Category: Thomas G. Moses

Part 446: Thomas G. Moses and “Young Tobe Hoxie”

In 1902, Thomas G. Moses recorded that he created scenery for the show “Tobe Hoxie.” Moses was referring to the new four-act pastoral comedy, “Young Tobe Hoxie.” It was advertised as a “rural comedy drama,” written by E. C. Lamson. Lamson wrote the play, organized the company presenting it and usually appeared in the title role.

The plot revolved around the leading character, “Tobe Hoxie,” a mechanical genius of a country neighborhood who wins fame as the inventor of a remarkable mousetrap. A diamond-in-the-rough rustic, Hoxie was not simply a silly kid or low comedy role. In the play, he travels to the city where he finds employment at a factory. He rapidly rises in the company and soon becomes a recognized leader. In the end, Hoxie finds both love and success. Lamson was inspired to create the piece while portraying a similar character in “York State Folks” (The Courier-Journal, Louisville, KY, 21 April 1904, page 4). Lydia Knott playing his love interest and the show was advertised to contain “Beautiful climaxes, heartaches of pathos, and side aches of laughter” (Washington Times, Jan 31 1904, page 15).

In 1902, “The Arizona Republic” reported that 1902, Lamson and his manager were “hard at work opening negotiations for the organization and equipment of the company” (Arizona Republic, 28 December 1902, page 4). They were planning to establish their offices, arrange future bookings, and cast the show that coming spring in 1903. The article continued, “The play will be complete in every way; with elaborate scenery, correct costumes and all things that are necessary for a first class presentation”(Arizona Republic, 28 Dec. 1902, page 4).

“The Daily Notes,” reported, “Mr. Ernest Lamson, who of the younger actors that are being advanced to leading positions this season, there are none more thoroughly equipped, he being especially favored by nature with a commanding presence, a good voice and a large capacity for hard work and study. These natural qualities, combined with a thorough stage training under the best masters, like the late James A. Herne, have placed him at the head of his chosen line. In “Young Tobe Hoxie,” Mr. Lamson will have an opportunity that seldom fails to an actors lot, the comedy, pathos and heroics of this character being so positively drawn that failure is impossible. The fact that Mr Lamson is to be featured does not mean that the rest of the company will be neglected. He will be surrounded by a supporting company equal to any he has ever been associated with, each member being selected for their special fitness and ability” (The Daily Notes, Canonsburg, PA, 23 Dec, 1903, page 3).

A few days later, “The Daily Notes” commented on the scenery by Moses, “It is one of the prettiest plays on stage today, put on by a high class company in every respect, and bids fair to rival “Old Homestead” and the many latter day play of that nature “(Canonsburg, PA, 26 Dec, 1903, page 2). Of the roles in “Young Tobe Hoxie,” the article continued, “The characters are real and have their prototypes in every rural community. They talk as farmer folk might be expected to talk, they are not characterized, they are not maligned. There is not a word uttered that is out of place, and this, too, in spite of the fact that there are several situations where the author must have been sorely tempted to use words that are not regarded as wholly proper in polite society. His pages are not spoiled by a single oath, or a double entendre sentence. It is as pure as the water that gushes out from beneath the foot of some storm swept mountain and as fragrant as a breeze in June that has traveled over a field of clover blossoms. Fault is has, to be sure, blemishes that might have been avoided, and some straining after effects that cast a cloud of insincerity over what has gone before; but there is so much that is excellent and it is such a relief from the maudlin, half-witted tommyrot that is usually met with in rural plays that one feels to be disposed to be lenient with its defects and to commend it for the good it contains” (The Arizona Republic, 8 Dec. 1904, page 5).

“The Arizona Republic” reported that Lamson was traveling over the same circuit he made during the show’s debut, and was greeted by even larger audiences (8 Dec. 1904, page 5).

