Thomas G. Moses – Page 48

Tales from a Scenic Artist and Scholar. Part 346 – Thomas G. Moses and Walter M. Dewey

Part 346: Thomas G. Moses and Walter M. Dewey

The year 1895 closed without any fanfare or high profits for Thomas G. Moses. He wrote that 1896 “opened not any too good for me.” He had a difficult time keeping his studio warm enough to paint, commenting, “The studio space was just too large, so I leased a portion to a laundry company, which cut my rent I half – a great help.” It was a difficult time for Moses and he knew that he was failing; managing on his own might not be the answer.

Heading of the section that advertised the benefit for Walter M. Dewey (Inter Ocean, Feb 2, 1895, page 27). Thomas G. Moses contributed art for this charity benefit exhibition.

Into the first half of 1896, Moses was still struggling with managing his studio, securing contracts and retaining a crew. It was too much work for one person, but he stayed connected and continued to support his colleagues. Regardless of his own troubles, Moses was always available to help a fellow artist and friend. He exhibited some artwork with other “leading artists of Chicago” in a charity event during February. The art exhibition of watercolors, pastels, and oils was held on the evenings of Feb. 3 and 4, at 8 o’clock, in the rooms of the Y.M.C.A, No. 542 West Monroe Street. It was a benefit was for Walter M. Dewey.

The outpouring of support was significant. The Chicago Tribune reported, “The friends of Walter M. Dewey, a clever young Chicago artist, have been grieved to learn recently he has been sick for several weeks and it has been necessary to remove him to a hospital out of the city” (2 February 1896, page 20). He had been seriously ill for six weeks, to be exact. The article continued, “His fellow artists, in their sympathy for Mr. Dewey and his family have arranged an exhibition and sale of paintings for his benefit.”

Participating artists and their works included John H. Vanderpoel, head, in oil; F. C. Peyraud, “Autumn,” oil; Fred B. McGreer, landscape, water color; Charles Edward Boutwood [Boulwood], head, watercolor; Charles A. Corwin, landscape, pastel; Pauline A. Dohn, head, oil; T. O. Fraenkel, “Mackinac,” water color; William Schmedtgen [Schmeddtgen], “A Blind,” water color; Svend Svendson, “Autumn,” water color; William Clusman, sketch, water color; George E. Colby, “Moonrise,” water color; Albert Olson [Olsen], “Crystal Lake, Autumn,” water color; E. A. Burbank, “Charcoal Darky,” watercolor; Thomas G. Moses, “Interior Wood,” water color; Harry Vincent, sketch water color; William Horton, sketch, water color; and J. E. Colburn. In addition there were to be twenty canvases by Walter M. Dewey. Vanderpoel and Wiliam W. Vernon were in charge of the sale.

Dewey was a student at the Art Institute in Chicago and a member of the Chicago Society of Artists, who exhibited a few years earlier with fellow artists that included Walter Burridge, Hardesty Maratta, Ernest Albert, Oliver D. Grover, and others.

Walter M. Dewey participated in this exhibition during 1895 (Chicago Tribune 12 Dec 1895 page 3).

Dewey’s cause was not the first to be supported by his fellow artists. On January 17, 1894, the Chicago Tribune advertised that a “Charity Sale” of pictures had begun (page 8). A ‘charity sale’ of water colors and oil paintings held in the rooms of the Chicago Society of Artists, on the top floor of the Anthenæum Building. It continued ten days and the proceeds were turned over to the Central Relief Association for the benefit of the needy. Many of those who supported Dewey in 1895, had previously exhibited in the “Charity Sale,” including Burridge, Marratta, Vincent, Peyraud, Clusman, Schmedtgen, Corwin, Svendsen, Vanderpoel, and many others. Dewey had also exhibited with the group. It was natural that during his time of need, he was also supported.

One of the exhibitions that Walter M. Dewey participated in at the end of 1895.

Walter M. Dewey participated in the 2nd Annual Exhibition of the Students’ Art League by December 1895.

Walter M. Dewey participated in the 2nd Annual Exhibition of the Students’ Art League by December 1895. Selling “The Beach at Old Orchard, Me” for fifty dollars.

I can’t help but thing back to the Scene Painter’s Show of 1885. It signaled the beginning of an era; a period that one could consider a golden age of scenic artists in Chicago that meshed perfectly with their fine art activities. Both theatre and fine art were extensions of these remarkable men who thought beyond their own individual artwork. They were part of a community that not only supported each other, but also supported a variety of causes for the common good of mankind. They were contributing toward a beautiful future and experiencing the world of art together. But there was an exciting undercurrent that was spreading throughout exhibition halls and entertainment venues. The theatrical world was starting to change at a rapid-fire pace. Those who could blend what was already popular with a new technology would soar ahead of the competition.

To be continued…

Tales from a Scenic Artist and Scholar. Part 341 – Green Room Gossip From 1895, the Scenic Artist

Part 341: Green Room Gossip From 1895, the Scenic Artist

Thomas G. Moses worked as the scenic artist at Chicago’s Schiller Theatre during 1895. He painted the settings for all of the productions on their paint frames. He also rented the old Waverly Theatre space as he had more work than could be completed at the Schiller.

I understand that it is hard to appreciate the complexity and demands of the painting process at the time that Moses was working, especially as I discuss the many projects that Moses’ was simultaneously completely during the late-nineteenth century.

Below is an informative article about the artistic process and the role of the scenic artist, published in the Times-Picayune (New Orleans, Louisiana) on February 10, 1895 (page 22). Here is a portion of the article from the “Green Room Gossip” section of the Times-Picayune. It provides additional context for Moses’ story as we move forward:

Heading from the Times-Picayune (New Orleans, Louisiana, February 10, 1895, page 22) that details activities related to the theatre.

“When a manager has finally decided to produce a new play, his troubles have just begun. One of the first things to demand is the proper pictorial equipment. Just as the editors of illustrated periodicals of to-day send their accepted articles to the artist for illustration, so the theatrical manager puts his play in the hands of the scenic artist. Sometimes periodical illustrations cause the reader to wonder whether the illustrator read the story before he made the drawing or whether the cuts got mixed in the composing-room. The play illustrator is too important a factor in the box-office success to admit of similar mistakes.

