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Copyright © 2020 by Wendy Waszut-Barrett

I last visited the Tabor Opera House in June 2018. The renovated building opened on Nov. 20 1902, featuring scenery by Kansas City Scenic.  For the next five days, I will be cataloguing the scenery currently stored in the stage area. With a crew of volunteers, we will carefully go through the collection piece by piece. Some of the drops are hanging, but the majority of pieces are stacked against the back wall. Here are a few pictures of their lovely front curtain.

Copyright © 2019 by Wendy Waszut-Barrett

In 1916, Moses wrote, “Thanksgiving Day at Pitt’s, with brother Frank, which was a surprise to me, and we had a fine time.  Next day I had to go to Princeton to see about installing the scenery for the Triangle Club.  The boys were highly pleased with it, as it was very odd.”

The Triangle Club was a theatre troupe at Princeton University.  By 1916, the organization had presented annual musical shows for about twenty years. That December, the club presented “Safety First,” a comic opera burlesque by F. Scott Fitzgerald. The show was also advertised as a futuristic farce. As an undergraduate at Princeton, Fitzgerald wrote three shows for the club between 1914 and 1917.

In the article “Rah!Rah!Rah! The New Princeton Show,” there was a little more information about scenery that Moses considered “odd.” The article reported, “The type of scenery used has never been employed in any musical comedies of this country. It was arranged by Bakst, designer for the Russian ballet. Massive blocks of bold colorings have been employed throughout so as to gain an effect of the greatest contrast possible. The effort was made to make the actors themselves stand out more in the foreground, and the situations realistic without aid form the stage setting” (The Theatre, 1917, Vol. 25, page 80).

The article further described the production:  “From the mystical prologue to the final satirical drop of the curtain, [this] is a musical comedy which speaks rather of the twenty-first century than the twentieth century. It is daring and done with finesse and polish that relieves it of any touch of the outré. The show is a plea to waft the audience to the land of the future – a land in which all our modern absurdities have been carried to their logical conclusions indicating that society should examine carefully each new idea before accepting it as bona fide. The idea of the lyric should be to proceed more carefully, looking before we leap, and thus practicing ‘Safety First.’”

The Triangle Club’s production of “Safety First” toured all across the country that year. The cast of 65 traveled 3,000 miles and performing in eleven cities. They traveled by special train referred to their “a hotel on wheels.” On Dec. 3, 1916, the show played in Pittsburgh at the Schenley Theater; it was the ninth of the eleven cities. Other locations included Brooklyn’s Academy of Music, Baltimore’s Lyceum Theatre, and New York’s Waldorf-Astoria. “Safety First” was reported to be “one of the most completely equipped plays” produced by the Club (Pittsburgh Press, 3 Dec. 1916, page 15). There is no mention of Sosman & Landis’ scenic contribution other that by Moses in his memoirs.

As with Purdue’s Harlequin Club, men played the female roles. In girl’s parts Mr. W. M. Bowman played Betty Howard and Mr. W. J. Warburton played Cynthia Mars.

The “Baltimore Sun” described the production on 17 Dec 1916 (page 31). The article included a picture of Paul D. Nelson, president of the Princeton Triangle Club and leading man in “Safety First.”  Here is the rest of the article from the “Baltimore Sun:”

“On Wednesday evening the Princeton Triangle Club will make its annual bow to the theatre-going public of Baltimore at Albaugh’s Lyceum Theatre, Although an amateur organization, this well-known college dramatic club has for years set a standard of professional excellence and the play this year, entitled ‘Safety First,’ is reported as well up to that standard. The play is a satire on modern conditions and a burlesque on some of the modernist ideas. The action takes place in the futuristic art community of Arden and deals with a counterfeit art school run by a former convict named Howard. The lyrics, written by F. Scott Fitzgerald, serve to carry on the general idea conveyed by the show, that of satire and burlesque on certain foibles and fads of the day – mostly feminism, futurism, and prison reform. One of the characteristics of the show, and of all Triangle Club productions, is that it is the work of undergraduates throughout. Not only are the play and lyrics composed by students at the university, but the entire personnel of the company is made up of undergraduates, including the cast, flirtatious girls, chorus and pony ballet, orchestra and the lowly electricians, property men and ‘mistress’ of the wardrobe. The scenery and costumes are also designed by members of the club.”  The designs were the work of club members, but the manufacture of the stage settings were delivered by Sosman & Landis, installed under the supervision of Thomas G. Moses after Thanksgiving Day in 1916.

