular in Chicago as it is abroad.” Another “Inter Ocean” article described the smoked-filled music hall: “Blue smoke curled upward from full 500 cigars. Maybe 1,000 men lounged back comfortably in their theatre chairs. Beside almost blessed man of them sat his wife, or his sweetheart, or his dearest friend, or maybe only his sister. Toward a rose tinted ceiling smoke drifted cloudlike and then mysteriously, as an enchantment, suddenly disappeared.”

According to Julius Cahn’s Official theatrical guides, the original Olympic Theatre in Chicago had a seating capacity of 2,127, and new music hall had a seating capacity of 1584. The “inter Ocean” provided a further description of the Olympic Music Hall’s auditorium and stage:

“Immediately above the entrance to the auditorium a series of Swiss chalet windows, with stained glass and heavy stucco ornamentation, attract the eye. The theater proper also has undergone a thorough renovation. The color scheme is of gray damask, blending harmoniously with rose and old Roman gold. The ceiling and mural decorations consist of panels of exquisite design, bordered by stucco ornaments, tipped with gold and ivory. A massive new chandelier bearing hundreds of glistening prisms and scores of electric globes hangs just above the orchestra, while at the side of the boxes on both sides two tremendous light clusters have been placed. The balcony and gallery rails have been provided with strings of lights, so that the house is capable of illumination equal to the noonday sun.

The boxes, which formerly were most artistic, have come out of the hands of the decorators as veritable bowers of rich yet tasty beauty. They have been decorated with stucco ornaments, painted in consonance with the general color scheme and provided with heavy plush maroon curtains swinging on brass rods. The entrance to the boxes, above and below, are adorned with rich curtains, that insure at once privacy and real comfort. The proscenium has been decorated in Roman gold, the façade, doing away with the curtain drop, being especially tasty…the steel curtain has been repainted and a new olio drop provided.” The article continued, “The seating capacity of the theater has undergone no change, the safety of the patrons being Manager Murdock’s first consideration when this matter was taken up. The seats above and below have been provided with cushion seats and the framework of the chairs tinted in ivory and gold…More than $30,000 was spent by Manager Murdock in the beautification of the theater, and that the money has been expended to some purpose the admirable result are ample indication” (8 Nov 1908, page 30).

To be continued…

Tales from a Scenic Artist and Scholar. Part 572: The Majestic Theatre in Indianapolis

Part 572: The Majestic Theatre in Indianapolis

Postcard of the Majestic Theatre, Indianapolis.

In 1907, Thomas G. Moses wrote, “We had more work for the Majestic Theatre also for Indianapolis.” The Majestic Theatre opened on September 2, 1907. It was located on South Illinois Street and West Maryland Streets. The “Indianapolis Star” advertised the venue as “Indiana’s Coziest Playhouse” (Indianapolis Star, 27 Oct. 1907, page 35).

Advertisement for the Majestic Theatre in 1907 from the Indianapolis Star, 27 Oct. 1907, page 35

Advertisement for the Majestic Theatre from the Indianapolis Star, 29 May 1911, page 69

Advertisement for burlesque at the Majestic Theatre from the Indianapolis Star, 7 Feb 1915, page 12

Advertisement for the Majestic Theatre from the Indianapolis Star, 8 May 1917, page 10

The seating capacity was 1675 (orchestra -675, first balcony – 500, second balcony – 500). Within the first decade of its existence, the Majestic Theatre became associated with burlesque. By December 25, 1919, the Majestic Theater became known as the Broadway, soon changing its names again to become the Mutual Theatre seven years later. Like many vaudeville theaters this one-time vaudeville house solely featured movies. The building was closed and then demolished during June 1955.

When the Majestic Theatre transitioned to a movie house. From the Indianapolis Star, 7 Sept 1919, page 55

In 1916, the “Indianapolis Star” included an interesting article about an upcoming burlesque performance at the Majestic Theatre (26 Nov. 1916, page 52). As the article’s 102^nd anniversary is very near, I thought that I would include it in today’s post.

Charles Robinson and his “Parisian Flirts” Company seemed to be ushering in the holiday season in Indianapolis that year. Here is the article in its entirety:

“Majestic – Burlesque

Charles Robinson and his ‘Parisian Flirts” Company, will be the attraction at the Majestic Theatre next week.

Manager Robinson claims to have one of the best attractions playing the circuit. The books are from the pen of Ed Hanford, the famous actor-playwright, and are considered his best efforts. The musical numbers are of the tuneful sort that make you whistle and go home in a happy frame of mind. In the cast are: Charles Robinson, the famous tramp comedian; the Harmonists Four, May Bernhardt and Mabel Lee, Harry S. LeVan, Charles E. Edwards, Al Turpee, William Mack, Gertrude Sommers, Freda Lehr and the Dancing Hawaiians.

The company is large, mostly girls, who have made burlesque famous. There are many novelties in the show, and the lyrics are full of smart witticisms.”

It was hard not to read this article without thinking of “You Gotta Have a Gimmick” from the musical Gypsy. Here is the link to one of my favorite versions (1962): https://www.youtube.com/watch?v=gFRSawe33sA.

Have a Happy Thanksgiving – I am taking the next two days off to enjoy my family.

To be continued