[The manager] sometimes employs a scenic artist by contract, but usually the necessary assistant rents the space he needs in the theatre and charges the manager for work done for him, just as he charges outside managers for work done for them. The scenic artist, then, receives the manuscript from the manager, reads it carefully, notes from the authors description of scenes whether the locality is special or general, and where the scenery must be “practical” – with real doors to open, trees which may be climbed, fences that may be jumped- and where it is possible to make it purely representative.

The locality is the first point, naturally. Even if none be mentioned, in these days of photography, it is far more satisfactory to find a real locality which would fit the play, and which would, therefore, be more likely to differ from a thousand and one other scenes which have already been used as backgrounds for other general plays. From photographs or sketches of real bits of scenery, the artist most often draws his ground plans for what he considers a good stage picture suited to the action of the play.

These models are then placed convenient to the eye and hand in his studio, the main feature of which is really the back wall of the theatre, with a great paint bridge running about 25 feet above the stage floor. There is a space about a foot wide between the bridge and the wall, and in the space hangs the paint frame. When the stage carpenter has built the scenes according to the artist’s model, the paint frame is lowered to the stage floor, a piece of scenery is attached to it by means of a narrow ledge at the bottom, drops are tacked on and set pieces fastened at convenient points, then the frame is raised until it is where the artist wants it as he stands upon the bridge. The frame can, or course, be moved up and down, at the painter’s need.

The prime coating of the canvas is made of a mixture composed of whiting, glue and water. The artist has several assistants, many of whom are virtually learning the trade, but in exterior scenes the scenic artist himself usually does all of the painting; in the interiors he makes the finishing touches. Of course the work is done by daylight, and it takes a very skillful worker in colors to know just what the effects the various kinds and degrees of artificial light will have upon the painted scenery.

And yet the scenic artist is not too highly valued from a financial point of view. It takes, usually, six or eight years to attain the necessary skill and an average income of $80 a week is considered very good. From the manager’s point of view there is a difference. The necessary scenery for a play will frequently cost $1500 for the carpenter work and twenty-five hundred dollars for the coloring, without taking into account the sums paid for costumes, properties and the innumerable other accessories to proper play-producing.

Until applause greets him on the momentous “first night” and large audiences greet him for many nights thereafter, the manager, be ever hardened, endures endless anxiety from the minute the new play is chosen. If one proves a failure, he will be out a considerable sum at the best, for critics will know if he attempts to use the same costumes and special properties later on, or if he saves the scenery until it can be worked in other plays, a piece at a time; and critics seldom keep anything to themselves. He may have a new scene painted on the back of the old and save a part of the carpenter’s bill, but this is frequently the best that can be done. With all his risks and frequent failures, the theatrical manager is usually the last one to complain. When a play does not go, he simply pays the piper and tries again.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 339 – Thomas G. Moses and Charles B. Hanford

Part 339: Thomas G. Moses and Charles B. Hanford

In 1895, Thomas G. Moses was credited with creating the new scenery for Hanford’s Starring Tour. He led a crew that included Ernest Albert and Milton C. Slemmer. The repertoire for the tour was “Virginius,” “The Merchant of Venice,” “Othello,” “Romeo and Juliet,” “Damon and Pythias,” “Venice Preserved,” “The Hunchback,” and “Julius Caesar.” Frank G. Connelly managed the tour. Two representatives were sent ahead of the show to pave the way for the tour that opened on September 23 in Wilmington, Delaware and would reach Washington state by November 18. The company was composed of eighteen people, with the “Tripple Alliance” of Hanford, Elihu R. Spencer and Miss Nora O’Brien in the leading roles.

Charles B. Hanford (1859-1926) was 35 years old when the show toured. Born in Amador County, California. he made his debut with the “Barrett Club” of Washington, D. C., in May 1881, at the National Theatre in the part of Cassius in “Julius Caesar” (Opera Glass, Vol. 2, No. 2, 1895, page 18). He started with small roles in his first professional engagements when working with William Stafford. He was playing much larger roles by the end of his first season. The next two seasons were spent working with Thomas Keene where he continued to act in small roles. He eventually attracted the attention of Lawrence Barrett and became a prominent member of Booth’s Company. He acted in Booth’s, Booth-Barrett, and Booth-Mojeska companies. Hanford was soon working with Julia Marlowe in light comedy parts, such as “Mercutio” and “Malvolio.”

By 1895, Hanford owned the magnificent Booth and Barrett production of “Julius Caesar.” In “Julius Caesar,” Hanford originally played the role of Marc Antony, while Edwin Booth played Brutus and Lawrence Barrett played Cassius. In addition to this show, his company carried new special scenery for each of the other six plays in their repertoire. The Evening Star reported, “The new scenery is from the brush of Thomas G. Moses, one of the best known scenic artists in America. It has been found necessary to carry four men to handle this elaborate production and a special car will be used for its transportation”(Washington, D. C., 14 Sept 1895, page 8).

Elihu R. Spencer was thirty- years old when he toured with Hanford. Born in Buffalo, Spencer’s early acting career was supported by the Meech brothers, who were managers in Buffalo. They recommended Spencer to Steele Mackaye, who then hired him to play a minor role in the premiere of “Paul Kauvar.” Spencer worked his way up the acting food chain, and by the fall of 1891 became a prominent member of Julia Marlowe’s company. After two seasons with her, Hanford cast him in the role of “Cassius” for his production.

Nora O’Brien was born in Baltimore, Maryland and was only eighteen years old when she made her debut as Juliet, playing at Ford’s Opera House in Baltimore. After graduating from Loretto Convent near Niagara Falls with high honors, she entered the acting profession. In less than a year, she joined Hanford’s tour.

The Buffalo Courier reported that after the Hanford’s Star tour was completed, Elihu Spencer purchased the scenery, costumes, and properties used by the Hanford-Spencer-O’Brien Company (27 Sept. 1896, page 8). The article commented, “The scenery was painted by Thomas G. Moses, Ernest Albert, and Milton C. Slemmer, the three best scenic artists in the country.”

