Thomas G. Moses – Page 46

Tales from a Scenic Artist and Scholar. Part 411: Thomas G. Moses in 1900

Part 411: Thomas G. Moses in 1900

Two distinct styles of painting were apparent during the development of scenic art in the United States. Over the past few weeks, I explored the English tradition of glazing. This artistic approach was widely accepted by American scenic artists who worked in cities along the Eastern seaboard. I examined articles from 1866, 1871 and 1881 that traced the artistic lineage of English scenic artists and the history of painted scenery for the London stage. Meanwhile in the Midwestern region of the United States, the European tradition of an opaque application of solid colors dominated the scenic art word in studios such as Sosman & Landis.

Thomas G. Moses was trained in the Midwestern tradition; the “slap dash” application of solid colors in an opaque manner, not the English glazing tradition. This gives some context when Moses decided to leave Chicago and live in New York. Remember that in 1899, Henry Savage, John C. Fisher, and Jacob Litt all wanted to hire Thomas G. Moses to be their scenic artist. Sosman & Landis also wanted Moses to work in their Chicago studio. Moses traveled to New York during August 1899 to work for Savage at the American Theatre in New York for $165 a week.

Savage contracted Moses to produce scenery for the Castle Square Opera Company’s third season. Moses’ first project for Savage was designing and painting “Die Meistersinger.” This was the show that would open the third season on October 2, 1899. Other notable scenic artists who had worked for Savage during the first two seasons were Walter Burridge, Frank King, H. Logan Reid, and John Clare. The increased volume of subscriptions during the first three seasons of the Castle Square Opera Company, supported Savage’s plan to establish a permanent home for opera in English at the American Theatre. The opera company also had branches in Chicago and St. Louis. By 1900, it was advertised as “the largest operatic company in the world,” having “gained a larger clientele than any other established musical organization.”

In early January 1900, Moses wrote, “I sent for Ella to come on and see if she would care to move to New York. We looked over the ground pretty thoroughly, and made up our minds to try it.” The couple secured a large house at Mt. Vernon on New Haven Road, approximately 13 miles outside of New York City. In the early 1900s Mount Vernon was experiencing significant development; it was an important stop on the Harlem Division and warranted a new, larger station.

Postcard depicting the Mt. Vernon depot. It was built in the early 1900s to accommodate the increased traffic from New York City.

Map depicting the distance from New York City to Mt. Vernon, NY. Thomas G. Moses and Ella moved to Mt. Vernon in 1900.

After only a week’s visit in New York, Ella returned to Chicago, rented out their Oak Park home, packed up the furniture, and moved the family to New York. Ella’s capacity to do this all on her own while Moses remained working in New York demonstrates that she was quite a strong and capable woman.

The 1899-1900 season with Savage closed on June 1, and with it, Savages’ operatic company and business venture. The reason that Moses had moved his family to New York evaporated into thin air. Moses wrote, “Savage felt he was not making enough money.” So, a new firm took over the American Theatre and Moses was contracted to furnish all the necessary scenery at $150.00 per week. Moses was to have use of the paint frames and light. This meant that he could to paint any project during the upcoming season, if there was not a production on the stage. It was at this point that Moses decided to partner with William F. Hamilton.

To be continued…

Tales from a Scenic Artist and Scholar. Part 386 – For the times they are a-changin’

Part 386: For the times they are a-changin’

“Come gather ’round people
wherever you roam,
and admit that the waters
around you have grown,
and accept it that soon
you’ll be drenched to the bone.
If your time to you is worth savin’
then you better start swimmin’
or you’ll sink like a stone.
For the times they are a-changin’.”

Yesterday I quoted an author who used the term “patent medicine scenery.” He was referring to the painted product produced by scenic studios such as Sosman & Landis. The author went on to describe that studio drops were “produced almost entirely by mechanical means,” meaning a very specific formulaic approach to color application. During the late-nineteenth century, Chicago was a major manufacturing center for theatrical goods and Sosman & Landis Studio dominated the market. Their work was received with rave reviews and their marketing techniques remained unequalled. Soman & Landis represented the American school of scenic art that employed solid colors in an opaque manner. Their painted compositions were worked up from dark to light. At this time in America, there was a rivalry between two schools of scenic art. Scenic artists working along the eastern seaboard had a tendency to employ the English technique of glazing. Midwestern artists used a much more opaque application of colors.

Original 1890s Scottish Rite scene for the Little Rock Scottish Rite by Sosman & Landis Studio. The backdrop was enlarged in 1902 and later resold to the Pasadena Scottish Rite in the 1920s.

Detail from same Little Rock scene depicting the brevity during paint application, hence the term “slapdash.”

The minimal use of highlights on a dark background is very realsitic when viewed from a distance. It allows the eye to fill in the missing information. It is the dramatic separation of colors that allows this type of painting to work exceptionally well for the theatre.

Detail from same scene that shows the rapid speed of the artist when painting the composition. Under the red tassel there are drips left from the “slapdash” method of marble painting.

The application of light dark on paint that is stunning from a distance, yet the technique “falls apart” upon close inspection.