Of the scenery, “Brooklyn Life” reported, “the stage settings were most attractive” (23 Dec 916, page 12). “The Brooklyn Citizen” elaborated that there were “a variety of striking scenic effects” and stage settings were “unique”…One innovation is in scenery. Instead of one set for the play there are three distinct scenes, with a special drop curtain for the prologue.” (3 Dec 1916, page 10). The drop curtain was provided by Miss Katherine Maxey in the “Bakst style.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

This is a bit of a recap about the Thomas G. Moses family as we enter 1916. Moses’ typed manuscript was compiled in 1931. The primary focus of his memoirs was theatrical projects, business travels, and eccentric clientele.  The 1931 work was based almost six decades of daily diary entries beginning in 1873. He intended his work to be called “Sixty Years Behind the Curtain Line.” In the end, it was entitled, “My Diary.” Seldom, does Moses mention his family. In many ways this is understandable, especially as it was meant to highlight his scenic art career, interesting projects and famous personalities. In1916, he mentions his family six times, unusual for his annual records; some years make no mention of family.

His began 1916 writing, “January 1^st, Ula and Rupert with the Kauffman family from the city took dinner with us.” Moses’ youngest son, Rupert, entered the theatre supply business too and worked for Sosman & Landis. The youngest of four, he was the last to marry in 1914.Rupert’s wife was Ula McNeill of Ames, Iowa.

Tom and Ella Moses had four children: William “Pitt” Moses (1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886), Thomas “Rupert” Moses (1889). By 1916, all were married.

During February 1916, Moses wrote, “George, Lillian and little George arrived from New York City to make Chicago their home.  February 9^th, a big family reunion.” Moses traveled extensively throughout his life, almost always for work or sketching trips.  As his children grew into adults, he lamented the lost time and wished for big family reunions, especially at holidays. The return of his daughter to Chicago must have sent waves of joy; they would be close to children and grandchild.  Lillian and George’s return coincided with another pregnancy. That fall, Moses wrote, “October 6^th, Lillian presented her husband with a pair of twins, boy and girl.”  By the end of the year, Moses recorded, “Our Christmas Family this year was Mary and William, Lillian and George and children, and little family of three, Rupert, Ula and Evelyn.” By this time, Evelyn was eleven years old. Two of his children and four children were now living in Chicago, making holidays and other family events even more special. Only the eldest son’s family was missing that year.

William “Pitt” worked for the natural gas industry. Family visits were few and far between.  In 1900 Pitt moved to New Jersey where he remained for the remainder of his career.  During the summer of 1906, “The Oak Park Leaves” reported, “Mr. and Mrs. W. Pitt Moses of Trenton, N.J., are the proud parents of a baby girl, who arrived Sunday, July 29.  The father is the son of Mr. and Mrs. Thomas G. Moses of 233 South Euclid avenue” (4 August 1906, page 10). As the first child to become an adult, Pitt followed in his uncle Frank Moses’ footsteps. In 1900, he moved to Trenton and worked at the gas plant in New Jersey. Three years later, he married Stella Martin of Trenton. Moses’ youngest son, Rupert, entered the theatre manufacturing business with his father.  The girls were married and became homemakers.  Lillian married George Salzman in 1910. Mamie married William Hanover in 1911. Last, but not least, Rupert married Ula McNeill of Ames, Iowa in 1914.

In 1916, Moses noted, “Pitt came out late September 1^st, but the growing danger of a new railroad strike made him uneasy and he had to go back after one day home.” This short visit would prompt Moses to visit Pitt and his family on Thanksgiving while he was out East for work.  He wrote, “Thanksgiving Day at Pitt’s, with brother Frank, which was a surprise to me, and we had a fine time.” By 1917, Moses wrote, “Pitt came out for a short visit and for the first time in twenty years, we had only the four children at home for a dinner.  They were not allowed to mention their families.  We sat each in their accustomed place.  We all enjoyed it immensely.  It carried us back many years when we were all much younger.  I wish we could do it every year.” 

Continued absences from family may lead to regret. I have to believe that this feeling haunted Moses for many years after his children were grown and only returning home for holidays.  He had missed so much while they were growing up. That dinner in 1917, when it was just the four kids and Ella, meant the world to him. He could have had it hundreds of times when the kids were little, but his chosen profession was not conducive to family life. 

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “We had a pleasant Christmas with Mary and William, Rupert and Ula, and Ula’s mother from Ames, Iowa.” On Jan. 1, 1916, Moses wrote, “January 1^st, Ula and Rupert with the Kauffman family from the city took dinner with us.”