To be continued…

Part 445: Thomas G. Moses and “By Right of Sword”

Thomas G. Moses recorded that he created the scenery for Ralph Stuart’s “The Holy Sword.” Moses was referring to the play “By Right of Sword.” It was described as “A Russian play with an American hero by an English Author” (Los Angeles Times, 17 June 1902, page 6). The novel by Arthur W. Marchmont was dramatized by Loenidas Westervelt in conjunction with Mrs. Charles Doremus and produced by Ralph Stuart and his company. The first presentation of the play on any stage took place in Seattle, Washington (The New York Times, 1 April 1902, page 9). In 1902, Moses wrote, “Many of these shows opened out of the city, and I was compelled to go with them. I never knew when I was going to be at home.” “The Washington Times” commented, “Mr. Stuart has given the play a costly production with new scenery and costumes.” (4 May 1902, page 20). The article continued, “The first act of the play is described as the strongest first acts ever shown on the American stage.”

Ralph Stuart played the leading role of Richard Hamilton in this four-act play. Elizabeth Stuart played the role Olga Lansing; Miss Rowan played the role of Paula, and Frank Sheridan played the role of Devinski.

By June 1902, the show traveled to Burbank, California. “The Los Angeles Times” reported, “Arthur W. Marchmont traveled over three thousand miles to see the first production at the Burbank Theatre by Ralph Stuart last night of the play dramatized from his novel, “By Right of Sword” (16 June 1902, page 6). Marchmont lived in Brighton, fifty miles from London. He was a journalist, who owned two newspapers, one in Bath and one in Brighton; and a barrister of Lincoln’s Inn, London. The article continued, “He is English, through and through – in accent, side whiskers, bow spectacles, burnished tie, and tweed clothes. Yet he has written with a stirring American dash. ‘We authors,’ he explained, ‘have to convey the impression that we know a good deal more than we do.”

The Fort Wayne Sentinel summarized the play: “It tells of the many adventures of a “devil-may-care American,” Richard Hamilton, who, through his resemblance to a cowardly Russian is mistaken for him. Alexis Petrovich, the Russian in question, has run away to avoid a duel. Alexis has been challenged to a duel owing to the fact that his love for his sister Olga has prompted him to oppose the intentions of Major Deviniski to marry her. Hamilton meets Olga and falls in love with her. Then he impersonates the missing Alexis to save the lives of himself and Olga and to bring the desperate Devinski to justice. Countess Tueski, the wife of the minister of police, is an admirer of Alexis, and in mistaking Hamilton for the Russian boy seeks to protect him. Then follows a series of thrilling adventures bubbling over with charming dialogue and an exquisitely told tale” (The Fort Wayne, Indiana, 12 Sept. 1908, page 10).

The novel starts with a letter that indicates the action and intrigue to will follow: “My Dear Rupert,

Don’t worry your head about me. I shall be all right. I did not see you before leaving because of the scene with your sister and Cargill, which they may perhaps tell you about. I have done with England: and as the auspices are all for war, I mean to have a shy in. I went to Vienna, thinking to offer myself to the Turks: but my sixteen years in Russia have made too much of a Russ of me to let me tolerate those lazy cruel beggars. So I turned this way. I’m going on to St Petersburg to-day, for I find all the people I knew here as a lad have gone north. I have made such a mess of things that I shall never set foot in England again. If Russia will have me, I shall volunteer, and I hope with all my soul that a Turkish bullet will find its billet in my body. It shan’t be my fault if it doesn’t. If I hadn’t been afraid of being thought afraid, I’d have taken a shorter way half a score of times. My life is an inexpressible burden, and I only wish to God someone would think it worth while to take it. I don’t want to be hard on your sister, but whatever was left in my heart or life, she has emptied, and I only wish she’d ended it at the same time. You’ll know I’m pretty bad when not even the thought of our old friendship gives me a moment’s pleasure. Good-bye. Don’t come out after me. You won’t find me if you do.

Your friend, Hamylton Tregethner”

Yes, this novel is now on my summer reading list and available as a free eBook. Here is the link: https://archive.org/details/byrightsword00marcgoog

“By Right of Sword” went through twenty-four editions by 1902, and had a circulation of 100,000 copies in England, and a like number in the United States. After the play’s tour of the west coast and across the country, the show was performed in New York at the American Theatre in 1904, opening January 18. It then returned to Seattle in October of that same year, at which time the Author once again visited the west coast.

