Thomas G. Moses – Page 45

Tales from a Scenic Artist and Scholar. Part 425 – Thomas G. Moses’ design for “In Dahomey”

Part 425: Thomas G. Moses’ design for “In Dahomey”

In 1901, Thomas G. Moses wrote, “We started with Hurtig and Seamons, which proved to be good in quantity and quality.” He was referring to the theatrical management team who was made up of Benjamin F. Hurtig, Jules Hurtig and Harry J. Seamon. Benjamin and Jules were brothers. Their offices located at 1435 Broadway.

In 1901, Julius Cahn’s Official Theatrical Guide advertised that the firm ran the Harlem Music Theatre (a variety venue in New York), the Bowery Burlesquers Co. and The Social Maid’s Burlesque Co.; they were well-known as “New York amusement caters.” By 1909 when Benjamin Hurtig passed away, the firm controlled five playhouses in New York, two in Brooklyn, two in Chicago, one in Syracuse, one in Rochester, and the Lyric in Dayton, Ohio. They also owned and controlled nine companies on the road. Hurtig & Seamon were members of the Columbia Amusement Company, which controlled the operation of forty-five burlesque houses; of which Jules Hurtig was vice-president.

Moses & Hamilton painted the scenery for a few of Hurtig & Seamon shows, including “The Sons of Ham,” a show that featured the African American performers Egbert Austin “Bert” Williams and George Walker. This production rejected the stereotypical black roles, with Williams portraying a man who was simply down and out. The production boasted a company of fifty people with “special scenery and electrical effects” (Davenport Morning Star 15 February 1901, page 5).

The Harlem Opera House was used by Hurtig and Seamon while their new theaters were under construction.

The same year that Moses & Hamilton began working for Hurtig & Seamon, the theatrical managers were in the midst of planning the construction of two new theatres in New York, both on 125^th Street (The Evening World, NY, NY, 28 June 1901, page 9). One was to be erected on 125^th Street between 7^th and 8^th Avenues, while the other was to be erected near Lexington Avenue. The first structure would contain a music hall, theatre and big roof garden. During the planning and construction, Hurtig & Seamon primarily occupied the old Harlem Opera House (est. in 1889 by Oscar Hammerstein) that was just down the block at 211 West 125^th Street.

Program for “In Dahomey” at the New York Theatre

“In Dahomey” with painted scenery by Moses & Hamilton, 1902

In 1902, Moses recorded that he designed “In Dahomey” for Hurtig & Seamon. He wrote, “Williams and Walker were starred, and the show was taken to England, where they were commanded to appear before King Edward VII.” The show starred Bert Williams (as Shylock Homestead) and George Walker (as Rareback Pinkerton). The cast was invited to give a command performance in the garden of Buckingham Palace on June 23rd for the young Prince of Wales’ birthday celebrations (the future King Edward VIII). In England a cakewalk scene was added to the finale of the show.

Advertisement from “In Dahomey” while on tour in the United Kingdom

Program for “In Dahomey” at the Shaftesbury Theatre

“In Dahomey” was advertised as “a negro musical comedy,” based on the book by Jesse A. Shipp, with music by Will Marion Cook and lyrics by poet Paul Laurence Dunbar. It was the first full-length musical written and performed by all African Americans that opened at a major Broadway house. The three-act musical production opened at the New York Theatre on February 18, 1903, and closed after 53 performances on April 4. The show with almost fifty performers, was then transported to England where it opened on April 28, 1903, at the Shaftesbury Theatre and completed a provincial tour throughout the United Kingdom. In 1904, the musical returned to Broadway and ran from August 27 until September 10, at the Grand Opera House. This seventeen-show run was followed by a major 40-week tour across the United States.

While on tour in the United Kingdom, Williams and Walker were both initiated into Waverly Lodge No. 597 of Edinburgh, Scotland, along with nine others from the Williams and Walker Colored Minstrels troupe. In 1922, when Williams died, the Edinburgh Lodge requested that he be buried with Masonic honors, a courtesy performed by St. Cecile Lodge No. 568 of New York City (William L. Fox, “Lodge of the Double-headed Eagle,” page 225).

Song hits of “In Dahomey” sung by Bert Williams and George Walker

Here is the Story of “In Dahomey,” as it was printed in the original program:

“An old Southern negro, ‘Lightfoot’ by name, president of the Dahomey Colonization Society, loses a silver casket, which, to use his language, has a cat scratched on the back. He sends to Boston for detectives to search for the missing treasure. Shylock Homestead and Rareback Pinkerton (Williams and Walker), the detectives on the case, failing to find the casket in Gatorville, Fla., ‘Lightfoot’s’ home, accompany the colonists to Dahomey. Previous to leaving Boston on their perilous mission, the detectives join a syndicate. In Dahomey, rum of any kind, when given as a present, is a sign of appreciation. Shylock and Rareback, having free access to the syndicate’s stock of whiskey, present the King of Dahomey with three barrels of appreciation and in return are made Caboceers (Governors of a Province). In the meantime the colonists having had a misunderstanding with the King and are made prisoners. Prisoners and criminals are executed on festival days, known in Dahomey as Customs Day. The new Caboceers, after supplying the King with his third barrel of appreciation (whiskey), secure his consent to liberate the colonists after which an honor is conferred on Rareback and Shylock, which causes them to decide ‘There’s No Place Like Home.’”

The settings for “In Dahomey” included:

Act I – scene 1 – Public square in Boston

Picture of the Public Square for “In Dahomey,” scenery by Moses & Hamilton, 1901.

Act II – scene 1 – Exterior of Lightfoot’s home, Gatorville, Florida; scene 2 – Road, one-and-a-half miles from Gatorville; scene 3 – Interior of the Lightfoot home

Act III – scene 1 – Swamp in Dahomey; scene 2 – Garden of the Caboceer (Governor of the Providence). Execution tower in the distance.