Charles B. Hanford’s “Antony and Cleopatra,” 1907. Image from: http://www.seattletheaterhistory.org/

Charles B. Hanford’s “Julius Caesar” (Act IV), 1907. Image from: http://www.seattletheaterhistory.org/

To be continued…

Tales from a Scenic Artist and Scholar. Part 338 – Thomas G. Moses and the Belle City Opera House in Racine, Wisconsin

Part 338: Thomas G. Moses and the Belle City Opera House in Racine, Wisconsin

In 1895, Thomas G. Moses recorded that he negotiated, “A good contract for Racine, Wisconsin, Opera House” and the project lasted a few weeks. He was referring to the renovated Belle City Opera House in Racine. Moses previously worked in Racine at the Belle City Opera House during 1883. He painted a second set of scenery for the same venue after it was renovated (see installment #184). While painting for the Belle City Opera House in 1883, Moses also painted scenery for the Blake Opera House, another venue in Racine. The Blake was located on 6^th Street and managed by W. C. Tiede.

The original Blake Opera House (1882-1884) in Racine, Wisconsin. Thomas G, Moses painted scenery for this venue in 1883.

The local newspaper commented about Moses’ work in 1883 for the Belle City Opera House, “The scenery at the Opera House is handsome in every particular, Mr. Moses, the gentlemen who designed and painted it deserves the highest commendation” (The Journal Times, 3 Feb 1883, page 2).

His work for the Blake Opera House was equally admired. The Journal Times (Racine, Wisconsin) reported that “Thomas Moses, the scenic artist, who painted all the handsome scenes at the Blake Opera House, departed for Illinois to-day. During his stay here Mr. Moses has made many warm friends, who wish him every success, wherever he may go” (14 March 1883, page 2). That message must have meant a lot to Moses. It also says a lot about his personality and character. To have such a warm farewell message published in a local newspaper after a relatively short stay it quite something. Time and time again, it appears as if the people genuinely liked Moses as an individual.

Unfortunately, the following year all of his painting was destroyed when the Blake Opera House burned to the ground in 1884, just two years after it was constructed. It was a very short life for the 1200-seat venue and is often overlooked by historians.

Detail of front curtain on a Belle City Opera House program. This drop was possibly painted by Thomas G. Moses.

By 1895 when Moses returned to Racine, the Blake Opera House’s manager, W. C. Tiede, was managing the new Belle City Opera House. It must have been a pleasant reunion for Moses and Tiede when he arrived for work. As to the specifics of Moses’ scene painting for the Belle Opera House in 1895, it is unclear whether Moses painted stock scenery or supplemental pieces for a specific production.

As with almost all of the theaters that Moses provided stock scenery for in 1895 this venue was a theater located on the ground floor. The renovated Belle City Opera House, located at the intersection of State and Main Streets. It opened on February 11, 1890. The address was 211 Main Street. It original building was constructed in 1876. The 0pening was reported in the Racine Country Argus, “Racine people will always patronize a first-class entertainment, now that they have a good house to go to. The Belle City Hall, as remodeled, makes a fine little Opera House, only a few improvements being necessary to make it as good as any, and the people appreciate it” (January 6, 1876). This venue ceased operations by 1883.

The renovated opera house had a seating capacity of 1,200. At this time, Racine’s population was approximately 30,000. The theater was illuminated with a combination of both gas and electrical lights (volt 110). The proscenium opening was 30’-0” wide by 28’-0” high. The depth of the stage from the footlights to the back wall was 32’-0.” Distance between the sidewalls was 60 feet and the distance between the fly girders was 45 feet. The height of the grooves from the stage was 18’-0” and could be taken up flush with the fly gallery. The distance from the stage to the rigging loft was 50’-0.”

Postcard depicting the original Belle City Opera House, renamed the Racine Theater in 1906.

The Belle City Opera House was across the street from a more prominent theatre. The competitor was known by a variety of names, including the Bate Theatre, Orpheum Theatre, RKO Theatre, and Main Street Theatre). On August 16, 1906 the Belle City Opera House was also renamed to the Racine Theatre. It was rechristened again on May 14, 1914 as the Rex Theatre and became known as a vaudeville house. Eventually the entertainment turned toward cinema. By 1959, the building was transformed into a bowling alley. In 1978 it was demolished to connect State Street and Lake Avenue.

The original Belle City Opera House was renamed for a second time in 1914 when the entertainment venue became the Rex Theatre.

A view depicting the Rex Theatre, originally the Belle City Opera House. Notice the fly loft on top of the building.

To be continued…

Tales from a Scenic Artist and Scholar. Part 337 -The Jacques Opera House in Waterbury, Connecticut

Part 337: The Jacques Opera House in Waterbury, Connecticut

In 1895, Thomas G. Moses wrote that he secured “a good $1,000.00 job at Hillsboro Theatre at Waterbury, Conn.” During my research I found no mention of any performance venue in Waterbury called the Hillsboro Theatre – either before, during, or after Moses’ visit in 1895. Keep in mind that Moses’ painting project in Waterbury, Connecticut, occurred thirty-six years before he created his 1931 manuscript. Moses based this manuscript on his handwritten entries from annual diaries. It is important to understand that Moses was preparing a book, “Sixty Years Behind the Curtain Line.” Looking at some of the very few existing diaries and his 1931 translation, a lot was omitted from the final manuscript. Subjects were glossed over, or presented with a much more optimistic outlook. He was reflecting on his career at the age of seventy-five. In addition to misspelled names, there were variations for the titles of the productions that he worked on. I think that some details were fuzzy and he simply improvised.

Here is what I did discover while researching Moses’ stay in Waterbury during 1895, as there was a stock scenery collection created for a refurbished opera house at that same time. The newspapers document a painting of drop curtain and scenery that coincides with Moses visit to the area.

Interior of Jacques Opera House, 1896. Illustration is from “Town and City of Waterbury, Connecticut,” written by Joseph Anderson and Anna Lydia Ward, 1896.

Waterbury is located on the Naugatuck River, 33 miles southwest of Hartford, Connecticut, and 77 miles northeast of New York City. The town was associated with the manufacture of brass during the nineteenth century, as factories harnessed the waters of the Naugatuck and Mad Rivers. By 1853, Waterbury was incorporated and known as “the Brass Capital of the World.” Later the clock making industry also became linked associated with the town.