Detail of backdrop that shows the rapid rate of the artist’s speed.

Thomas G. Moses gives us some insight into the rapid growth of Sosman & Landis and their techniques to quickly turn out scenery installations, describing that when he started with the company in 1880 he was always on the road. He and Sosman traveled a great deal in the beginning, rapidly filling orders immediately after Landis secured the work. It would take six months before Moses even meet Landis, as the company salesman was constantly crossing the country to drum up work. They had a great marketing formula – a salesman on the road with a crew who followed and completed the orders. Work was nonstop for the company.

At first, Moses was employed for a weekly rate of $18, knowing that he could make between $35.00 to $45.00 per week at other theaters. This situation directly contributed to the overall growth and success of Sosman & Landis; it meant that they were hiring an employee at half any competitor’s rate and maintaining a higher profit margin that would allow the company to remain solvent. This also enabled the studio to keep Landis on the road, securing even more work. Of their painting, Moses wrote, “My work might not have been as artistic as some I saw in the theatres, but it pleased the people who paid for it.” He was referring to the rapid painting technique employed by the Sosman & Landis studio and the application solid colors? Keep in mind that the “slapdash” technique mentioned in regard to the Sosman & Landis studio was still very effective from a distance, and that was all anyone really needed to make a sale.

The times were certainly changing for theatre manufacturers and supply companies during the second half of the nineteenth century. Product needed to be quickly produced and reach the appropriate venue. As W. J. Lawrence wrote in 1889 “it is not unusual for these firms to receive an order by telegraph in the morning for a scene…which will be completed dried, and sent on its way to the purchaser before nightfall” (The Theatre, July 13, 1889, page 371-374). This was a time when the Midwestern region of the United States was experiencing a period of unprecedented growth. The scenic artists and their solid colors were currently winning, but their success would not last.

“Come writers and critics
who prophesize with your pen,
and keep your eyes wide
the chance won’t come again.
And don’t speak too soon
for the wheel’s still in spin,
and there’s no tellin’ who
that it’s namin’.
For the loser now
will be later to win
for the times they are a-changin’. ”

To be continued…

Tales from a Scenic Artist and Scholar. Part 376 – Henry W. Savage and the American Theatre, A Permanent Home for Opera in English

Part 376: Henry W. Savage and the American Theatre, A Permanent Home for Opera in English

Thomas G. Moses traveled from San Diego to New York during August 1899. Of his West Coast departure, Moses commented that Mme. Modjeska’s company gave him a “fine send-off.” He wrote, “a large tent was put up on a vacant lot; refreshments were served and different members of the company did a little stunt. After a hearty God-speed, I was off for New York City. I regretted not being able to stay until Modjeska opened, but I knew I had a big time ahead of me in New York.” Moses was leaving to work for Henry W. Savage at the American Theatre. His contract began on August 27.

Moses wrote, “I was in hopes of being able to remain at home [in Chicago] for a week or so before going east, for the awful separation from my family was getting under my skin in bad shape. I felt as if I would like to throw up the New York job, but had signed a contract to be there in time to do the first opera.”

From the booklet “500 Times” about the first three seasons of the Castle Square Opera Company, and its proprietor, Henry W. Savage, 1899.

Henry W. Savage contracted Moses to produce scenery for the Castle Square Opera Company’s third season in New York. Other notable scenic artists had worked for Savage during the first two seasons, such as Walter Burridge, Frank King, H. Logan Reid, and John Clare. The increased volume of subscriptions during the first three seasons of the Castle Square Opera Company, supported Savage’s plan to establish at the American Theatre a permanent home for opera in English. The opera company also had branches in Chicago and St. Louis. By 1900, it was advertised as “the largest operatic company in the world,” having “gained a larger clientele than any other established musical organization.” A commemorative book, “500 Times,” documented the success of the Castle Square Opera Company’s performance of operas in English by Monday, October 16, 1899.

Moses’ first project for Savage was designing and painting “Die Meistersinger.” This was the show that would open the third season for the Castle Square Opera Company on October 2, 1899.

From the booklet about the first three seasons of the Castle Square Opera Company, and its proprietor, Henry W. Savage, 1899. Thomas G. Moses is listed as responsible for the scenery.

Moses wrote, “On my arrival in New York, I found working conditions very good; wide bridge and large frames; congenial men in charge of the theatre. My first opera was “Der Meistersinger.” I had a chance to get some good settings and I succeeded. The street scene was the most effective. It was built to the back wall and continued through the large door into the scene room, compelling the chorus to enter from the outside door. The perspective was in proportion to the characters. Mr. Savage paid me a flattering compliment on the production.”

By Christmas, Moses had painted several heavy operas, among them were “Martha,” “Rigoletto,” “Aida,” “Faust,” and “Tannhäuser.” Of “Tannhäuser” the Brooklyn Daily Eagle article reported, “Scenically and sartorially the production will conform to the accepted traditions. Thomas G. Moses has provided a series of beautiful stage pictures, which will be rendered more effective by the appropriate costumes, especially designed for the occasion” (22 October 1899, page 20). The amount of scenery produced under Moses’ supervision from August 27 until three shows opened in October is astounding. It also speaks to the speed of which scenery was painted at the time.