Due to its continued popularity, it later became a silent film. Here’s a short film of the duel scene from “By Right of Sword”: https://www.youtube.com/watch?v=sa-fUM5O6K8

To be continued…

Part 443: Thomas G. Moses and “The Gay Mr. Goldstein”

In 1902, Thomas G. Moses recorded working on a production called “The Gay Mr. Goldstein.” This was play, written by Thomas Ignatius Keogh of New York, had vaudeville acts interspersed throughout the production. Keogh also starred in the title role, was advertised as the “stock star” at Henry Greenwall’s American Theatre, N.Y. (17 Feb. 1902, page 2). Keogh later copyrighted the story on April 12, 1901. “The Courier-Journal” reported, “this comedy is not a burlesque on the Hebrew, but on the other hand, the characters drawn by the author are of a refined type” (16 April 1902, page 4). The show starred Thos. J. Keogh (1873-1925) and Mary Hampton as Mr. and Mrs. Goldstein.

The production was described as a “novelty farce, inasmuch as it depicts the refined Hebrew among refined surroundings, and not the illiterate type that has been so much used for stage characterization. The theme used by the author is based on the association of the Hebrew with the Christian, both of the higher social circles, and is a series of laughable complexes, situations and incidents that arise from the fact that the Hebrew is sporting proclivities though poor, marries for money, and if afterwards allowed by his rich wife only one dollar a week spending money. His contrivances and schemes to get more create the humor of the play, and keep the audience keyed to a continued pitch of merriment” (The Daily Times, Davenport, Iowa, 21 February 1902, page 9). “The Iowa City Press” advertised Greenwall’s production of “The Gay Mr. Goldstein” as “a refreshing and refined comic surprise” (17 Feb. 1902, page 2).

“The Iowa City Press” advertised, the entire production was “carried complete” with “high class vaudeville introduced” (17 Feb. 1902, page 2). Seven vaudeville acts were included with the production and billed as “seven splendid specialties” (Green Bay Press, 29 Jan 1902, page 7). “The Eau Claire Leader” provided a little more insight into the vaudeville acts appearing in the production, “While ‘The Gay Mr. Goldstein’ may be described as a legitimate and refined comedy, it nevertheless permits the introduction of a series of high grade specialties, all of which are presented by artist of the first rank.” (1 Feb. 1902, page 8). The company included a number of “fine specialty artists, whose ‘acts’ are introduced during the action of the play, adding no little merit to the performance as a whole” (The Cornell Daily Sun, Volume XXIV, Number 75, 21 December 1903, page 4).

Both of the leads in the show performed with a variety of first-class companies. Mary Hampton was a well-known actress who was popular with American playgoers for both her personal charm and artistic capabilities. She toured with Palmer’s Company, Frohman’s Company, and the Keogh Stock Company. Her first notable success was “Mad Money” at the Standard Theatre, later joining the Madison Square Theatre Company. In 1902, “The Gay Mr. Goldstein” was advertised a “The one big success of the new century, introducing America’s greatest leading lady, Mary Hampton, for five years principle star at Chas. Frohman’s Empire Theatre, N. Y. and the “Modern Method’ comedian” (Iowa City Press, 17 Feb. 1902, page 2).

Thomas J. Keogh was well-known as “a comedian of the first note- his early experience with the best stock companies qualified him for the more important position of ‘star’ that has since marked his career. After a long run with Mabelle Gillman in “The Mocking Bird,” Mr. Keogh was starred in “The Gay Mr. Goldstein.” In 1909 Keogh and his company were presenting a comedy sketch entitle “The Ward Healer”(The Oregon Daily Journal, 14 Feb 1909, Page 48).

“The Quad-City Times” reported, “The hit of the piece is made by Mr. Keogh in a pantomime representation of a woman dressing and preparing her toilet – an act lasting 10 minutes and keeping the audience, and particularly the ladies, in convulsions for that length of time” (23 Feb. 1902, page 4).

 

To be continued…

Part 441: Thomas G. Moses and “The Charity Nurse”

Thomas G. Moses created the painted settings for Col. James E. Fennessy in 1902. Moseds recorded that the scenery was for “The Charity Nurse,” a four-act melodrama advertised as “a play appealing to every woman in America. Written by a student of nature” (Indianapolis Star, 15 Hanuary 1905, page 15). Well, it was written by Theo. Oakley, but Fennessy had held the copyright for the story since Feb 4, 1903.