During the summer of 1895, the interior of the Jacques Opera House was thoroughly remodeled and new scenery purchased for the stage. I believe that this was the theatre project that drew Moses to Waterbury to paint $1,000 worth of stage settings. Up until the time that Jacques opened his opera house, there was only the People’s theatre. This early performance venue had provided marginal entertainment in mediocre accommodations. Jacques wanted a larger, and much more impressive home, to host touring shows for his community. I was curious to learn more about this ambitious individual.

Jacques Opera House was founded by Eugene “Jean” Jacques (1855-1905). Jacques initially worked for his father, a physician and pharmacist. He was involved in many business ventures, such as the Jacques & Fenn skating rink that was later transformed into the Casino and eventually into the People’s Theatre. Jacques and the community recognized the limitations of the venue, prompting him to construct his new opera house during the summer of 1885. Located at on the corner of Abbott and Phoenix Avenues, it was constructed for $50,000.

Program for 6th Dramatic Season of Jacques Opera House, estblished in 1885.

After opening the 1885 Jacques Opera House, he constructed another building with a stage called the Auditorium during 1891. It featured a hard-maple floor, measuring 5,000 square foot with a stage at the end of the room for dances and social events. The space was intended for dancing and also boasted a smoking room, a ladies room, a kitchen and other accessories. I found it interesting that historical records noted that no dramatic presentations of note took place at the Auditorium, but the space was used by a variety of fraternal groups, such as the Independent Order of Odd Fellows (I.O.O.F.). Jacques also founded the Diamond Bottling Works.

The “Town and City of Waterbury, Connecticut,” written by Joseph Anderson and Anna Lydia Ward in 1896, provides much information about the interior of Jacques Opera House in both 1885 and 1895 (pages 1095-1096). Here is a brief description of the original 1885 interior:

“The auditorium was built in the shape of a fireman’s trumpet, with the stage at the mouthpiece, and the seats were so arranged that the stage was visible from all parts of the house. All corners were rounded, and all rails curved, no angles being visible to mar the general effect. The decorations were bright, warm and cheerful, the woodwork being Tuscan red, terra cotta and gold, and the tints of the walls, ceilings and draperies harmonizing with it. A unique feature was the scene of the drop-curtain, which was a view of the celebrated glen in High Rock grove. The stage was large and thoroughly equipped with modern appliances. The orchestra pit was below the level of the floor, separated from the house by a curved rail. There were sixteen boxes, four on each side of the stage. The dressing rooms, lobby, etc., are in the basement, under the stage.” The original seating configuration was reconfigured a few years later, when several rows of plush covered sofas were put in.

Here is a description of the 1895 interior after the remodel with the scenery that was likely painted by Thomas G. Moses during his visit to Waterbury that year:

“The tone of the decoration was entirely changed, lighter and more delicate tints replacing the old color scheme. Eight boxes, of new and graceful design, replaced the sixteen of former days, and new seats were added to parquet and balcony, the seating capacity of the house being thus increased. A new and handsome drop-curtain, new sets of scenery, improvements in lighting facilities, etc., made the opera house seem almost like a new building, and added much to the comfort and pleasure of theatre-goers.”

Jacques future wife performed at his theatre during 1887. He married the actress Annie Louise Ames (1865-1915) two years later in 1889, and she gradually withdrew from show business to raise their daughter. Jacques Opera House had no competition until Poli’s Theatre opened in 1897. Poli’s was located just around the corner on East Main Street.

Postcard of Poli’s Theatre, 1897. This was the first competition fo Jacques Opera House.

To be continued…

Tales from a Scenic Artist and Scholar. Part 336 – The Broad Ripple Auditorium in Indianapolis, Indiana

Part 336: The Broad Ripple Auditorium in Indianapolis, Indiana

Thomas G. Moses painted scenery for the Broad Ripple Auditorium in 1895. He also made a brief appearance as part of a theatrical management team– Moses & McDonald. This was shortly after Joseph S. Sosman, Perry Landis, and David Hunt started the theatrical management firm of Sosman, Landis & Hunt. A combination of touring vaudeville acts and creating a stock company eliminated the need to feature expensive touring stars. It appeared to be a winning proposition.

When the Broad Ripple Auditorium opened during August 1895, it was at an odd time. The Indianapolis News announced, “This cozy summer theater, although opened late in the season, is doing good business. The attendance is increasing nightly, which is the surest indication of success” (11 August 1895, page 10). It was marketed as being “complete with all the modern equipment” and a seating capacity of 1,200 (4 Aug. 1895, page 13). The newspaper article added that Moses & McDonald were not only the managers, but also the organizers of the the Auditorium Stock Company. The company presented standard dramas, supplemented with vaudeville acts. It was the Auditorium Stock Company that purchased the theater, funded by members that included R.C. Light, George J. Marott, Charles Kirschner, and a Mr. Eldridge.

Review of the new Broad Ripple Auditorium, managed by Moses & McDonald. Indianapolis Journal (4 Aug 1895 page 13).

Moses was also credited with the stock scenery collection and the Indianapolis New commented, “The scenery is by Thomas G. Moses, of the Schiller Theatre, Chicago, and the stage is 40×40 feet, with three sets of border and footlights” (4 Aug. 1895, page 13).

The opening play was “Fanchon, the Cricket,” a charming five-act play made famous by Maggie Mitchell. This show was followed by “The Smugglers,” “Mystic Mountain,” “Ten Nights in a Barroom,” “The Factory Girl,” and “Kathleen Mavourneen,” each attracting large crowds. Then something happened.

Just eleven days after opening, the Indianapolis News reported, “The Broad Ripple Auditorium will remain closed until next Saturday night, when ‘Uncle Tom’s Cabin’ will be presented. Preparations are making for an elaborate production” (13 August 1895, page 7). There is no other mention of the show. It appears as if the production never took place at the Broad Ripple Auditorium. The next production for the venue was “Mabel Heath, or the Shadows of Home.” That was their last advertised performance. After that, the venue under the management of Moses & McDonald disappeared from the local papers.