George A. Kinsbury, Resident Manager, from the booklet about the first three seasons of the Castle Square Opera Company, 1899.

William G. Stewart, General Director, from the booklet about the first three seasons of the Castle Square Opera Company, 1899.

During September 1899, the “Chicago Tribune” reported that the Castle Square opera company had assembled at the Studebaker Theatre in Chicago (7 September 1899, page 8). The newspaper noted, “Mr. Savage returned to New York last evening to witness the rehearsals of Wagner’s ‘Die Meistersinger,’ which is about to be given for the first time in English in America by the New York section of the Castle Square Company. The New York Company will come to Chicago during the grand opera season in December to present the opera at the Studebaker.”

William Perry, Stage Director, from the booklet about the first three seasons of the Castle Square Opera Company, 1899.

Adolf Liesegang, Musical Conductor, from the booklet about the first three seasons of the Castle Square Opera Company, 1899.

James Forbes, Press Representative, from the booklet about the first three seasons of the Castle Square Opera Company, 1899.

By January 1900, Metropolitan Magazine (New York) reported, “One of the most important musical events of the past season has been the first production in English in this city, and first time here of “At the Lower Harbour,” the English version of Niccola Spinelli’s “A Basso Porto.” It was given by the Castle Square Opera Company at the American Theatre on January 22. The other operas given for the first time in English in this city have been Wagner’s “Die Meistersinger” and “Tannhäuser,” Weber’s “Der Freischütz,” and Beethoven’s “Fidelio.” (Vol. 11, No. 1, January 1900, page 326). Once again, Moses was there to be part of something new and exciting. Opportunities abounded in New York. Some were so appealing that Moses would consider permanently relocating to the East Coast in 1900.

To be continued…

Tales from a Scenic Artist and Scholar. Part 375 – Thomas G. Moses at La Jolla

Part 375: Thomas G. Moses at La Jolla

In 1899, Thomas G. Moses mentioned various sketching trips in the San Diego area, especially outings to La Jolla. He wrote, “The pounding of the surf at the caves of La Jolla had an intense interest for me, and I made several sketches of the cave and the well-known ‘Alligator Head Rock.’”

Alligator Head rock formation in La Jolla, a subject that Thomas G. Moses sketched in 1899.

Alligator head rock formation and the beaches at La Jolla, ca. 1899.

Spanish for “The Jewel,” La Jolla is a hilly seaside community within the city of San Diego, California. It is surrounded on three sides by the Pacific Ocean and backed by the steep slopes of Mt. Soledad. Since the 1880s, the biggest draw for tourism is the rugged ocean bluffs, stunning rock formations, and sea life. La Jolla is currently home to the Scripps Institution of Oceanography, the Stephen Birch Aquarium, the University of California – San Diego, the San Diego Museum of Contemporary Art, and La Jolla Playhouse.

La Jolla remained one of Moses’ favorite locations to sketch while visiting the West Coast. Almost three decades later in 1928, he wrote, “Arrived in Los Angeles on April 26^th, and immediately took another train for San Diego and La Jolla where I enjoyed a week of sketching, all of which is fully described in my travelogue.”

In 1929, Moses made a point to sketch at La Jolla again, writing, “I packed my sketching kit and made an early start for La Jolla, where I put in a good day sketching. I remained on the beach long after sunset and studied; making several pencil sketches. I had four days of sketching; going back to San Diego at night at the San Diego Hotel. I have thoroughly enjoyed the sketching – all of which I have put in my travelogue of this trip.” His travelogues are lost, but fortunately Moses mentioned some of his visits in his typed manuscript.

In 1931, Moses wrote, “July 11^th, we started for San Diego and La Jolla. Found very nice apartment, and celebrated the Madam’s 75^th birthday on the 12^th, by spending the day on the beach. I celebrated my 75^th birthday on the 21^st, on the beach also. We left for Los Angeles the next day, having a very pleasant trip. I also saw my old friend Tom Getz at the Ramona House.”

There are certain places you return, time and time again. Whether it is by sight, sound or smell, certain areas will continually beckon you. It may be the distant view from atop a mesa as you watch storm clouds gather, or it could be the smell of pine needles crunching underfoot as you walk an alpine trail. I wonder if it was the sound of water that captivated Moses, whether waves crashing against rocky shores or a babbling brook in a forest glen brought him back to the same location. In 1932, Moses wrote some thoughts about his love for water, called “The Brook.” He explained the magic of sketching and how it brought him peace. La Jolla was listed as one of Moses’ favorite sketching locations.

Others included the Kennebunkport and Ogunquit, Maine; Kingston and Ellenville, New York, on the edge of the Catskills; Woodstock and Mt. Washington in New Hampshire; Breckenridge, Colorado; Mt Shasta, California; Mt. Rainier, Washington; Chattanooga, Tennessee; the Buckwater River in West Virginia; the French Broad River in North Carolina; the docks near Oakland, California; and the beaches of La Jolla. By 1932, Moses recorded that his collection of sketches numbered 1200 (600 oil paintings ranging from 6” x 8” to 40” x 50” in size), 200 watercolor and tempura paintings, and 400 pencil sketches).