Although Bejamin Hurtig would pass away in 1909, his brother Jules Hurtig & Seamon would obtain a thirty-year lease on the newly constructed neo-classical theatre in Harlem, New York, during 1914. This theater opened as “Hurtig and Seamon’s New Burlesque Theatre,” but the venue would be renamed in 1934 as the Apollo Theatre.

Hurtig & Seamons New Burlesque Theatre, 1914

A punch card for Hurtig & Seamon’s New Burlesque Theatre

To be continued…

Tales from a Scenic Artist and Scholar. Part 424: Coney Island – “The Devil, Man and the Maid”

For additional installments, go to www.drypigment.net

Advertisement placed by Moses & Hamilton for their new attraction in the Brooklyn Daily Eagle, June 14 1903, page 56.

For over a year, Moses & Hamilton watched showmen rake in massive profits. Thomas G. Moses wrote, “Hamilton was anxious to get into the amusement business, so we invested $3,000.00 in a little stunt, which we called ‘The Devil, The Man and the Maid.’ It was a bit taken from Faust. We had good scenery and lighting effects and many novelties were introduced. One day’s receipts was $400.00 and it all looked good to us, but a rainy spell set in an no one did business on the island. Our gross receipts were $9,000.00. They should have been at least $12,000.00 to give us a good profit. We sold out at the close of the Coney Island season and had a $1,000.00 net, for all our work and trouble.”

Their attraction was located on Surf Avenue, opposite of the Culver Depot. Moses & Hamilton advertised in the Brooklyn Daily Eagle on June 14, 1903 (page 56). The advertisement promised, “A Refined Sensational Novelty for Men, Women and Children. Spectacular in All Its Effects. Most Interesting Show on the Island.”

Moses admitted that $1000 was better than a totals loss, but it convinced Hamilton that he was not cut out to be a showman.

Moses continued to describe the experience, writing, “We started with five people in the show and wound up with twenty-three. Hamilton took the advice of every old showman on the Island, nothing they suggested proved to be of any use. Luna Park itself proved to be a money getter, and helped to increase the attendance at the Island; better car service was installed to New York and with the steam boats there were facilities on going and coming, enjoyed by everyone.” I discovered that Mose & Hamilton sold the show to Messrs. Kern and Grim. It was next used for the St. Louis Exposition in 1904.

In 1905, the Allentown Morning Call (20 Sept 1905, page 1) reported that the amusement “The Devil, The Man and The Maid” had originated on Luna Park was part of the novelties for the Pike at the Allentown Fair. It was one of three attractions, along with “Around the World” and “Siberia.” Messrs. Kern and Grim has also exhibited “The Devil, The Man and The Maid” at the 1904 St. Louis Exposition. The newspaper article reported, “This is one of the most successful illusion shows ever brought to this city.

On entering, one sees a young lady hypnotized in full view of the audience, and caused to float, unsupported, in the air, all this in a brilliantly lighted room. Later, the same young lady is securely bound by some one from the audience, securely sewn up in a bag, and placed in a large trunk, which is, in turn, is tied up and locked in such a manner that any escape seems impossible. This is then placed in a cabinet, and the trunk dragged out a minute later by members of the audience, and opened, only to find that the woman has disappeared and a man substituted.

From this room, one is taken into the side theatre, without any further price of admission, and here a lady or gentleman is taken from the audience, and in full view of the audience, transformed from rosy health to a grinning skeleton, and then in turn, returned to natural state. The same person is introduced to persons appearing on the stage, and when attempting to touch them finds that they disappear at will. This show is one of the most realistic performances and aggregation of the most astounding feats ever shown here.”

The effect with the skeleton was the scenic illusion called “Pepper’s Ghost.” This is the same effect that Moses would create while working for Sosman & Landis when designing for fraternal theaters. It was successfully used in the Scottish Rite’s thirtieth degree catacombs scene where a man “from the audience,” or exemplar for the degree, turned into a skeleton on stage.

To be continued…

Tales from a Scenic Artist and Scholar. Part 423 – Coney Island – “Fire and Flames”

Part 423: Coney Island – “Fire and Flames”

Besides “Trip to the Moon,” “20,000 Leagues Under the Sea,” and “The War of Worlds,” Moses & Hamilton produced several smaller attractions at Luna Park. Thomas G. Moses recalled, “At Luna Park I had a big show of ‘Fire and Flames,’ a very effective amusement park show. Real fire, real engines and an awful mob of street vendors and loafers. A lot of good comedy and it did good business.”

Thomas G. Moses and William F. Hamilton helped create the spectacle “Fire and Flames” for Fred Thompson at Luna Park in 1903.

The attraction that Moses referred to involved the burning of a four-story brick building over the space of a city block. In 1903, the New York Times described this upcoming attraction at Luna Park, reporting that the setting for “Fire and Flames” was to depict “the greater part of Manhattan Island below Forty-fifth Street, with millions of lights in the tall buildings” (New York Times, 28 Sept 1903, page 7). The article continued, “A hotel is to catch fire, when all the paraphernalia of the Fire Department, the ambulances, and police reserves are to be exhibited.”

Detail of a scene from “Fire and Flames” at Luna Park.

The Peninsular Club Public Opinion journal advertised “Fire and Flames” as “the most realistic and stirring of all the shows.” The article explained, “Hundreds of supers take part in this, with many horses, cabs, wagons, several real trolley cars, fire engines, hook and ladder outfit, life net and water tower. The street scene is so life-like that it doesn’t seem like a show at all, and the flames bursting from the house-windows, the people at the windows screaming for help, the firemen scaling the walls with their ladders to bring down some, while others leap into the life-net, are all so terribly real that the audience feels that it has assisted at a bona-fide holocaust. The heat and ashes from the flames are sufficiently genuine to give all the thrills an ordinary mortal requires” (The Peninsular Club Public Opinion, August 12, 1905, Vol. XXXIX, No. 7, page 200).