Small advertisement for the Broad Ripple Auditorium squeezed between a soap and baseball. Indianapolis Journal (18 Aug 1895, page 6).

Unfortunately, the Broad Ripple Auditorium productions were poorly advertised; they appeared few in number, small in scale, and uninspiring in content. This would be understandable if the majority of Moses time was spent creating scenery for other venues. Little is known of “Moses & McDonald” beyond their brief partnership to manage the Broad Ripple Auditorium.

I had to wonder what had happened. Did this have anything to do with an inexperienced management team? There are only a couple mentions of them in newspaper articles, but all suggest that Thomas G. Moses was the “Moses” of Moses & McDonald.

Who was McDonald? I believe that he was another scenic artist that Moses was working with in Chicago during 1895?. This was a perfect combination as McDonald was not only a scenic artist, but also a talented stage carpenter. Where was McDonald painting during the spring of 1895? He was painting at McVicker’s Theatre with Homer Emons and Edward Peck. They were all working on the production of “Linsey Woolsey” (Chicago Tribune, 7 April 1895, page 35).

1896 advertisement for P. J. McDonald in Julius Cahn’s Official Theatrical Guide.

In 1896, P. J. McDonald was back to working as the stage carpenter for the Grand Opera House in New York. That would explain the end of Moses & McDonald. He would later partner with Claude L. Hagen, another stage carpenter, in 1899. McDonald & Hagen advertised as “contractors and builders of scenery,” providing scenery for “scenic productions, scenery for Theatres, Balls and Private Theatricals, Pageants and Celebrations, Tricks and Illusions, Masonic and Mystic Shrine Paraphernalia, Mechanical Effects, and Scrim Profile and all Supplies for the Trade” (Julius Cahn’s Official Theatrical Guide, 1899). The two separated by 1902 and McDonald again advertised independently as “P. J. McDonald, Scenery and Stage Construction, Mechanical Effects and Intricate Devices.” His shop was located at the stage of the Grand Opera House – 320 West 24^th Street, New York.

1899 advertisement for McDonald & Hagen in Julius Cahn’s Official Theatrical Guide.

There is much that can be written on Hagen, and I cover him in a later post. For now, here is an announcement from “The Salt Lake Tribune” in 1910 (20 Feb, page 39). It gives a brief summary of Hagen’s importance.

1896 advertisement for Claude L. Hagen, featuring his Patent Shoe Toggle, in Julius Cahn’s Official Theatrical Guide.

“For eight years Mr. Hagen was associated with Klaw & Erlanger. Later he was superintendent of Luna park. He invented the racing scenes in “Ben-Hur,” “The Ninety and Nine,” “The Vanderbilt Cup,” and “Bedford’s Hope.” He designed and built many of the illusions used by Herrmann. He also invented the “Loop-the-Loop” and designed the first hippodrome building in this country in which the racecourse or stage revolved entirely around the audience. The latter device was first used at Luna park in the naval show “War is Hell.” In 1908, he was appointed the technical director of the New Theatre, submitting his resignation on May 1, 1910. At the New Theatre “he set up the most complete theatrical stage in existence, and all the machinery of it was invented by him. His revolving stage and system of counterweights for the raising and lowering of scenery are said to be the most effective devices of the kind known.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 334 – Thomas G. Moses and Pittsburgh’s Avenue Theatre

Part 334: Thomas G. Moses and Pittsburgh’s Avenue Theatre

In 1895, Thomas G. Moses provided scenery for the Avenue Theatre in Pittsburgh, Pennsylvania. It was also known as the “Family Avenue Theatre,” opening on Monday, November 11, 1895. The Avenue was one of three theaters on Fifth Avenue in Pittsburgh: The New grand Opera House, the Avenue Theatre and Tivoli Gardens Theatre.

The Avenue was originally known as the Harris Theatre from 1888 to 1895. The performance venue originated as a hall for the Independent Order of Odd Fellows Hall (I.O.O.F), located at 58-60-62 Fifth Avenue. By August of 1865, it was listed as an Opera House. Then another opera house appeared – the “new opera house,” or the Pittsburgh Opera House, opening in 1871. It was located directly behind the Harris Theatre (later known as the Avenue Theatre). The Pittsburgh Opera House was christened the “New Grand Opera House” in 1895, the same year that the Harris Theatre was renamed the Avenue Theatre.

Advertisement for Harry Davis’ Avenue Theatre in Pittsburgh, Pennsylvania. Thomas G. Moses painted scenery for the venue when it opened in 1895.

From cellar to roof, newspaper reviews for the Avenue Theatre reported, “every vestige of the old Harris theater has been removed, and in its place is the coziest, prettiest and most convenient and best-appointed little theater in Pittsburgh.” (Pittsburgh Daily Post, 13 Nov 1895, page 9). Harry Davis was reported at spending over $30,000 to transform the property into “a delightful family theater.”

As with the Lowell Opera House in Massachusetts, architectural firm of J. B. McElfatrick & Sons provided the plans for the alteration, reporting “nothing but the four walls” would be left standing (New York Times, 29 May 1894, page 8). There was also an interesting comment made about the backstage area. The Pittsburgh Post-Gazette reported that the new proprietor hoped to create a stage that would accommodate “any kind of show, from quiet comedy to a grand spectacle.” The new proprietor, Harry Davis, created a house “anew” at the expense of $50.000” (Pittsburgh Post-Gazette, 9 Nov 1895, page 5).

The Avenue’s seating capacity was increased to accommodate 2,600 people. 4,000 incandescent lights illuminated the auditorium and stage. The New York Times reported, “The scenery is the work of Thomas G. Moses, the celebrated Chicago scenic artist, and will compare favorably with his best productions found in the leading theaters of the country. The drop curtain is a beautiful work of art, agreeably harmonizing with the prevailing colors of the house. A fire-proof curtain has also been added to the equipment of the stage, and in the design of the building a sufficient number of exits has been included to make it possible to empty the house in two minutes” (New York Times, 29 May 1894, page 8).