The story involved the life history of a blind pastor’s daughter, whose ambition to assist her afflicted father induces her to clandestinely leave the church circle, lured by the attractions of a New York “shark” who hoped to take advantage of her natural talents by engaging her to appear before the swell clubs of the metropolis for which he was to receive a large sum of money. Luckily, she escaped his clutches, becoming a charity nurse and eventually returned to the home fireside.

The 1903 Clipper reported ‘The Charity Nurse’ is an interesting sensational melodrama, well put together, with all necessary effects to make it a success. The story deals with a young and talented girl, who is led on by the apparently grand prospect offered by a scheming villain who leads her into a maze of wonderful scenes and thrilling situations, and almost succeeds in accomplishing her downfall. He is defeated, however, and the girl, after getting out of his clutches, becomes a charity nurse, and though the whole world seems against her, the cloud is dispelled at the last act and happiness prevails. Selma Herman plays the heroine very cleverly. The house was packed from top to bottom.”

“The Charity Nurse” was managed by George E. Heuck & James E. Fennessy of Heuck & Fennessy. The theatrical managers were also involved in the development and management of the Heuck Opera Company of Cincinnati, Ohio. Fennessy was the proprietor of Heuck’s Opera House and well-known throughout the country as a leading member of the vaudeville theatrical syndicate.

The initial presentation of “The Charity Nurse” was held at Burt’s Theatre in Toledo (The Cincinnati Enquirer, 19 April 1903, page 6). This was prior to the hiring of the leading actress, Selma Herman, to play the role of Bessie Chambers. Herman was hired to officially star in the production for the next season and rehearsals commenced in New York City early that summer. The production then appeared in Meriden, Connecticut on August 27, before playing in New York City at the New Star Theatre the week of August 31.

The numerous theatrical interests of the Heuck Opera Company necessitated that they establishe regional offices in New York at 1432 Broadway. Fennessy was able to witness rehearsals as “The Charity Nurse” was rehearsed at the Fourteenth Street Theatre in that city (The Cincinnati Enquirer, 12 April 1903, page 25). After rehearsing in New York, the initial Cincinnati presentation was at Heuck’s Opera House.

Fennessy is an interesting individual who worked in both Ohio and New York during the 1890s and into the 20th century, but continually listed his residence in Kentucky. He began his theatrical career at an early age working for the elder Heuck, who operated Heuck’s Opera House. Fennessy later became a partner at the venue. He was later known as the manager of the People’s Theatre during the heyday of burlesque. When the Lyric Theatre was constructed, Fennessy also became manager of that playhouse too.

In 1903, Fennesy married Grace Morand, daughter of James E. Morand, president of the Indianapolis Transfer Company. One year after their marriage, Fennessy instigated divorce proceedings. Shortly thereafter, his wife became despondent and committed suicide by taking carbolic acid (Des Moines Register, 20 Nov. 1904, page 14).

Fennessy’s obituary in the “Cincinnati Enquirer” commented on his genial personality and popular public persona by all manner of theatre folk. The newspaper reported, “During his years of activity in the theater management he came in contact with producers, players and public, and was loved and respected by all who knew him. He was considered an authority upon all things pertaining to the stage, and the story often has been told that performers coveted his personal praise more than a favorable critical review of their work. He was a member of the lodge of Elks and frequently prevailed upon fellow workers in the theatre to entertain the members of the organization” (14 Sept. 1925, page 2).

Over the years, however, Fennessy was also the subject of multiple lawsuits. In perusing the numerous court cases that he was involved in throughout the decades, he certainly had a penchant for opportunism that did not always fall within the constraints of the law. I will cover some of Fennessy’s escapades tomorrow as they provide fascinating insight into the theatrical syndicate, especially the Empire Circuit’s activities during the time when Moses was creating sets for Fennessy & Heuck.

To be continued…

Part 440: Thomas G. Moses and Nain Grute’s “Man to Man”

Thomas G. Moses recorded creating scenery for “Man to Man” in 1902. This was a “great sensational drama” by Nain Grute that was presented by Butterfield & Bromilow. It opened at the Lyric Theatre in Hoboken on April 3, 1902. Next, the show toured to the Academy in Buffalo (Buffalo Enquirer, 26 April, 1902, page 12). A melodrama in four acts and 6 scenes, the play was copyrighted on August 10, 1902. The show then went to the Star Theatre in New York where it opened on August 25, 1902. It was advertised as “distinctly modern and sensational” (The Buffalo Morning Express and Illustrated Buffalo Express, 24 April 1902, page 9).