In 1904, the former chief instructor of the New York City Fire Department, Henry W. McAdam, left his position after twenty-one years to become the director in charge of Luna Park’s “Fire and Flames” (Fire and Water Engineering, Vol. 37, 1905, page 248). McAdam was one of sixty fire fighters cast in three engine companies employed to work for Thompson for this one spectacle. The actual burning of the block involved four hundred people (Broadcast Weekly, page 7).

Moses recalled, “It was so popular that a similar attraction called ‘Fighting the Flames’ immediately appeared at “Dreamland,” the nearby amusement park also on Coney Island. Extant photographs documenting the two shows reveal almost identical spectacles.

Detail of painted backdrop next to three-dimensional building for “Fighting the Flames” at Dreamland.

Amusement park attractions, such as “Fire and Flames,” inspired early filmmakers to record the excitement and action of the spectacle. They left small snippets of popular culture that we are able to still explore when studying the past. Thomas Edison made a short movie depicting the 1904 “Fire and Flames” attraction at Coney Island, giving us a glimpse at the scene Moses describes above. Here is a link to the short film that Moses helped create for Luna Park: https://vimeo.com/165556307

I noticed something wile watching the film of “Fire and Flames;” the scenery is identical the “Fighting the Flames” as depicted in postcard s and photographs. “Fire and Flames” used a much bigger set. I wonder the film was incorrectly labeled at time of production since both attractions were filmed at the same time.

Postcard depicting the Dreamland attraction “Fighting the Flames”

Similarly, the competing attraction “Fighting the Flames” was also filmed and is available to view: https://www.youtube.com/watch?v=uJylhIhtrlA

To be continued…

Tales from a Scenic Artist and Scholar. Part 422 – Coney Island – Thomas G. Moses and “The War of Worlds”

Part 422: Coney Island – Thomas G. Moses and “The War of Worlds”

Postcard depicting the entrance of Luna Park

Amusement park attractions with massive spectacles provided a unique opportunity; new technology was integrated into established and successful scenic illusions. There were ample opportunities to experiment with visual spectacle. In some cases, already successful endeavors were tweaked, or revamped for even greater appeal. Luna Park showcased the work of many artisans, including the scenic art of Moses & Hamilton.

“A Trip to the Moon,” near the entrance of Luna Park.

Nearest the main entrance was Luna’s premiere attraction, “A Trip to the Moon.” The attraction was transported from Steeple Chase Park to Luna Park in 1902, then renovated and placed in a new building at the expense of $52,000. The new airship, Luna III, was also enlarged to accommodate more passengers. The show now ascended over a panorama of Coney Island, flying over Manhattan’s skyscrapers before continuing its journey to the moon, after rising into the clouds. Another change was that visitor’s would enter a moon dragon’s mouth, allowing them to walk into its stomach as the floor rocked to and fro as though alive. Descending to the dragon’s tail, visitor’s returned to earth, exiting safely on the streets of Luna Park.

Exterior of the building where the “War of Worlds” spectacle was located at Luna Park.

The building next to “A Trip to the Moon” was “War of the Worlds” and it resembled a monster submarine boat. The interior of the building depicted a small-scale version of Fort Hamilton and the New York Bay. This scenic spectacle depicted a naval attack on New York Harbor by foreign enemy invaders.

Painted scenery placed at the entrance of the “War of Worlds” show.

Moses and Hamilton also were hired by Fred Thompson to paint the scenery and engineer some of the scenic effects for “The War of Worlds” at Luna Park. For their services, they received $2,900.00. Moses noted that their final profit from Thompson’s project was $2,200.00, as they painted it in less that one half the time they thought it would take. Moses wrote, “It was all painted in oil as the scenes all worked through a tank of water. The attraction included battleships that were large enough to hold the “good-sized boy” who operated them during in battle scenes. Moses recalled this “big hit,” but one having “too much powder and noise.”

The audience was located in one of the batteries guarding New York Harbor, and watched forty ships sail toward Manhattan. The enemy fleet represented the combined navies of Germany, Britain, France and Spain. The ships appeared along a distant horizon, and slowly approached the audience, who were seated in one of Fort Hamilton’s turrets. As the enemy approached, battleships and destroyers fired their guns. An enormous shell blew up one of Fort Hamilton’s bastions. Then an enemy ship was blown into splinters. As the battle raged, the fort’s mighty guns shook the ground. Fortunately, Admiral Dewey’s American fleet sank the all of the foreign ship, before the enemy was able to lay siege to the city.

Historical accounts of the spectacle record that the show used a combination of electrically controlled models and small actors maneuvering the larger ships. The painted background by Moses & Hamilton was a huge canvas that depicted the harbor and Statue of Liberty.

Admission to every one of Luna’s attractions would cost just under two dollars. “A Trip to the Moon,” “War of the Worlds,” “20,000 Leagues Under the Sea,” Hagenbeck’s Trained Animals and the Infant Incubators were the most expensive attractions, priced at 25 cents each, today’s equivalent of $6.75. Dime attractions included “Shoot the Chutes,” “Wormwood’s Monkey Theater,” the Gondola Launches and the Japanese and Chinese Theaters. Rides on the miniature railroad called the Midnight Express or the Razzle Dazzle cost only a nickel.

To be continued…

Tales from a Scenic Artist and Scholar. Part 421 – Coney Island – Thomas G. Moses and “20,000 Leagues Under the Sea”

Part 421: Coney Island – Thomas G. Moses and “20,000 Leagues Under the Sea”

A postcard depicting the entrance of Thompson and Dundy’s Luna Park on Coney Island.

In 1902, Thomas G. Moses recorded that Fred Thompson was building Luna Park, opposite Dreamland and Steeple Chase Park on Coney Island. Moses & Hamilton would paint several projects for Thompson at Luna Park.

Thompson and Dundy’s “Trip to the Moon” at Luna Park. This attraction was moved from Steeplechase Park in 1902 to be the premiere attraction at the new Luna Park.