The opening week performances included Alice Shaw, the famous ‘La Belle Siffleuse,” the “great Lady Whistler. Famed over two continents.” Other acts included A. O. Duncan, premiere ventriloquist; Lawrence & Harrington, the Bowery Spielers; Bryant & Saville, comedians; Dockstader, the black-faced comedian; and other “sterling vaudeville acts,” such as the Ariel ballet, John and Ella M’Carthy, M’Bride & Goodrich, Campbell & Evans, Minnie Lee, Edgar Seldon, and Carl Johnson.

Advertisement for the Avenue Theatre in the Pittsburgh Post-Gazette (20 Nov 1897, page 5).

Advertisements promised “continuous performances” and “ten hours of uninterrupted fun each day” from 1PM until 11PM (Pittsburgh Post-Gazette, 9 Nov 1895, page 5). The Avenue Theatre was marketed as venue that presented “high-class vaudeville,” as well as the “best of drama” and “superb comic opera.” For the opening, Charles Drew headed the 40-member Mackery Opera Company in the revival of the “Mascot.”

Davis’ gamble proved to be a success and by 1902 the Pittsburgh Press reported “There will be hilarious times at the Avenue Theatre this week, for the management have engaged a company of vaudeville performers whose stock and trade is to make people laugh. There is scarcely a serious act on the bill which would seem to prove that Proprietor and Manager Harry Davis has discovered that people go to a continuous show house to be amused and not to worry over the intricacies [sic.] of plots and problems” (19 October 1902, page 34). By 1897, the Avenue Theatre would be advertised as “the Mecca of refined Vaudeville,” still showing continuous entertainment daily (Pittsburgh Post Gazette 20 Nov. 1897, page 5).

The Pittsburgh Daily Post reported, “The auditorium is the temporary place of visitation for the public, and it has been shown that no pains have been spared to give pleasure and comfort. The same can be said for the world which lies behind Thomas Moses’ scene curtain – the stage” (10 Nov 1895, page 9).

Illustrations of the Boxes in the Avenue Theatre from the Pittsburgh Daily Post (10 Nov 1895, page 9).

Illustrations of the Avenue Theatre Lobby from the Pittsburgh Daily Post (10 Nov 1895, page 9).

To be continued…

Tales from a Scenic Artist and Scholar. Part 332 – Thomas G. Moses and the Lowell Opera House in Massachusetts

Part 332: Thomas G. Moses and the Lowell Opera House in Massachusetts

In 1895, Thomas G. Moses recorded that he painted “a number of scenes and a drop curtain for Lowell, Mass. opera house.” This was one more stock scenery collection delivered by the Moses that year. I wondered how he made the initial connection and received the contract. After all, there were plenty of well-known regional artists who could have created the painted settings for any theatre in Lowell. It was a substantially-sized community. Was Moses that popular, or did he have an inside connection? I think that it was both.

The town of Lowell was founded in 1826. It is situated at the confluence of the Merrimack and Concord (Musketaquid) rivers, approximately 25 miles northwest of Boston. The major nineteenth-century business in the area was the Merrimack Manufacturing Co. (incorporated in 1822). It greatly contributed to the city’s dramatic growth over the decades and the area became primarily known as a manufacturing center for textiles. The industry wove cotton produced in the South and also shipped some of their product back to the south for slave garments. Both the bolts of fabric given to the slaves and the resulting clothing used the name “lowells.”

By the 1850s, Lowell boasted the largest industrial complex in the United States. Immigrants came in waves to Lowell; the Catholic Germans, French Canadians, Portuguese, Poles, Lithuanians, Swedes, Greeks and Eastern European Jews all established small communities and many worked in the Merrimack factory or for other businesses in the area. The town continued to thrive and by 1875, a Club Dramatique was established, providing come semblance of local entertainment. In the 1880s Lowell’s first opera house was constructed with a seating capacity of 1,500. Harry Miner’s American Dramatic Directory reported that the proscenium measured 30’ x 30’ and the stock scenery collection included 20 sets. The size of the stage was 45’ wide by 33’ deep.

By 1896, the population of Lowell had grown to 100,000. The Fay Bros. & Hosford became the proprietors and managers for the “new” Lowell Opera House. Their first season was announced during the spring of 1894 with the statement “The indications are that under the new and energetic management the Opera house next year will surpass all previous records” (The Lowell Sun, 19 May, 1894, page 1).

Advertisement for the Lowell Opera House when Fay Bros. and Hosford became the proprietors and managers of the venue in 1894. Lowell Daily (24 Aug 1894, page 2).

The new managers immediately began planning for the future, and began to renovate the venue. This included a new stage with new stock scenery collection by Moses. J. B. McElfatrick & Sons was the architectural firm responsible for the alterations of the space in 1895. The firm was located in New York and had previously worked with Moses.

The front entrance for the opera house in Lowell, Mass.

Located on the ground floor of the building, the Lowell opera house had a seating capacity of 1,500. The auditorium and stage were illuminated with a combination of both gas and electric lighting. The new space included a square proscenium opening that measured 34’-0” wide by 34’-0” high. The depth from the footlights to the back of the stage measured 45 feet with the distance between the footlights and curtain line at 3’-0.” The distance between the side walls of the stage was 60’-0” and 48’-0” between the girders. The stage to rigging loft was 80 feet with the depth under the stage at 10.’ The architects implemented a new spatial design, seating plan, and technology in their design. The venue desperately sought to attract popular touring productions to the area with an improved facility.

Advertisement in Julius Cahn’s Official Theatrical Guide for the Lowell Opera House (1896).Stock scenery for this venue was painted by Thomas G. Moses.

So, how did Moses get this job? As suggested above, I believe that the theatre architects recommended him; they knew and respected him from previous projects. This was a similar to the situation for the New Lyceum Theatre in Memphis, when architect Frank Cox recommended Moses to create the stock scenery. The architectural firms recommended specific artisans for certain aspects of the designs. So I started to explore other theatres designed and constructed by J. B. McElfatrick & Sons during the late-nineteenth century. I was pleasantly surprised with my findings, thinking that I might be onto something with the evolutions of the backstage area too.