To be continued…

Tales from a Scenic Artist and Scholar. Part 374 – Ramona’s House

Part 374: Ramona’s House

A fruit box label that used Helen Hunt Jackson’s fictional character “Ramona” as inspiration.

During his free time in San Diego, Thomas G. Moses enjoyed going on sketching trips. “I went to the ruins of ‘Ramona’s’ in Old Town, many times and sat among the ruins and dreamed of the scenes that had been enacted there in the sun-lit patio around the fountain and under the giant grapevines.”

Moses was likely referring to Rancho Camulos, also recognized as the “Home of Ramona.” In 1884, Helen Hunt Jackson published her best-selling novel “Ramona” that presented the Native American’s plight in California, illustrated by the fictional heroine Ramona.

Jackson’s previous book, “A Century of Dishonor,” also recited past injustices to Native American’s in California, but had received very little notice. Set after the Mexican-American War, the plot depicted the life of a mixed-race Scots-Native American orphan girl. Ramona is raised by Señora Gonzaga Moreno, the sister of her deceased foster mother. Ramona is only raised by Moreno due to Ramona’s foster mother’s dying wish. Because of Ramona’s bi-racial heritage, Moreno does not love her at all; she only cares for her only child, Felipe Moreno. Furthermore, Señora Moreno remains loyal to her own Spanish Heritage and resents the Americans who have cut up her huge “rancho.”

Señora Moreno delays a major event – the sheep shearing. She waits for the arrival of the sheep sheerers, a group of Native Americans led by Alessandro, the son of Pablo Assís, the chief of the tribe. Alessandro is the story’s hero who falls in love with Ramona and agrees to stay on at the ranch. Señora Moreno is outraged because of Alessandro’s Native American heritage. Ramona also realizes that Señora Moreno has never loved her, so she and Alessandro elope.

The characters of Ramona and Alessandro in the Ramona Pageant Play.

The remainder of the story follows the lives of the young couple over the course of two years: the birth of their daughter and their travels around Southern California. During this time, Alessandro’s tribe is driven off their land to make way for a new wave of European-American settlers who demand their houses and farming tools. They finally move into the San Bernardino Mountains where Alessandro slowly loses his mind after constant abuse. He deeply loves Ramona, but regrets not being able to provide a stable home for Ramona and their daughter, “Eyes of the Sky.” Their daughter dies because a white doctor refused to go to their homestead to treat her. They have another child, named Ramona, but the couple continue to struggle. One day Alessandro rides off with the horse of an American, who follows him and shoots him, even though he knew that Alessandro was mentally unstable.

Felipe Moreno, who always loved Ramona, finds the young widow and returns both her and her daughter to the Moreno estate. Although Ramona still loves the late Alessandro, she marries Felipe and they have several children together.

The character of Felipe Moreno in the Ramona Pageant Play in Helmut, California.

“Ramona” inspired five motion pictures. In addition, an annual play was performed outdoors, beginning in 1923 in Hemet, California.

Advertisement for the pageant play, “Ramona” in Hemet, California. 1923.

Advertisement for the pageant play, “Ramona” in Hemet, California. 1924.

Visitors occupying the bleachers at the Ramona Pageant Play in Hemet, California.

Ramona’s home on the “Moreno Ranch” was located “midway in the valley [between lands] to the east and west, which had once belonged to the Missions of San Fernando and San Bonaventura [sic].” This geographical location accurately matched Rancho Camulos.”

Patio of an adobe house on Rancho Camulos, ca. 1890.

Bedroom in an adobe house on Rancho Camulos, ca. 1890.

Rancho Camulos was selected as the setting for a portion of her novel, as advised by her close friends, Antonio and Mariana Coronel; it was one of the few remaining ranches still that reflected colonial origins. Camulos was also well known among Californians for the accomplishments of the Del Valle family; three generations were incredibly active in both the political and agricultural history of the state. In 1888, Charles Lummis, a close friend of the Del Valle family, published a promotional booklet proclaiming Rancho Camulos as the home of Ramona.

Cover of 1888 booklet by Charles Lummis – “The House of Ramona.”

“Ramona” became so popular that even schools, streets and towns were named in honor of this fictional character. This popularity prompted many communities to claim Ramona as their own, profiting from the increased tourism throughout the state. Many visitors frequented places such as Rancho Guajome and the Estudillo house (Ramona’s Marriage Place) in San Diego to photograph the novel’s setting.

La Casa Estudillo (Ramona’s wedding house), is now a 170 year old adobe hacienda and a museum in historic Old Town San Diego State Historic Park

La Casa Estudillo (Ramona’s wedding house).