Before we enter 1916, I want to take a chance to review the year 1915.

It was the first full year of WWI, but the United States decided to take a neutral role. The same year of our stated neutrality, the RMS Lusitania was sunk on passage from New York to Britain by a German U-boat, killing 1,198 people. The United States remained on the sidelines, with the average citizen only reading of horrors occurring over seas.

In 1915, the United States House of Representatives rejected a proposal giving women the right to vote, and our country would remain in the hands of men for quite some time. Regardless of lacking any ability to participate in an election, women trudged on, establishing the Women’s Peace Party. The WPP, an American pacifist and feminist organization, was established in response to WWI. It later became the American section of the International Committee of Women for Permanent Peace (Women’s International League for Peace and Freedom).

The United States occupation of Haiti began that July, the same month that the steamer “Eastland” capsized in Chicago; 844 lives were lost. Hurricanes hit both Galveston and New Orleans, leaving 275 dead in the wake of their destruction. Lassen Peak, one of the Cascade Volcanoes in Northern California, erupted, sending an ash plume 30,000 feet in the air and devastating the nearby region. The Imperial Valley earthquake shook southern California and the Pleasant Valley Earthquake shook north-central Nevada. Although the world seemed to be crumbling, the Rocky Mountain National Park was established for future generations to enjoy.

In 1915, the world population was estimated at 1.8 billion; 100 million people lived in the United States and more than half were under 25 years old. The average life expectancy for men was 47 years old. Half of all US families lived on farms, and the number of horses and mules on farms reached a century high that year. There were approximately 2 million cars, and not many places that one could easily drive a vehicle.

About 85% of men over the age of 14 worked in the labor force. The average US worker made between $200 and $400 per year, with mechanical engineers earning $5,000/yr., dentists earning $2,500/yr. and veterinarians earning between $1,500 and $4,000 per year. A good accountant could earn $2,000/year. 18% of households had at least one full-time servant or domestic helper.

Two out of every ten adults could not read nor write.  Only 6% of all Americans had graduated from high school. 90% of medical doctors had no college education, having solely attended medical schools. 95% of all births took place at home. The five leading causes of death were diarrhea, heart disease, stroke, influenza, pneumonia and tuberculosis. After infecting dozens of people, Typhoid Mary was quarantined for the rest of her life.

Only 14% of homes had a bathtub. Most women only washed their hair once a month, using Borax or egg yolks for shampoo. Eggs were fourteen cents a dozen. Sugar was four cents a pound and coffee was fifteen cents a pound. Fuel for cars was only sold in drug stores. The maximum speed limit in most cities was 10 mph, but most Americans walked everywhere. There was no easy way to communicate long distance, as only 8% of homes had phones. A postage stamp was two cents.

Onward and upward, tomorrow I start exploring the year 1916 in the life and times of Thomas G. Moses.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “Went to Lafayette, Indiana, to meet George Ade regarding a new show he is going to stage for the Purdue College.” Ades’s show was the “Eight Little Wives” and it featured an all-male cast; this was consistent with all previous Harlequin Club shows at Purdue. It was not until 1916 that women were first allowed to perform in Harlequin Club productions.

George Ade (1866-1944) was a well-known author, playwright, and newspaper columnist, born Kentland, Indiana. Ade’s focus while attending Purdue was science, but he became increasingly interested in the theater. After graduating in 1887, Ade became a newspaper journalist, working for the “Lafayette Call” in Indiana. He then moved to Chicago and worked for the “Chicago Daily News,” expanding the scope of subjects that he wrote about. Ade described the daily life of Chicago’s citizens, with first in his regular column being “The Chicago Record.” His writing incorporated street slang and a variety of encounters in the Windy City. Ade was well-known for his “Fables in Slang” (1899) and “More Fables” (1900), earning him the nickname, “Aesop of Indiana, “ He initially gained additional famed with his “Stories of the Streets of the Town.” Here is a link to some of his works online: https://americanliterature.com/author/george-ade

Ade’s work as a playwright began in earnest with the 1901 Broadway productions of “The Night of the Fourth” and “The Sultan of Sulu.” Other popular Broadway productions penned by Ade included “Peggy From Paris, ““The Country Chairman,” “Sho-Gun,” “The College Widow,” “The Bad Samaritan,” “Just Out of College,” “Artie,” “Father and the Boys,” “Mrs. Peckham’s Carouse,” “Mars Covington,” “The Pair Co-Ed,” “The Old Town,” “The Slim Princess,” and “Leave it to Jane.”   Ade also wrote several one-act plays, some of which became popular films, such as “Our Leading Citizen,” “Back Home” and “Woman-Proof.”