Thompson and Dundy’s “A Trip to the Moon” was extremely successful at Steeplechase Park during 1901; over 850,000 people took a voyage on the airship Luna. Even though much of the summer was cold and rainy, the attraction greatly contributed to the overall success of Steeplechase Park. In fact, Steeplechase was the only park to turn a profit that summer. At the end of the season, however, the amusement park’s owner, George Tilyou, decided to increase his profits for the next season, offering Thompson and Dundy 40% of their profits instead of the customary 60%. Thompson and Dundy decided to take their attraction elsewhere and start their own park. They leased the nearby Sea Lion Park and an adjacent parcel of land on the seaward side, planning to build an new 22-acre park.

Luna Park opened during the spring of 1903, with a staggering price of $700,000 to construct. The grand opening for Luna Park was scheduled for May 16. For the dedication, 250,000 electric lights were switched on at 8PM and a five-lane gate opened to a stream of visitors. In two hours time, attendance had reached over 60,000 visitors, signaling Thomson and Dundy’s success. By mid-summer, all of their loans were repaid while the profits continued to roll in. Those who had helped out that first summer, struggling alongside Thompson and Dundy, were rewarded. For example, the head of publicity who had worked the entire first summer on a percentage basis with no salary, received a huge bonus. At the close of the season, Thompson and Dundy paid him $116,000.

Luna Park was named to honor Thompson & Dundy’s main attraction – “A Trip to the Moon.” In addition to this featured ride, Thompson designed two other massive attractions – “20,000 Leagues Under the Sea” and “The War of Worlds.” Although they were not ready for the opening, visitors came to the park in droves. Moses & Hamilton were hires to create the scenic illusion for both of these new rides.

A postcard depicting the ride at Luna Park – “20,000 Leagues Under the Sea.”

In his typed manuscript, Moses wrote, “Our first big job for ‘Luna Park’ was ‘20,000 Leagues Under the Sea.’ It was a very unique show and kept us busy for several months. We had a real submarine boat in front of the show that actually sank with the passengers and was totally submerged. The passengers were then taken out of the boat through a passageway into another boat, a duplicate of the one they first entered. Then, the effect of under the sea was sprung on them and it worked perfectly. The illusion was very convincing.” The total cost to create this illusion was approximately $180,000.

A submarine took passengers on a realistic underwater journey to the North Pole, very much in the same way that the Luna airship took riders to the moon. The ride was in a building that covered 65,000 square feet. The entrance alone was 125 feet wide by 70 feet high, and 150 feet deep. Between 100 and 200 riders walked down a ramp and boarded a Holland-class submarine replica. They sat sit facing large portholes that presented a view of the ocean around them on the journey. After the hatch was latched shut, the submarine submerged under water in a 24-foot-deep pool.

Moses & Hamilton painted a panorama purportedly measuring 3 ½ miles long, depicting the underwater voyage from the Indian Sea to the North Sea. The canvas that was allegedly held on twenty-four spools with various underwater compositions depicting seaweed, coral reefs, schools of fish, sharks, sea monsters, a mermaid, and even the shipwreck of the Flying Dutchman.

The air inside the Nautilus submarine was cooled as the passengers traveled closer to the North Pole. It was an exciting journey as the submarine narrowly missed colliding with a ship passing overhead, and later struck then an iceberg when ascending to the surface.

At the North Pole, passengers exited the vessel and were greeted with a blast of cold Arctic air. Eskimos in fur skins emerged from their igloos, eager to meet the new arrivals. Real seals and polar bears also cooled themselves on nearby icebergs. Passengers were encouraged to take and ice chips as a temporary memento on each hot summer day. Before boarding the Nautilus for their return home, visitors were treated to a spectacular view of the Aurora Borealis in the night sky.

Entrance to “20,000 Leagues Under the Sea” (left).

To be continued…

Tales from a Scenic Artist and Scholar. Part 420: Coney Island – Thomas G. Moses and “A Trip to the Moon”

Part 420: Coney Island – Thomas G. Moses and “A Trip to the Moon”

In many situations recorded throughout Thomas G. Moses’ memoirs, things never quite go according to plan. When Moses moved his family to New York, his stable employment with Henry W. Savage evaporated at the end of the season; his work for Savage ceased when the Castle Square Opera Company left the American Theatre. Similarly, his work for Henry Greenwall was also short-lived as the Greenwall Company also left the American Theatre. Moses & Hamilton began designing settings for other Broadway venues between 1900 and 1904.

Moses & Hamilton’s Broadway designs include “Under the Southern Skies” (Theatre Republic, Nov. 12, 1901 to Jan. 1902), “In Dahomey” (New York Theatre, Feb. 18, 1903 to April 4, 1903, with a return to the Grand Opera House from August to September, 1904), “The Medal and the Maid” (Broadway Theatre, Jan. 11, 1904 to Feb. 20, 1904, Grand Opera House, March 1904), “The Pit” (Lyric Theatre, Feb. 10, 1904, to April 1904), and “Girls Will Be Girls” (Haverly’s 14th Street Theatre, Aug. 27, 1904 to Sept. 3, 1904)

It was Hamilton who prompted Moses to try his hand at the amusement business on Coney Island. Both scenic artists were immediately caught up in the excitement of amusement park profits. In 1901, Moses wrote, “We started the year on the jump. In addition to the weekly grind of getting out the Stock Company’s work, we had the contract for the “Trip to the Moon,” a big amusement park novelty owned by Thompson and Dundy.”

The midway at the 1901 Pan-American Exposition, with the “Trip to the Moon” ride pictured right.

Entrance to the “Trip to the Moon” at the 1901 World Fair

Thompson erected a 40,000-square-foot building that was 18 feet high to house the attraction at an expense of $84,000, for the 1901 Pan-American Exposition. Every half hour thirty passengers boarded “Thompson’s Aerial Navigation Company” spaceship “Luna.” It took twenty employees to operate the ride, with an addition to 200 actors to animate the journey.

At the sound of a gong and the rattle of an anchor chain, the passengers began their journey into space. The spaceship included enormous red canvas wings that moved with system of pulleys, flapping like a bird.