Of Moses’ trips to visit Old Town, he wrote:

“The stone flagging must have been bordered with all the flowers that California could furnish. Not far from here were the old Palms, supposed to be over one hundred years old. Trees as old as palms. They were planted by Father Serra or his followers, who planted and built these missions to assist in their work of giving the nobel redskins an uplift. During the summer months, the thick layer of dust that covers everything emphasized the fact that we had a very dry season ahead of us. Through all this thick dust, the repulsive lizard crawled and wriggled, leaving a deep trench behind him. In the tall, dry grass numerous wicked spiders were busy making their webs. The awful silence was oppressive. I was thankful to hear the distant braying of a “Burro.” The slight cooling breeze through the pepper trees was very welcome. It was always cool in the shade. The air is filled with bees and butterflies that float about with the same careless ease of the native Spaniard. My sketchbook was idle on my lap, as with closed eyes, I drifted back many years when this old adobe house held wedding guests of the charming “Ramona.” I was widely awakened by the sound of the approaching horse, ridden by a picturesque Mexican who was anxious to know why I was asleep in the old adobe house. He was very polite and spoke very good English. A few days later he brought me a tile from the roof of his house. It is now in my studio. It was made in Spain. I offered to pay him, but he wouldn’t accept it.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 373 – Thomas G. Moses in Chula Vista

Part 373: Chula Vista

While working for John C. Fisher in San Diego, Moses enjoyed his time with Modjeska’s company. He wrote, “We were like a big happy family, especially the real working force.” Mike Coyne was the property man and “Deacon” Goodrich the master carpenter.” Moses noted that Mark Fenton and Clarence Love also worked with him on backstage projects, in addition to performing with the company.

When the group had time off from the production, they went on trips into the countryside. Moses wrote, “We had many Sunday trips to ‘Tia Juana, Mexico’ in big Tallyho. Then some jolly crowds on a yacht out on the Pacific, and fishing; Sunday dinners given us by our friend Belcher, out at “Chula Vista” on his lemon ranch. This wonderful romantic country was so full of old Spanish architecture in the old adobe houses and ruins of the old missions, that I am sure I could be contented in living among then with my paint box and sketch book the balance of my life.”

Stereoscope card of picking lemons during the late-nineteenth century

Chula Vista, National City, and Bonita were originally part of a Mexican land grant called Rancho de La Nation. Frank Kimball and his brothers purchased the land in 1868 and first developed National City as a town. Then they developed 5,000 acres south of National City and called this agricultural community Chula Vista. Five-acre lots sold for $300 per acre in 1887 and the purchaser was required to build a home within six months on the parcel. In 1888, the Sweetwater Dam was completed, bringing water to Chula Vista and increasing land sales. Ten houses were under construction by 1889, thus contributing to the city of Chula Vista. Frank Kimball became the State Commissioner of Agriculture and discovered citrus trees to be the most successful crop for the area. The environment was perfect for growing lemons and by the twentieth century Chula Vista was recognized as the “Lemon Capital of the World.”

The average grove was probably no more than ten acres, and there were thousands of citrus growers, each selling their production to a limited number of packing houses. Such was the case when Moses recorded visiting his friend Belcher at his lemon ranch in Chula Vista. It must have been quite a sight for the middle-aged scenic artist – the scenery, the smell of citrus, and the time-honored art of picking lemons.

Picking lemons in Chula Vista during the early twentieth century.

Lemons must be picked one at a time, the picker grasping the lemon with one hand and cutting the stem with the other hand. The picker must cut the stem very close to the lemon, but not too close as to damage the fruit. If the stem is left too long, it can puncture and damage other lemons when it goes through the packing process. One lemon with an excessively long stem can damage 20 other lemons in the packing-house process as they tumble together. There were eight packing house in Chula Vista by 1913 when the great drought occurred. Pickers were paid by how many lemons they picked so they had to work quickly, yet not too quickly and inadvertently damage the fruit.

To be continued…

Tales from a Scenic Artist and Scholar. Part 372 – Thomas G. Moses, Mme. Modjeska and Count Bozenta

Part 372: Thomas G. Moses and Mme. Modjeska

John C. Fisher contracted Thomas G. Moses to design and paint all of the new settings for Mme. Modjeska’s 1899 tour. Modjeska traveled with her husband, Count Bozenta [Chalanowska]; the couple had been married since 1868.

Madame Modejeska’s husband, Count Bozenta. He and Thomas G. Moses conducted extensive research at the San Diego library in 1899 for Modjeska’s shows.

Bozenta was extremely active in all of his wife’s productions and kept Thomas G. Moses busy in 1899 at the San Diego public library. They researched the period and looked up data for the upcoming “Marie Antoinette” play. Moses and Bozenta did all of their research in the old library building, as the new Carnegie Library would not be completed until 1902. In 1899, Andrew Carnegie donated $60,000 to build the San Diego Library, the first of his libraries west of the Mississippi.

Moses noted that Bozenta “was very particular, and well posted on many details that went into the production.” Of the final product, Moses wrote, “I never painted better, and the Madam congratulated me on the success of each scene.” The scene of the prologue was placed in the summer home of Marie Antoinette, built for her by Louis XVI at Tranon. There, the ladies of the court gathered and Marie expresses he hatred for the rigid court customs. The other settings included the Palace of Versailles, the Queen’s private apartments, the Tuilleries (The Capital, Vol X, no. 11, Sept 9, 1899). The extensive research conducted by Moses greatly contributed to the successful run of the production.