It was in Julius Cahn’s Official Theatrical Guide (1896) where I noticed an advertisement for J. B. McElfatrick & Sons. They marketed theatre buildings as their specialty, listing seventy-one theaters and opera houses by 1896. This architectural firm was a significant contributor to the evolution and construction of “modern theaters.” I will discuss these characteristics in tomorrow’s post.

B. McElfatrick & Sons was especially prolific during the thirty-year period from 1880 to 1910. Although the founder had established offices in Philadelphia, Columbus, Cincinnati, Chicago, and St. Louis, the 1896 advertisement noted that their offices were located in the Knickerbocker Theatre Bldg., New York. J. B. McElfatrick & Sons were responsible for the new Lowell Opera House as well as many other venues where Moses had worked over the years. They designed and built theaters all across the country, including the English Opera House in Indianapolis. Interestingly, George H. Ketcham was the proprietor of the English Opera House, the Grand Opera House (Columbus), and the Valentine Theatre, all with stock scenery collections painted by Moses in the 1890s.

To be continued…

Tales from a Scenic Artist and Scholar. Part 331 – Thomas G. Moses and the Valentine Theatre in Toledo, Ohio

Part 331: Thomas G. Moses and the Valentine Theatre in Toledo, Ohio

For the year 1895, Thomas G. Moses recorded that he secured $46,000.00 of scenic work. Of that amount, he paid himself only $3,500. Moses commented that the necessary expenses were “very heavy” that year, resulting in such poor profits. In addition to touring shows and productions at the Schiller, Moses produced several stock scenery collections for theaters and halls across the country. One of the stock scenery installations was for Toledo, Ohio.

Moses wrote, “I closed up with the Valentine Theatre of Toledo for $5,300.00. We all got in our good work on this job.” In today’s dollars, it was almost a $150,000 job and one of many that he was juggling that fall.

Vintage postcard of the Valentine Theatre in Toledo, Ohio with stock scenery created by Thomas G. Moses in 1895.

Here is a little information about his Toledo project to create a little context for his story. The Valentine Theatre replaced a previous opera house, called the Wheeler Opera House that burned to the ground in 1893. The Wheeler had boasted a stage that measured 47 x 80’ with 15 sets of scenery (Harry Miner’s American Dramatic Directory, 1884-1885). When a new venue was contemplated, one of Toledo’s businessmen entered the picture as he was already leasing a few other performance venues in the region – George H. Ketcham. The Democratic Northwest and Henry County News reported that the Valentine Theatre was “built at enormous expense and under the personal supervision of its owner Mr. George H. Ketcham” (26 Dec. 1895, page 1). The newspaper reported Ketcham to be “one of Toledo’s wealthiest and most progressive capitalists, and whose enterprise has been a prominent factor in the phenomenal growth of Toledo and the development of its commercial interests.” The Valentine Theater was named after Ketcham’s father, Valentine Hicks Ketcham. The estimated cost of the project $300,000. Ketcham made himself president of the Valentine Company in Toledo, but he was already controlling the Grand and Great Southern theaters in Columbus, the Victoria Theatre at Dayton, and the English Opera House in Indianapolis (The Piqua Daily Call, 17 March 1902, page 1). Ketcham selected Lee M. Boda to be his manager in Toledo.

Interior Photograph of the Valentine Theatre with some scenery by Thomas G. Moses. Image from “The Book of Ohio” (1912)

The Valentine Theater was located on the ground floor at the corner of St. Clair and Adams as part of the Valentine block. The building was four stories and contained 200 offices (of which were included all of the city governmental offices), 15 stores, a private law library the Elks lodge room and a theater. The theater was a separate building with an entrance on St. Clair Street. Designed by Edward Oscar Fallis (1851-1927) in the “Sulivanesque style.” E. O. Fallis was a well-known architect who was also responsible for the several courthouses, a few public buildings, churches and residential homes in the region. Construction of the Valentine building began in 1894 and was completed in 1895.

Fallis’ theater design included an unusual cantilevered balcony and increased the theatre seating by arranging the chairs in straight rows instead of semi-circles. Some sources report this to be the first of its kind in the country. Unfortunately, his seating design created some areas with obstructed views. However, it greatly increased the number of chairs that could be crammed into the venue and increase the profit margin. According to Julius Cahns Official Theatrical Guide the seating capacity was 1,904. There were also twenty exists from the space in case of fire.

The building was illuminated with electric light and equipped with large dynamos in the basement that sent direct current to the incandescent lights, numbering approximately 2500. One newspaper article noted that the Mayhofer system was used at the Valentine Theatre and the lights could be manipulated to transform scenes from dawn to dusk. This would be similar to the electric scenic theater that was on display at the Columbian Exposition, featuring “A Day in the Alps.” There were also calcium lights and a “chaser” to spotlight people on stage and “produce brilliant effects of light and shade on the actress’ costume as she moves about the stage” (Blade, No. 131, 26 Dec. 1895).

The proscenium opening measured 39’-0” wide by 37’-0” high and depth from the footlights to the back wall was 62 feet. The distance between the girders was recorded 50 feet, with the stage to the rigging loft measuring 85 feet. There were nine bridges above the stage, located in three rows.

Interior Photograph of the Valentine Theatre with some scenery by Thomas G. Moses. Note the painted Austrian drape partially scene above the stage. Detail of image from “The Book of Ohio” (1912).

The Valentine Theater opened on December 25, 1895 with Joseph Jefferson’s famous “Rip Van Winkle.” The article, “The Opening of the Valentine Theatre,” described the space in detail, especially the area behind the stage with scenery produced by the studio of Thomas G. Moses. Here is a section from the article published in the Blade from December 26 and posted online as part of Dr. Timothy Messer-Kruse’s essay on the Valentine Theatre.”

“Back of the footlights, everything is as complete as human ingenuity and unstinted expense could make it. The dimensions of the stage are as follows: L Proscenium opening, 39 feet; depth of stage, 72 feet; width, 80 feet; height to rigging left, 84 feet. The scenery is all from the studio of Thomas G. Moses, of Chicago, and is complete in every detail. An asbestos curtain, absolutely fire proof, decorated, in the general style of the carpets of the house, with a peculiar green tint and golden fleur de lis, divides the auditorium from the stage. The act curtain, which was dropped for public inspection, the first time, last night, is a revelation of beauty. It is entitled “A Spanish Flower Festival,” and is a symphony in color. There is a freedom and grace about each fixture and a wealth of historic detail in the scene which makes it almost perfect as a work of art.” Here is another example where a front drop curtain replicates a well-known artwork.