The vessel rocked from side to side, before rising into the sky. Hidden fans blew on the passengers who sat in steam chairs, creating the sensation of being airborne as a series of moving panoramas provided the scenic illusion of passing clouds; the city of Buffalo (a model with blinking lights) vanished in the distance, and eventually the entire earth disappeared from view. The illusion was enhanced with lighting and sound effects. This ride is reported to be the first electrically powered mechanical “dark ride.” Thompson even patented his creation (US725,509).

Fred Thompson’s patent for the airship Luna

As passengers exited the spaceship, they were greeted by Selenites – sixty little people were employed to guide them through a maze featuring “crystallized mineral wonders” on their way to the “City of the Moon.”

Selenites pictured in the “Trip to the Moon” ride.

Actors performing during the amusement ride, “Trip to the Moon”

One of the moon monsters in “Trip to the Moon”

The Palace of the Moon King in “Trip to the Moon”

At the end of the experience was a souvenir shop, with samples of green cheese and “mooncraft demonstrations.” The passengers were then admitted to the palace of the “Man in the Moon,” as well as a spectacular stage show. Sadly, they returned to earth by way of a simple rope ladder.

The Palace of the Moon stage show at the end of the “Trip to the Moon” ride

This amusement was wildly successful at the 1901 Pan-American Exposition in Buffalo, New York. Tickets were US$0.50 at the time, twice the price of most other attractions at the exposition. Over 400,000 experienced “A Trip to the Moon” before it closed on November 2, 1901.

The 1901 “Trip to the Moon” amusement ride was preceded by Jules Verne’s 1865 novel “From the Earth to the Moon” and the 1877 four-act opera “A Trip to the Moon,” with music by Jacques Offenbach. In 1893, a play based on Verne’s classic novel appeared at New York’s Booth Theater; it was followed by a music and dance number, “A Trip to Mars” that was performed by a company of “Lilliputians.” A movie also followed the success of the 1901 World’s Fair. During May 1902, filming started for “Le voyage dans la lune” (A Trip to the Moon) by Georges Méliès. By September 1, 1902, the film was released in Paris and then New York City.

When the Pan-American Exposition ended, Fred Thompson and Elmer “Skip” Dundy placed their “Trip to the Moon” amusement in Steeple Chase Park on Coney Island, experiencing a wildly successful season during 1902. At the end of the season, they immediately began planning their own amusement park, leasing Paul Boyton’s Sea Lion Park. Their sixteen-acre park soon expanded to a twenty-two acre park, after acquiring some more adjoining land. Advertising that the new park had cost one million dollars to construct, it opened on May 16, 1903. At eight o’clock on the evening of the first day, 250,000 lights illuminated their venture – Luna Park – outlining the buildings and creating a magical land.

To be continued…

Tales from a Scenic Artist and Scholar. Part 419: The Thomas G. Moses Family Moving to Mt. Vernon, New York

Postcard depicting Mt. Vernon, New York, in the 1890s.

Thomas and Ella Moses moved east to Mt. Vernon, New York, in 1900. After settling into their new home, Moses wrote, “Ella and I had become a bit acclimated. The children became interested in their schoolwork, and we “jollied” ourselves along with the idea that we were perfectly happy in our Eastern home. Pitt [age 19] went directly to Trenton, N.J. with his Uncle Frank, making a start in his future life’s work. Mamie [age 17] was trying to be happy in Chicago. In September she and her husband joined us for a while.”

The couple had four children: Thomas William “Pitt” Moses (b. 1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886) and “Rupert” Moses (1889).

Pitt worked with Frank Deming Moses in the gas industry. Frank Moses’ contribution to the gas industry was significant; his later passing was reported in the American Gas Association Monthly, listing him as one of the gas industry’s “old guard.” Pitt, followed in the footstep of his uncle and worked with him at the gas plant in New Jersey (see past installment 162).

Moses was forty-four years old with two of his four children already grown; Pitt and Mamie were beginning their own adventure. Moses’ familial responsibilities were diminishing, as there were no longer four children awaiting his arrival at the door after an extended absence, only two, ages twelve and fifteen by 1901. There were no more small children under foot who were desperately seeking his attention or disturbing him in his studio. Moses recognized that he lost many precious moments with his family over the years while he was travelling. He desperately missed his wife, children, grandchildren and great grandchildren, always wanting them to know how much he disliked the extended separations. In 1930, Moses sent a Halloween card to his granddaughter Doris. In the card, Moses he wrote, “I am not staying away from home because I like to. I would like to take a train tonight for Chicago. It will be a month more before I can get home.”

I wonder if Moses’ move to New York signified hope; hope that there would be enough work to stay in one city and not travel. Hope that the pattern established over the past twenty years would change. It was time to start a new chapter in their lives and leave all past regrets behind in Chicago. Of this transitional period, Moses wrote, “As we closed the year’s work, we found that we had done very well, and I didn’t regret going East; but we did miss our Oak Park home, and the Harrison Street house [in Chicago] was a constant source of worry for us.”

There were so many possibilities in New York, but even more financial risks as Moses & Hamilton began setting their sights on Coney Island and the profits that could be made by manufacturing amusements.

To be continued…

Tales from a Scenic Artist and Scholar. Part 417 – Moses & Hamilton’s “Floradora”

Part 417: Moses & Hamilton’s “Floradora”

A scene from “Floradora” with scenery by Moses & Hamilton, 1900

In 1900, Thomas G. Moses wrote, “We also secured paint frames at the 125th Street Theatre, which gave us four frames.” Moses & Hamilton hired Al Roberts, Edward Loitz and Otto Armbruster to do the majority of the stock work at Proctor’s 125th Street Theatre in New York. The theater building was designed by the New York architectural firm McElfatrick & Sons. Julius Cahn’s Official Theatrical Guide (1901-1902) reported that the theater was quite large and had a seating capacity of 4,450 people. The proscenium measured 40 feet wide by 39 feet high with a stage depth of almost 35 feet, and 70 feet between the sidewalls. There was also 70 feet from the stage and the rigging loft, with two bridges. The depth under the stage was 12 feet with six traps. One important feature that made make this place ideal for Moses & Hamilton was the addition of a scene room to the stage. Space and location were the key to any studio’s overall success; scenic artists needed access to multiple frames throughout a city when a very large project hit. Scenic studios would refer to these additional spaces as “annex studios,” or temporary locations that complimented their main studio and business offices.