Full-page spread detailing Mme. Modjeska’s new tour in 1899, from the San Francisco Chronicle, August 27, 1899, page 31.

Detail of Mme. Modjeska from the San Francisco Chronicle, August 27, 1899, page 31.

A newspaper article in the Democrat and Chronicle reported, “John C. Fisher, under whose direction Madame Modjeska is again to tour during the coming season, announces that his elaborate scenic productions for each play in the repertoire are well under way. Special efforts are being made for “Marie Antoinette,” the new play, which, is successful will be seen during Modjeska’s engagement at the Fifth Avenue theater. Thomas G. Moses, who is to be the scenic artist for the American theater next season, is now at work on “Marie Antoinette” at Mr. Fisher’s theater in San Diego, Cal.” (Rochester, New York, 9 July 1899, page 15). The San Francisco Chronicle reviewed the new play by Clinton Stuart – “Marie Antoinette”, commenting, “The play was written expressly for Mme. Modjeska, and her interpretation of it was received with enthusiasm. The play was magnificently staged by John C. Fisher, Modjeska’s manager, and the scenery painted by a New York artist, Thomas Moses, was much admired” (6 Sept 1899, page 3).

“Marie Antoinette,” was the opening engagement at the Los Angeles Theater. The prologue and five-act play were set in Paris from 1787 to 1793. The Los Angeles Times described the production in detail, reporting, “The play is sumptuously furnished. The scenery by Thomas G. Moses, and the costumes, made under the personal supervision of Mme. Modjeska, leave little to be desired in their respective lines” (12 Sept, 1899, page 8). The article continued, “[The play] deals in the storm and stress of the dark and blood-stained period in which its action is laid. It exploits the emotional and womanly side of Marie Antoinette’s character – her love and tenderness, rather than her queenly attributes and haughtiness and pride and unconquerable will…[Modjeska’s] portrayal of the unfortunate queen, Marie Antoinette, is a powerful, though very, very tearful, piece of dramatic characterization.”

Mme. Modjeska at “Marie Antoinette,” from The Capital, Vol. X, No. 11, Sept 9, 1899.

To be continued…

Tales from a Scenic Artist and Scholar. Part 371 – Start Spreading the News, I’m Leaving Today

Part 371: Start Spreading the News, I’m Leaving Today

In 1899, Henry Savage, John C. Fisher, and Jacob Litt all wanted to hire Thomas G. Moses to be their scenic artist. Sosman & Landis also wanted Moses to return to their studio. Regardless of the numerous opportunities that were presented to Moses in Chicago, his “vagabond shoes” were “longing to stray.” He accepted some appealing opportunities offered from coast to coast.

*Jacob Litt’s production of “The Club’s Baby,” painted by Thomas G. Moses in 1899*

Early in the year, Moses painted “special scenery” for Litt’s production of “The Club’s Baby,” an English farce by Lawrence Sterner and Edward G. Knoblauch at McVicker’s Theatre (The Inter Ocean, 14 May, 1899, page 32). Litt intended for Moses to continue working for him in New York at the Broadway Theatre. Little had just leased this East Coast venue, but Moses had better offers.

Henry Savage (1859-1927) asked Moses to paint for his opera company at the American Theatre in New York for $165 a week. Less than a week later, John C. Fisher dropped in to see Moses, requesting that he travel to San Diego, California, and paint three productions for Mme. Modjeska, “Mary Stuart,” “Marie Antoinette” and “Macbeth.” Moses accepted both offers, writing, “Litt was rather put out when he learned I was going with Fisher and Savage.” He also commented, “Sosman and Landis were also provoked with me, as they wanted me back in the Studio.”

Moses’ contract for Fisher in San Diego was from June 2 until August 10. By August 27, he would be in New York, painting for Savage. The small window of time between engagements left him with just enough time to travel to from West Coast to East Coast.

*Fisher’s Opera House in San Diego, became the Isis Theatre by 1902.*

Ed Loitz and John Fielding accompanied Moses to San Diego to paint at the Fisher Opera. The Fisher opened in 1892 and had a seating capacity of 1,400 (450 seats in parquet and dress circle, 420 seats in the first balcony, 460 seats in gallery and 70 seats in 12 boxes). The building was situated on an entire block between Fourth and Fifth Streets for two hundred feet. The stage was 43 feet wide by 43 feet deep. The grid was 74 feet above the stage floor, with another 12 feet above that. The venue was illuminated with an electrical system that consisted on 1,000 sixteen-candle power Edison incandescent lamps. The theatre was rechristened in 1902 as the Isis Theatre and later as the Colonial Theatre.