 

Two acts of the shows were placed in the Adirondack mountains, with the other two acts set in New York City. The primary stage settings represented a cave in the Adirondacks mountains; Mrs. Harvey Grant’s New York Home; and a dive under the Brooklyn Bridge (The Reading Times, 9 April 1903, page 2). Another scene depicted a gambling den in New York’s famous “White Light District” (24 April 1902, page 9).

“The Buffalo Courier” described the story of “Man to Man” as follows:

“It concerns the love of a young Harvard graduate, David Morton, for Elsie, the beautiful ward of Jasper Geoffrey, a scheming and cunning miser, who has accumulated a store of diamonds which he worships even above Elsie, whose parents he has parted. Morton, on account of ill-health, has given up his studies and become a guide in the Adirondack mountains, at a hotel owned by Geoffrey; outwardly a summer hotel, but really conducted as a rendezvous by Geoffrey from which to carry on thieving operations. It is not until after Geoffrey attempts to force his attention upon Elsie, and is prevented by Morton, that a plot to do away with him is hatched. He is falsely accused of theft, thrown into a makeshift jail in a mountain village, and that night is kidnapped by Geoffrey and his accomplices who take him to a mountain cave.

The cave is used by Giovanni Lombarda, an intimate friend of Geoffrey, as a bear pen for a trained animal he has brought with him from the Australian diamond fields.

The bear has become cross and unruly, and everything is done to make it appear that Morton escaped from the jail, and unwillingly sought shelter in the cave occupied by the bear. But Elsie who has overheard the plotting of the “gang,” gains entrance to the cave before Morton and is brought to it, cuts his bonds as soon as he is thrust inside, and while Geoffrey and Lombarda are busied in the darkness in closing its entrance with a huge boulder, both escape into the night.

Elsie returns home and Morton now cleared of the charge of theft is given shelter by an old minister on the outskirts of town. From this point on truth and honor triumph, and Geoffrey who attempts to rid himself of Lombarda is stabbed by the Italian in a quarrel. A strong comedy vein, which is carried deftly through the story, revolves around the doings of a country sheriff, a country boy and a chambermaid at the hotel” (27 April 1902, page 28).”

“The Buffalo Express” further detailed, “A realistic battle for life and liberty ensues, the bear fighting unmuzzled” (24 April 1902, page 9). “The Buffalo Commercial” reported, “The most realistic and thrilling situation in the play is a fight between a man and a black mountain bear in a cave in the mountains. A bear standing five feet on his haunches is carried with the production, and has been so well trained that it fights unmuzzled” (The Buffalo Express, 24 April 1902, page 10).

The production company included George Whitman, Eloise Davis, James Young, Lillian Lancaster, William Hunt, George W. Mitchell, Eugene Keith, Keehan Buell, Madge Whyte, Frederick Davis, Phillip O. Irving, Charles D. Moore, and “little Irene Clarke, the very clever child actress, with her whistling cuckoo song and tambourine dance.”

The author, Nain Grute (1863-1929), was a veteran journalist and playwright. His obituary reported, “Born in Youngstown, Ohio, he joined the staff of the Kansas City Star in 1893, and later assisted in establishing the Kansas City World, which has since ceased to exist. In 1897 he joined the staff of the New York Herald, later going to the New York World and still later to the New York Times, where he was employed until his death. He wrote several plays, among them “Man to Man” (Indianapolis Star, 21 Aug 1929, page 3).

Grute also partnered with Wade Mountfortt to write “The Missourians,” a show that also included a spectacular horse race scene with treadmills (The Pittsburgh Press, 27 Nov 1904, page 33).

To be continued…

Part 437: Thomas G. Moses and “Shadows of a Great City”

In 1902, Thomas G. Moses created scenery for Chas. Jefferson’s production of “Shadows of a Great City.” He wrote that the action necessitated the use of real water in a big tank, making the show “very melo-dramatic.”