By 1909, Ade remembered his alma mater, becoming a member on the Board of Trustees at Purdue University. He would remain a Trustee until 1916, becoming active in many other alumni-supported activities. He was also a longtime member of the Purdue Alumni Association and former president of the Mark Twain Association of America. His financial continued contributions toward Purdue University supported the construction of Purdue’s Memorial Gymnasium, Memorial Union Building, and the Ross-Ade Stadium.

In regard to the play that Moses designed scenery for in 1915, newspapers reported, “LAFAYETTE, Ind., January 8.- The play to be produced by the Harlequin Club, of Purdue university, this year, will be written by George Ade, according to an announcement made by J. J. Johnston, manager of the club. Mr. Ade, who is a Purdue alumnus, has written several first by the Purdue Harlequin Club, among which were “The Fair Co-Ed,” “The Junior in Command” and “The County Chairman.” Mr. Ade is working on the play, but the name has not been announced” (Indianapolis Star, page 15).

“The Indianapolis News” reviewed the production on 20 April, 1915 (page 2):

“Harlequin Club Presents George Ade’s Play Before Large Audience at Lafayette. ‘Eight Little Wives,’ the ninth annual production of the Harlequin Club of Purdue university, was presented for the first time yesterday at the Victoria Theater before a capacity audience. The play proved a great success, receiving more praise than ever was bestowed on previous first night performances of the Harlequins. There are eighty-five students in the production and the costumes and scenery are unusually elaborate. George Ade. Purdue 1887 is the author, and the music is by Alfred G. Wathall, with interpolated numbers by George Ade Davis [George Ade Davis was George Ade’s nephew who wrote music for his uncle]. The play is an adaptation of Mr. Ade’s musical comedy success, ‘The Sultan of Sulu.’

“George Herbert, the veteran coach of the Harlequin Club directed the production, and J. J. Johnson, manager of the club assisted. The leading role in the musical comedy is taken by R. H. Dwiggens, a freshmen at Purdue, who proved himself the cleverest comedian ever seen in a Harlequin Club production. As Ki-Ram, the sultan of Sulu, he was on the stage most of the time, the part being that played by Frank Moulan in the professional production. G. H. Smith, as Major Jefferson Rice, had another important role, as did H. J. Rosenthal as Lieutenant William Hardy. H. S. O’Brien, captain of the Purdue football team last fall, appeared in the role of Hadji, private secretary to the sultan. M. S. McNay was the Datto Mandi of Parang. J. A. Pierce, as Wakeful Jones, salesman, and K. W. Hurst as Dingbat, captain of the guards, were good in minor roles. F. Ledder and R. J. Mitchell as the Nubian slaves injected a large share of the best comedy. As usual in Purdue Harlequin plays, the male students essayed the roles of the women. D. J. Bellinger, as Henrietta, the major’s daughter, was well made up, as was B. L. McCullom, as Chiquita, the sultan’s favorite wife. They sang and danced and their gowns were visions of loveliness. L. R. McKnight had the role of Pamela Jackson, the woman judge advocate, and presented a realistic picture of the suffragette type. W. K. Dodd, as Galula, the ugly wife of Ki-Ram, had the leading woman comedy part. Other students appeared as the eight wives of Ki-Ram, then there were the school ma’ams, the United States soldiers, marines, American girls, slaves, natives and attendants.

The scene is laid on the Island of Sulu in the Philippines. The first act setting shows the exterior of the sultan’s palace and the second set shows the hanging gardens of the palace. In the background of each act is a view of the land and water scenery of the Philippines. The leading song numbers are Ki-Rams’s ‘Remorse’; ‘Soldiers of the U.S.A.,’ one of George Ade Davis’ contributions; ‘The Smiing Isle,’ by Ki-Ram; ‘The Filipino Cabaret,’ and ‘If You Say That You Love Me.’

“The play will be repeated this evening and Wednesday night in Ft. Wayne, under the auspices of the Purdue Alumni Association in that city. Next Saturday night it will be given again at the Victoria theater in this city for the benefit of the visitors at junior prom parties.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “We did another society stunt, ‘The Spanish Ball.’  I think we made about $20,000.00 for one evenings entertainment.” In addition to producing stock scenery for various theaters and special scenery for touring productions, these themed events netted the studio thousands of dollars in profit each year.  I am curious if the $20,000 amount mentioned by Moses was what the studio netted for the project or his estimation on the charitable donations. Reports indicate that Chicago’s Spanish Ball raised $25,000 for charity.