Moses recorded that he, Loitz and Fielding lost no time in getting to work immediately upon their arrival at the Fisher Opera House. On August 27, 1899, the San Francisco Chronicle reported, “Thomas G. Moses of New York and a staff of well-known artists have been at work for the past few weeks painting scenery for the tour. This includes elaborate productions for the play of “Marie Antoinette,” which is to be the most pretentious in Modjeska’s repertoire. Other strong plays are “Macbeth,” “Marie Stuart,” “Much Ado About Nothing,” “Gringoire,” and the “Ladies’ Battle,” the last two being a joint production” (page 31). Moses recorded that he had a nice room at the Brewster Hotel.

*Hotel Brewster in San Diego, California, where Thomas G. Moses stayed when working for John C. Fisher in 1899.*

*Interior view of the Brewster Hotel in San Diego, California.*

He ate his meals at Rudders, as Fisher paid all his expenses. Moses wrote that his “salary was clear and a lot of night work was necessary to complete the work on time.”

*Rudder’s cafe, where Thomas G. Moses took his meals while working for John C. Fisher in 1899.*

The company soon arrived and started rehearsals. Moses wrote, “The Modjeska company gave me a fine send-off – a large tent was put up on a vacant lot; refreshments were served and different members of the company did a little stunt. After a hearty God-speed, I was off for New York City. I regretted not being able to stay until Modjeska opened, but I knew I had a big time ahead of me in New York.”

The American Theatre on West 41st Street in New York where Thomas G. Moses worked for Henry Savage in 1899. Moses worked for Savage after competing the scenery for Mme. Modjeska’s shows in San Diego, California.

To be continued…

Tales from a Scenic Artist and Scholar. Part 363 – Thomas G. Moses’ and “Old Kentucky”

Part 363: Thomas G. Moses’ and “Old Kentucky”

Thomas G. Moses recorded that McVicker’s Theatre played a number of road attractions, leaving him with “little to do, excepting going over Litt’s road shows that played the theatre.” He repainted “all of the stock stuff in the theatre” between working on shows. One of the new productions that Moses painted the scenery for, however, was “Old Kentucky.” It was this four-act play that some credit as the vehicle for Litt’s fortune.

In 1898, Litt reported to the Chicago Inter Ocean, “I have just closed arrangements to produce “In Old Kentucky” in Germany. It has been translated and the Webb & Wachsner company will do it first in Milwaukee. In April I will take the whole company, Pickaninnies, horses, scenery, and all, to Berlin, and open there the 1^st of May” (27 August 1898, page 6).

The play had premiered five years earlier. Written by Charles Turner Dazey (1855-1938) “In Old Kentucky” was set in the Blue Ridge Mountains. Madge Brierly, a poor and illiterate young mountain girl whose father was murdered years ago, is the main character. Her neighbor (Holten) conspires to take away her family’s land. Fortunately, a well-to-do young Lexington man on vacation (Frank Layson) intervenes. Madge soon falls in love with the helpful Layson and later rescues his racehorse, Queen Bess, from a fire. Finally, when Layson plans to race Queen Bess in a desperate attempt to rescue his own fortune, she replaces his jockey at the last minute and rides the horse to victory.

Side note: “In Old Kentucky” was adapted into film four times during the early twentieth century: 1909, 1919, 1927 and 1935. “In Old Kentucky” was the last Will Rogers’ film to be released. It was filmed between April 12 and May 13 and was released in November of that year. Rodgers died in a plane crash on August 15, 1935.

1935 film of “In Old Kentucky” with Will Rodgers

Of this time working at McVicker’s during 1897-1898, Moses wrote, “I was always busy, but not as busy as I should have been.” In the evenings, he recorded, “I did some work at the studio nights as I never went to the theatre at night. All winter up until Christmas, I jogged along and longed for some real excitement.” In short, Moses was getting restless, and he was ready to move on – again. At the age of 42, he had been working as a scenic artist for 25 years. Moses was well known and successful, but he wanted more.

There was a gradual shift occurring in the theatre industry. My research suggests that the “theatrical center” of the United States was shifting back to the East Coast, New York in particular. This immediately followed a construction boom in both visual spectacle and popular entertainment throughout the region and there were opportunities galore. During the 1870s, the theatrical center had shifted to Chicago. After the great fire of 1871, the city attracted a variety of artisans as new buildings and performance venues took shape. Many new construction projects offered endless possibilities for experimentation and innovation. In many ways the 1893 Columbian Exposition became the pinnacle of possibilities for the future in Chicago.

A subtle shift began to occur as artists, such as Moses, started to migrate east, sometimes in droves to New York City. There were new and interesting projects offered not only in Broadway shows, but also in the amusements at Coney Island. There was work – lots of work – and the potential for huge profits.

Hundreds of scenic artists journeyed to New York at the tail end of the nineteenth century. In addition to Moses, their ranks included his future business partner Will Hamilton, John H. Young, Grace Wishaar, Walter Burridge, Ernest Albert and many more.

But would it remain as sweet as they imagined it to be? It makes me think of the 1962 song sung by Peter, Paul & Mary – “Lemon Tree.”

“Lemon tree, very pretty, and the lemon flower is sweet, but the fruit of the poor lemon is impossible to eat.”

New York was a lemon tree for many scenic artists and their experience would be a bitter one.