As noted yesterday, Moses & Hamilton used the paint frames at three theaters for their projects: Proctor’s Twenty-third Street Theatre, the American theatre, and Proctor’s 125th Street Theater. Moses was the lead scenic artist at the American Theater, Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic artist for Proctor’s 125th Street Theatre, with Otto Armbruster and Ed Loitz working there most of the time.

One of the early productions that Moses & Hamilton designed in 1900 was “Floradora.” John C. Fischer, John W. Dunne and Thomas Ryley secured the American rights for “Floradora,” producing the first Broadway version. Of the production, Moses wrote, “Mr. John C. Fisher had closed the season with Mme. Modjeska and had got an interest in ‘Floradora.’” The previous year, Moses designed all of the scenery for Modjeska and Fischer in California, then he left for New York to work for Henry W. Savage at the American Theatre.

The London premiere of “Floradora” at the Lyric Theatre opened on November 11, 1899, running for 455 performances. The Broadway “Floradora” production with Moses’ designs opened 10 November 1900 at the Casino Theatre (39th Street and Broadway). Moses wrote, “I was called in and made models and was soon started on the production. We turned out some very effective settings.” By 1901, the production was reported to be the “reigning success of the East” (San Francisco Call, 24 July 1901, page 7).

1910 postcard of the Casino Theatre in New York City

“Floradora” was based on the book by Owen Hall (1853-1907). Here is a brief synopsis of the play for those who are unfamiliar with the show:

Floradora – Act I

Floradora is a small island in the Philippines where the essence of the Floradora flower is manufactured as a perfume. Cyrus W. Gilfain, an American, owns both the island and the perfume factory. Gilfain swindled the business away from Dolores, who has rightful claim to the Floradora fortune; he also now controls the island, forcing Dolores to work for him. Enter Lord “Frank” Abercoed. Frank arrives in disguise to act as Gilfain’s manager, immediately falling in love with Dolores. When Gilfain discovers that Frank and Dolores are in love, he attempts to split up the lovers and marry Dolores himself.

Enter Lady Holyrood, who is titled, but in a penniless situation. Holyrood has traveled to find a husband at Gilfain’s suggestion and she waits aboard ship in the harbor. She is accompanied by Gilfain’s daughter Angela, who is betrothed to Captain Arthur Donegal (Lady Holyrood’s brother). Also aboard the ship is Anthony Tweedlepunch, a detective who is searching for the girl who rightfully owns the perfume business – Dolores. Tweedlepunch comes to the island disguised as a traveling showman, phrenologist, hypnotist, and palmist.

Gilfain hires the “actor” Tweedlepunch to break up the love affair between Dolores and Frank, thereby making Dolores available to marry him, and Frank available to marry Angela. He introduces Tweedlepunch as a highly respected phrenologist, plotting to marry off all his clerks to the young Floradora farm girls, granting him even more control over the island.

At the end of Act I, Frank refuses to marry Angela and is subsequently discharged by Gilfain, forcing him to return to England. Before he departs, he tells Dolores to wait for his return.

Floradora – Act II

Six months have passed and Gilfain is the the new owner of Abercoed Castle, Frank’s ancestral home in Wales. Tweedlepunch also discovers that Dolores is the rightful heir to the Floradora fortune and reveals that her father was his only friend, promising to help retrieve her family fortune. As they attempt to leave they are confronted; in desperation they try to convince everyone that they are the evening’s entertainment.

Although Frank is banned from the castle by Gilfain, he manages to make his way inside the courtyard where he sees Dolores for the first time since leaving the island. Frank reveals his true identity as Lord Abercoed and his mission. Tweedlepunch finally confronts Gilfain, spinning a tale that terrifies Gilfain into admission of his wrongful deeds. Gilfain returns the properties that he swindled from Dolores and Frank, Frank marries Dolores, Gilfain marries Lady Holyrood, and Angela marries Captain Arthur Donegal.

The ballroom setting for “Floradora” by Moses & Hamilton, 1900

The sextette in “Floradora” with scenery by Moses & Hamilton

The Buffalo Morning Express and Illustrated Buffalo News, reported that Edna Wallace-Hopper, who was cast as “Angela,” spent two weeks in London studying the role, as it was performed in the London production (16 Sept. 1900, page 21). Francis “Fanny” Reynolds Johnston played the part of Dolores. Sydney Deane, the English Baritone, played the part of Frank. Willie Edouin, the English Comedian, was also engaged for the production.

“Floradora” introduced the famous female sextette and their song “Tell Me, Pretty Maiden;” it was one of the highlights that made the show a success.

The sextette’s popular song from “Floradora” – “Tell Me Pretty Maiden”

Interestingly, during the fall of 1900, the Gramaphone Company invited the members of the cast of “Floradora” into its studios to record some of the songs. Some consider this to be one of the first known “cast recordings.” “Floradora” records were made over the course of four sessions during October 1900.

The New York show was directed by Lewis Hopper and staged under the supervision of Willie Edouin. Moses & Hamilton’s painted settings depicted the island of Floradora, the garden at Abercoed Castle, and the ballroom at Abercoed Castle. Of the show’s very first performance, Moses traveled to its debuted in New Haven, CT, on November 9, 1900. He wrote, “I went to New Haven with the show for the first performance. I didn’t like it, and a great many others thought the same. The show went back to New York; opened at the Casino; after several weeks of doubtful existence, it sprang into flame and went like a cyclone – a wonderful hit. We did four other productions for the same show and Fisher and Ryley cleaned up a net profit of $637,000.00 before it began to dwindle.”