Interior Photograph of the Valentine Theatre with some scenery by Thomas G. Moses. Note the interior box set and tormentors that would have been part of the stock scenery collection. Detail of image from “The Book of Ohio” (1912).

The same article also mentioned the stage machinery: “The stage, which is equipped with every essential in the scenic and mechanical line, is under the supervision of Robert H. Minis, than whom, Mr. Boda says there is no better stage carpenter in the country.”

By 1918, the venue was transformed into a cinema, effectively ending live theatre performances after a $50,000 renovation as it was transformed into a movie palace. In August of 1983, a task force was established by Mayor DeGood, who recommended the demolition of the Valentine Theatre at a cost of $217,000. Luckily, a group called “Friends of the Valentine” began a campaign to save the theater from the wrecking ball.

To be continued…

Tales from a Scenic Artist and Scholar. Part 330 – Stock Scenery

Part 330: Stock Scenery

In 1895, Thomas G. Moses left Sosman & Landis and worked independently as a freelance artist. He was listed as the official scenic artist for the Schiller Theatre, but also rented the old Waverly Theatre to complete other projects. Sosman & Landis used the Waverly as a second studio from 1892 to 1893. Projects that Moses worked on in 1895 included “Little Robinson Crusoe,” “Ben-Hur,” “Mexico,” “Said Pasha,” “Mistress Betty,” “The Witch,” “Rip Van Winkle,” “Richard III,” “Hamlet,” “Faust,” and the pyro-spectacle “Storming of Vicksburg.”

In addition to the abovementioned shows and other Schiller Theatre productions, Moses completed numerous stock scenery collections for theaters and opera houses nationwide in 1895, including the Valentine Theatre in Toledo, Ohio; the Lowell Opera House in Massachusetts; the Avenue Theatre in Pittsburg; the Broad Ripple Theatre in Indianapolis; the Hillsboro Theatre in Waterbury, Connecticut; and the Opera House in Racine, Wisconsin. The amount of scenery produced under Moses’ direct supervision as an independent contractor in 1895 is staggering. In the next few posts I will be examining the individual theaters and and the characteristics of each venue.

It is interesting to look at what was offered to a variety of venues in terms of stock scenery. Although Moses was no longer working for Sosman & Landis, he knew their formula and what was required to outfit theaters, regardless of the size. The 1894-1895 Sosman & Landis catalogue divided stock scenery installations into three categories: traveling combinations, small opera houses and halls, and ordinary halls.

Sosman & Landis catalogue listing stock scenery recommendations forDrop curtain, a standard piece of stock scenery for theaters.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr.large venues, 1894-1895.

Drop curtain, a standard piece of stock scenery for theaters.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr.

Set No. 1 was for traveling combinations. These would be the larger performance venues that booked headliners and large-scale productions. Stock scenery for these stages included a drop curtain and at least eight backdrops depicting a fancy parlor scene, plain chamber scene, prison scene, wood scene, garden scene, street scene, rocky pass scene, and ocean view scene. In addition to the drops, there were 4 parlor wings, 4 kitchen wings, 6 wood wings, 2 front wings (tormentors), 1 grand drapery border, 3 sky borders, 3 set rocks, 3 set waters and 1 set cottage. In some cases, the parlor scene and kitchen settings were delivered as an interior box set; 4×8 flats that were lashed together with cord and cleats. Occasionally the interior flats were double-painted with a fancy interior on one side and a rustic interior on the backside.

Rustic scene, a standard piece of stock scenery for small halls that could also work as a kitchen scene.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr. Note cleats and cord that lashes the flats together for quick assmebly.

Plain chamber scene, a standard piece of stock scenery for small halls.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr.

Fancy parlor scene, a standard piece of stock scenery for small halls.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr.

Wood scene, a standard piece of stock scenery for small halls.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr.

Stage left wood wing, a standard piece of stock scenery for small halls.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr.

There is need to clarify a few other terms detailed in the 1894-1895 Sosman & Landis catalogue too. Tormentor wings depicted painted columns with an “elaborate base and rich drapery at the top and side.” These wings were stationary ones that were set three or four feet back of and parallel with drop curtain. The grand drapery border was painted to represent rich and massive drapery that matched the drapery on the tormentor wings.

Set No. 2 was for smaller venues, such as 200-500 seat opera houses and halls. Their stock settings included 1 drop curtain and five drops: parlor scene, kitchen scene, street scene, prison scene, and wood scene. In addition to the backdrops, there were 4 parlor wings, 4 kitchen wings, 4 wood wings, 2 front wings (tormentors), 1 grand drapery border, 2 sky borders, 3 set rocks, 3 set waters and 1 set cottage.

Set cottage, a standard piece of stock scenery for small halls.This one was created for the SOKOL Hall in St. Paul, Minnesota. Painted by V. Hubel, Sr.

Set No. 3 was intended for limited spaces, such as an ordinary meeting hall for a social or fraternal organization. This option included 1 drop curtain and following drops: parlor scene, kitchen scene, street scene, and wood scene. In addition to the drops, there were 4 interior wings, 4 exterior wings, 2 front wings (tormentors), 1 grand drapery border, 2 front borders, and 2 sky borders.

The catalogue noted that the scenery was created with “extra heavy material painted in bright durable colors, by the best skilled Scenic Painters, and are warranted strictly first-class in every particular.” By 1894, Sosman & Landis advertised, “over 4,000 places of amusement are to-day using scenery made by our firm.” From the time that Moses started at the studio, he had been constantly painting and traveling for Sosman & Landis. Many of those projects were his and he was a well-known commodity. It is understandable, that the stock scenery collections he painted, after leaving Sosman & Landis, would have followed the same format as the larger studio; he was familiar with the process and the popular compositions. When Moses went to the Valentine Theatre of Toledo, Ohio, he delivered enough scenery for a combination house.

To be continued…