To be continued…

Here is a link to the song if you don’t know it: https://www.youtube.com/watch?v=MLhYghzNfII

Tales from a Scenic Artist and Scholar. Part 362: Thomas G. Moses’ and “Shenandoah” at McVicker’s Theatre

Part 362: Thomas G. Moses’ and “Shenandoah” at McVicker’s Theatre

Thomas G. Moses was the scenic artist at McVicker’s Theatre in Chicago during the 1897-1898 season. McVicker’s Theater was built by James Hubert McVicker in 1857. It was remodeled by 1864, then destroyed by fire in 1871. McVicker rebuilt and reopened the following year. By 1883, the venue was remodeled, but again destroyed by fire in 1890. For a third time, McVicker’s Theatre was rebuilt, reopening in 1892. In 1898, McVicker’s widow sold the theater to Jacob Litt for a term of ten years. Litt had managed the venue prior to becoming its proprietor. He hired Moses for his first season after purchasing the venue.

Jacob Litt purchased McVicker’s Theatre in Chicago during 1898. At this same time he hired Thomas G. Moses as his scenic artist for the venue.

Moses and Litt had worked together on other projects over the decades, including the Academy of Music in Milwaukee during 1886. Litt leased numerous theatres across the country and many endeavors became lucrative successes. By 1898, Litt said, “I have a hard time keeping the different companies straightened out as I have over 250 actors and actresses on my salary lists just now. I am going to make McVicker’s a producing house as much as possible” (Chicago Inter Ocean, 27 August 1898, page 6).

At McVicker’s Theatre, Moses created the scenery for Litt’s grand revival of “Shenandoah.” The production was staged during the second half of the 1897-1898 season. Bronson Howard’s Military drama previously appeared at McVicker’s in 1890 and was reported to be “a phenomenal success” for this fort appearance. The Chicago Inter Ocean reported that with the second burning of McVicker’s Theatre in 1890, the “Shenandoah” scenery was “transferred to the Auditorium to complete its great run” (Chicago Inter Ocean, 28 Feb., 1897, page 37). The Chicago Tribune noted that “The play ‘Shenandoah’ did not suffer by the McVicker fire for, large as the audiences were during the 100 nights at the theater, they were almost as large again at the Auditorium” (31 August 1890, page 30). After the Auditorium, the show toured to St. Louis.

Advertisement for “Shenandoah” at McVicker’s Theatre (Chicago Tribune, 13 May 1898, page 5).

The 1898 “Shenandoah” production opened at McVickers during May and ran until the end of July. In June, the battle scene from the show was performed as part of the midsummer entertainment for a Chicago Press Club event. Smart idea. The Chicago Tribune reported that this entertainment was arranged “through the kindness of Manager Jacob Litt (5 June 1898, page 11).

Advertisement for “Shenandoah” published in the Chicago Tribune (7 July 1898, page 5).

In his typed manuscript, Moses described his painting of the “Shenandoah” settings in detail. He wrote, “For the production, Otis Skinner played the lead, supported by a full company with at least a dozen horses. We built up the stage for a big battlefield, and worked all other scenes inside of it. I couldn’t find an authentic picture of Shenandoah Valley, so I faked it. One night there was a crowd of old G.A.R. men and after the performance they asked my permission to go up on stage and look over the battlefield. Mr. Litt went with them and listened to their comments of the big cyclorama drop backing. They pointed out the very house where they all stopped for water, etc. Litt introduced me and afterwards said, ‘You made a big hit with those chaps with your accurate drop.’ I was pleased and told him it was a fake, that I just composed it. He could hardly believe it. Of course, I had some idea of the general character of the mountains and farmhouses.”

For me, it is fascinating to examine the personalities that Moses interacted with from year to year. His relationship with Jacob Litt is mentioned in installments #123, 216, and 255. He is a brief mention of Otis Skinner and where he was at in his career when he starred in “Shenandoah.”

Otis Skinner later became a popular film star.

Otis Skinner (1858-1942) was born in Cambridge, Massachusetts and raised in Hartford, Connecticut. His older brother Charles Montgomery Skinner became a noted New York theatre critic and journalist, while his younger brother William became an artist. Encouraged by P. T. Barnum, Skinner played various bit roles in stock companies during the 1870s until he built up his repertoire and began touring with Augustin Daly by the mid 1880s. In 1889 he was performing with the Edwin Booth and Helena Modjeska troupe. By the mid-1890s, Skinner became recognized as a star in his own right. It was during this period when Moses painted the settings for his show “Shenandoah.”

By November of 1898, “Shenandoah” began a return engagement at McVicker’s Theater. The Chicago Inter Ocean advertised that the production was “attracting an audience that crowded the house to its doors” (Chicago Inter Ocean 14 November, 1898, page 7). However the return engagement starred Maurice Barrymore in the leading role, not Skinner.

Advertisement for the return engagement of “Shenandoah” at McVicker’s theatre during November 1898, starring Maurice Barrymore. From the Chicago Tribune, 22 Nov 1898, page 5.

To be continued…