On Broadway, it played at the Casino Theatre for 379 performances before transferring to the New York Theatre for a grand total of 549 performances on Broadway. Then the show started a tour, returning to New York in 1902, where it ran from November 10 to January 25, 1902.

After the success of “Floradora, “ Moses wrote, “Fisher thought he could do as well with anything he saw fit to produce. He jollied himself with the idea that it was his fine management that made a success, so he put on “Princess of Kensington” next and soon lost $30,000.00.” After that loss, Fisher put on “Glittering Gloria,” “Crystal Slipper” and “Medal and the Maid – not a winner among them.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 416 – Moses & Hamilton’s Paint Crew – Loitz, Armbruster and Roberts

Part 416: Moses & Hamilton’s Paint Crew – Loitz, Armbruster and Roberts

In 1900, Moses & Hamilton assembled a paint crew at the Proctor’s 125^th Street Theatre. The scenic studio was spread out over three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125^th Street Theater. Thomas G. Moses was the lead scenic artist at the American Theater, William F. Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic artist at Proctor’s 125^th Street Theatre, with Otto Armbruster and Ed Loitz working there most of the time. Of this period, Moses wrote, “We depended on Al Roberts to get the stock work done. Otto Armbruster was with us and he was a very valuable man. He and [Ed] Loitz worked at 125^th Street most of the time.”

Lets look at the three scenic artists who were employed by Moses & Hamilton in 1900.

Ed Loitz had worked with Moses since the 1883. He was a loyal assistant and friend who had followed Moses across the country, working alongside him at Sosman & Landis, or departing when Moses left the studio to form another partnership. Loitz assisted Moses over the years; he was always one step ahead, preparing the next jobsite before Moses’ arrival. Little is known of Loitz’s personal life beyond a few newspaper articles and announcements. In 1895, Loitz was married to Mary Weinrich. Their marriage was published in the Chicago Tribune, listing their ages at the time – 30 and 18 (1 Jan., 1895, page 6). This information provides a birth year for Loitz – 1865, making him nine years younger than Moses.

In October 1923, Moses and Loitz were still working together. The “Press and Sun-Bulletin” (Binghamton, New York) reported, “Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts” (17 October 1923, page 3). The pair was working on another Masonic job – the Binghamton Scottish Rite Theatre. During this time, they were working for New York Studios, the eastern affiliate of Sosman & Landis managed by David H. Hunt.

*Binghamton Scottish Rite in New York. Thomas G. Moses and Edward Loitz painted scenery for the venue as part of New York Studios – the eastern affiliate of Sosman & Landis.*

In 1923, they had been working together for forty years together, and there respective ages were 67 and 58. A few years earlier Mrs. Edward Loitz became a lifetime member at the Art Institute of Chicago (Bulletin of the Art Institute of Chicago, Vol. 19, No. 3, 1920, page 38). I have not been able to locate when Loitz passed away.

Otto Armbruster, Loitz’ painting companion in 1900, came from a well-known scene painting family in Columbus, Ohio. He was one of three sons born to Mathis Armbruster (1839-1920), founder of Armbruster Scenic Studios (est. 1875). Mathias was a native of Wurttemburg, Germany and immigrated to the United States in 1859, settling in Cincinnati as an art-glass painter. It is recorded that he was first engaged to design stage scenery in Cincinnati. He married Katherine Wahlenmaier and had three sons: Albert, Emil and Otto. Albert was the eldest, and first to join their father’s studio. All of the boys were trained in at a young age. By ten, Albert started in the studio cleaning brushes in 1878, gradually becoming a scenic artist in his own right. Albert was known for his exteriors, landscapes, and drapery work for front curtains, while Emil specialized in interiors. Otto left the family business at the age of twenty, to strike out on his own in New York. He established himself at the Broadway theatre and worked on a variety of projects, such as those for Moses in 1900. Armbruster and Loitz were working under the direction of Al Roberts at the 125^th Street Theatre while employed by Moses & Hamilton. So who was Al Roberts?

“Al” was actually Albert Roberts. The first listing of Roberts working at a theater is in 1866. “The New York Clipper” notes that Albert Roberts was the doorman for the Walnut Theatre in Philadelphia. Interestingly, J. B. Roberts is listed as the stage manager for the same venue (18 August 1866, page 150). By the way, this is not the same English scenic artist, James W. Roberts, nor have I found any relation of him to Albert. In 1867, Albert Roberts is again listed as a doorman at the Chestnut Theatre in Philadelphia (The Daily Evening Telegraph, 5 July 1867, page 3).

In 1880, Albert Roberts is employed at the Madison Square Theatre Company as a stock company actor (“The Cincinnati Enquirer, 20 August 1880, page 4). A few years after that, I found mention of Albert Roberts as a scene painter, providing settings for a Hanley Co. production of “Squatter’s Sovereignty” (“A Bibliographical Dictionary of Scenographers, 500 BC to 1900 AD). A scenic rendering remains from Edward Harrigan’s 1882 production of “Squatter’s Sovereignty,” a production written Charles Witham. (Theatre and Music Collection of the Museum of the City of New York).

Scenic rendering for Edward Harrigan’s production of “Squatter’s Sovereignty” by Charles Witham, 1882 (Theatre and Music Collection of the Museum of the City of New York, photo by Thom Loughman). Image publish in “Theatrical Evolutions, 1776-1976”

This 1882 show was performed at the Howard Athenæum in Boston, MA. This venue was also known as the Old Howard Theatre; it was originally the site of a Millerite temple, rebuilt as a playhouse in 1845. The original structure burned down only a few months later and was rebuilt by Isaiah Rogers in a Gothic style. The entertainment venue became very famous for opera productions, plays and ballet, eventually showing vaudeville and other variety acts. By the twentieth century the theater transitioned to burlesque and then became home to strippers and prostitutes.