Moses was talking about Charles Burke Jefferson (1851-1908), the first of four children born to Joseph Jefferson and named after his father’s half-brother, actor and comedian, Charles Burke. Although an actor in his own right, Chas. Jefferson primarily worked as a theatrical manager; first as father’s business manager and later as the manager of his own shows.

“Shadows of a Great City” was advertised as “a new domestic sensational drama,” or melo-drama. The show premiered at McVicker’s Theatre on July 14, 1884. At that time, Charles Jefferson and another brother managed the show as it toured the country (Detroit Free Press, 21 September 1884, page 6).

The play was written by Livingston Robert Shewell (1833-1904). The Perry Pilot reported the production was “written by the experienced actor Mr. L. R. Shewell at his country seat in Kent county, near Tolchester Beach. The merit of the work so impressed Mr. Joseph Jefferson that he entered into partnership with Mr. Shewell for its production (The Perry Pilot, 6 August 1884, page 6).  C. B. Jefferson, L. R. Shewell, and T. Jefferson copyrighted the story in 1884. Here is the link to the story of the play and the proposed original cast and premiere: https://archive.org/details/shadowsofgreatci00shew

“Shadows of a Great City” was first brought to Chicago, before it toured other Western cities, “drawing large audiences “(The Baltimore Sun, 24 Oct. 1884, page 2). The original cast included Joe Jefferson, Frederic Paulding, Miss Belgarde and Mrs. Annie Yeamans (Chicago Tribune, 6 July 1884, page 6). By December of that year, advertisements promised the show to be, “Realistic and original. Magnificent scenery, startling mechanical results, superb stage settings and scenic effects” (The Critic, Washington, D.C. 5 Dec. 1884, page 3).

The play is set New York, opening in a pawnbroker’s shop on Catherine Street. The second act takes place on Blackwell Island, with the third and fourth acts on the Harlem River. The “big tank of real water” that Moses mentioned in his memoirs was used to represent the Harlem River setting. The setting for the fifth, and final, act is in the mansion of the city banker, Thos. Benson. The scenery was painted at McVickers while the show was rehearsed in New York, before everything was assembled in Chicago for the July 14, 1884 premiere (The Inter Ocean, 6 July 1884, page 13).

The 1902 revival was solely managed Charles Jefferson (Detroit Free Press, 29 July 1902, page 4). Interestingly, it starred Mrs. Annie Yeaman, again, as the principal comedienne for the revival. While researching the play, I came across a fascinating article about the various activities of the Jefferson family in 1902. It provides a wonderful context for that year, especially as Moses worked on of two Jefferson productions mentioned in the article– “Shadows of a Great City” and a brand new version of “Rip Van Winkle.”

The Chicago Tribune commented on the Jefferson Clan and Charles B. Jefferson’s production (26 Jul 1902, page 18). “If the Jefferson family would unite in a grand revival of “Rip Van Winkle” there would be no necessity of paying salaries outside the home circle. Being independent Americans, however, they prefer to make their money in their own way, and are already preparing to favor every section of the country where the name of Jefferson is known next season. Joseph Jefferson will present his usual repertoire during a brief season which may not last more than twelve weeks, and will in all probability be divided into fall and spring tours of six weeks each. While he presents “Rip Van Winkle,” “The Cricket on the Hearth,” and “The Rivals,” his sons, Thomas, Joseph, and William will each arrange to cover territory which their distinguished father will find it impossible to traverse. Thomas Jefferson’s tour in “Rip Van Winkle” is to be a distinct and separate venture. He will play in the far west, while his father appears in the east. The tour of Joseph and William Jefferson in “The Rivals” will not begin until the middle of November, after their father has closed his preliminary season. Young Joe Jefferson is to play Sir Lucius O’ Trigger, and William will play Bob Acreas, a part in which he has already won distinction. The Jefferson boys will manage themselves, as well as their father’s affairs. Charles B. Jefferson, the oldest son, not to be outdone by his younger brothers, is said to be figuring on a revival of the old melodrama “Shadows of a Great City” with Mrs. Annie Yeaman as the star.”

“Shadows of a Great City” was later translated into film by the English in 1913 and the American’s in 1915. The American version was filmed in New York City and released on April 5. The director was Herbert Blaché and the film starred Thomas Jefferson and Adelaide Thurston.

To be continued…