*Howard Athenæum in Boston, MA, 1883. This is from the same time when Albert Roberts worked here.*

From 1888 to1889, Roberts was reported as working in Kansas City as part of Tschudi, Loffing & Roberts at 400 E. 12^th Street (from Susan Craig, “Biographical Dictionary of Kansas Artists Active before 1945”). The studio was founded by John U. Tschudi, Antoine Loffing and Albert Roberts. After working for Moses & Hamilton in 1900, I have found no more concerning the scenic art projects of Roberts. What a interesting group of individuals.

To be continued…

Tales from a Scenic Artist and Scholar. Part 415 – Moses & Hamilton, established 1900

Part 415: Moses & Hamilton, established 1900

It was during the fall of 1899 that Thomas G. Moses and William F. Hamilton connected again in New York; their first meeting was in 1892. Hamilton was painting at Proctor’s Twenty-third Street Theatre in New York City. Moses wrote, “Several weeks before Christmas Will Hamilton dropped in to see if I could make some designs for decorations to be used in Siegel and Coopers store for Christmas. I did them and I received $200.00 for my Christmas money.”

Siegel & Cooper Department Store, New York, 1903.

Postcard of Siegel & Cooper Department Store, New York

Siegel & Cooper was a department store founded by Isaac Keim, Frank H. Cooper and Henry Siegel. It opened in Chicago during 1887 and by 1896, the company expanded to New York, advertising their new store as the largest in the world. In New York City, it was located on 6^th Avenue and 18^th Street in the heart of Ladies Mile. Siegel had been inspired by the use of monumental architecture, such as that at the 1893 Columbian Exposition in Chicago, to draw customers into a store. “The New York Times” reported that 150,000 people attended the opening and they were prepared for 190,000 visitors a day. The company employed 8,000 clerks and 1,000 drivers and packers and the store was referred to as “a shopping resort.” In addition to merchandise, there was also a telegraph office, a long-distance telephone office, a foreign-money exchange, stock-trading services, a dentist, and an advertising agency in the massive complex.

Interior of Siegel & Cooper Department Store, New York

Moses recorded that he journeyed to Proctors Theatre every evening to help Hamilton with the painting of Christmas display. Proctor’s Twenty-third Street Theatre was just west of Sixth avenue (Nos. 139-154 W. 23rd Street). Constructed in 1889 by Frederick Francis Proctor, the architectural style was Flemish Revival. The building boasted electric lighting, with gas fixtures as a back up. By 1900, the general manager of the venue was J. Austin Fynes. The theater’s seating capacity was 1,551, and the large proscenium that measured 31’-6” wide by 41’-6” high. The depth of the stage was 39 feet and the height from the stage to the rigging loft was 57 feet. “Julius Cahn’s Official Theatrical Guide” (1899-1900) reported that the theater had a “Right counterweight system.” I have no idea what that was at all. The venue became famous for the “Home of Novelty,” as its programs were varied and original. By 1896, the theater was presenting projected moving pictures with Edison’s Vitascope as part of its variety programing. Moving pictures would remain as featured entertainment in vaudeville programs during the theatre’s first few decades.

Proctor’s Twenty-third Street Theatre, New York, 1895.

Proctor’s Twenty-third Street Theatre with sign advertising moving pictures

One variety act at Proctor’s Twenty-third Street Theatre -the “Cycle Whirl,” 1901. The stock scenery in the background was possibly painted by Moses & Hamilton, as they were painting for the theatre at the time.

Hamilton and Moses worked on a few projects in New York during the first few months of 1900. Moses was working for Henry W. Savage, painting opera settings for the Castle Square Opera Company at the American Theatre, while Hamilton was working at Proctor’s. Soon the two were partnering to complete a variety of projects. Of this time, Moses wrote, “I was convinced that I ought to stay in New York as there was plenty of business to be had at good prices.”

Despite the numerous opportunities, Moses missed his family, writing that he loathed living in these temporary accommodations without Ella. Of his lodging in New York, Moses commented, “I was awfully tired of my theatrical boarding house on 38^th street. I heard nothing but shop at every meal. I disliked to leave, so I kept on. I should write an account of what happened there. We had fully a dozen steady borders and at least two dozen transients; members of companies playing in New York for a few weeks, and how they all did love “Dear Old Broadway.”

In January of 1900, Moses invited Ella out to visit and the couple decided to move, securing a big house about 13 miles out of New York City in Mt. Vernon. By spring, Moses’ adventures with Hamilton truly began as the two opened the scenic studio of Moses & Hamilton at Proctor’s 125^th Street Theater. Moses’ wrote, “I took the Stock Company’s work in September. We had some heavy shows, “Around the World in Eighty Days,” “Romeo and Juliet,” “Hazel Kirke,” “Prodigal Daughter,” forty shows in all. I had to make ground plans and models. I found I had my hands full. We depended on Al Roberts to get the stock work done. Otto Armbruster was with us and he was a very valuable man. He and [Ed] Loitz worked at 125^th Street most of the time. As we closed the year’s work, we found that we had done very well, and I didn’t regret going East; but we did miss our Oak Park home, and the Harrison Street house was a constant source of worry for us.”

Moses & Hamilton’s studio would last almost four years, until Joseph S. Sosman traveled to New York to plead with Moses for his return; they were short-handed in Chicago at Sosman & Landis. Abraham “Perry” Landis had taken ill and Sosman needed someone to supervise the studio while he was out on the road selling scenery.

Moses’ would always lament leaving New York. The first few years of the Twentieth century were an exciting time to be on Broadway and working at Coney Island; the region offered unique opportunities for a variety of visual spectacles and fine art. The theatrical center of the country was in the process of relocating once again; this time traveling east from Chicago to New York. Although Moses & Hamilton’s studio would cease to exist during 1904, this time would remain a golden period in Moses’ heart, and in some ways the pinnacle of his artistic growth. His home would return to Chicago, but his spirit would yearn for a return to New York, trips to the Catskills and his friends at the Salmagundi Club.

Tomorrow, I’ll start looking at the individual scenic artists hired by Moses and the specific shows mentioned during 1900. What a great time to be alive.

To be continued…