On Monday Dec. 13, 1915, the “Day Book” included the article “Women in Red Socks and Red Sashes at Spanish Ball.” The article reported, “No charity ball this winter. Instead, the Spanish ball. By calling it Spanish ball, everybody on it is saved the smell that goes with the word ‘charity’ these days.”

The upper echelon of Chicago society gathered on Dec. 17, 1915 to raise funds for the Chicago Lying-In hospital. It opened new building at 51^st Street and Vincennes, and money was needed for plumbing and running expenses. After the funds were raised at the ball, it was anticipated that the water pipe installation would begin.

Of the Lying-In hospital cause, two dispensaries were run with hospital. The previous year 24,764 mothers received medicine, lint and doctor’s advice. The “Day Book” article reported, “Though many mothers are lucky enough to get a bed to lie in at the Lying-in hospital, statement of women at head of it is that ‘hundreds are turned away every year.’ What sort of shacks and shanties the mothers go to when turned away is not stated in any survey taken. Red colors, laughter and a big hoorah are the moors of the Spanish ball. It would be thought a crime and an indecency if somebody should print slips to be stuck onto the dance program giving the statistics of the baby death rate around the Armour, Swift and Morris slaughter houses. University of Chicago survey presented in testimony to U. S. industrial relations commission showed baby death rate in the stockyards district is seven times as high as over on the lake shore in the district where Spanish ball dancers will come from.”

For the Spanish Ball, the First Regiment Armory building was transformed into a replica of the famous streets of Madrid. Arches and pillars of flaming orange and red, relieved by bars of black concealed the walls and formed sort of a continuous façade about the drill fall behind which the spectators sat. According to the “Chicago Examiner” “The pageant will represent all phases of Spanish history, beginning with the Moorish invasion in 800 A.D., which is to include those fascinating and illustrious personages of long ago period, Ferdinand and Isabella. DeSoto, Balboa, Cortez and everybody else connected with the history of those stirring times will be impersonated. There will be an Inquisition group too” (Nov. 7, 1915, Vol. 16, part 4, page 6).

The “Day Book” article anticipated the event; “Next Friday night they pull this Spanish ball in First Regiment armory. Ladies in red sox and red moccasins, topped off with red fabric and ribbons, all a regular chile con carne red pepper red, will be on parade. Spanish music, old fashioned rum-tum-toddles played in Madrid and Barcelona centuries ago, have been searched out by Roy McWilliams.”

The “Evening Star” reported “The managers of the Spanish ball held on Friday night at the 1^st Regiment armory have cause for great satisfaction, for the affair was by all odds the most comprehensive historical pageant as well as the greatest financial success ever staged for charity in Chicago, says the Chicago herald. The setting was effective, with the curving yellow and orange walls of the bullfight ring hung with rich fabrics and rugs, and opposite to the entrance of the picturesque Café del Torero, with its yellow walls and black balconies, against which the various groups seated themselves in a semi-circle as the pageant wound itself about the hall. The pageant was somewhat late in beginning, and it was well after 12 o’clock before the last group had fled past the queen in the person of Mrs. Robert Leatherbee, who sat in a gorgeous palanquin, and alluring picture in Moorish costume of silver cloth, many barbaric jewels and a gorgeous headdress of fan and peacock feathers, After the pageant there was dancing and the gay scenes that began with the blowing of the bugles for the entrance of the bullfight cortege at 11 o’clock did not end until almost dawn”  (Washington, D.C., December 26, 1915, page 8).

The Charity ball raised $25,000. Over 4,000 donned their best costumes and emptied their pockets for the event intended to replenish the coffers of those in need. The majority of visitors were simply spectators as gazed from a balcony at the events below. The “Chicago Tribune” reported, “While the majority looked on from the boxes and balconies 300 men and women staged the long-a-waited Spanish ball, which compromised a pageant rich, in color, a series of performance by professional dancers and singers, and a mock bullfight which was greeted with shouts of laughter. Then everybody danced” (18 Dec. 1915, page 17).

The “Lincoln Journal Star,” reported “Chicago’s ‘400’ yawned sleepily today and voted the Spanish ball a weird success. Dowagers, cotillion leader, debutants and just ordinary folk who make one splurge a year decked themselves in a collection of disguises that added $100,000 to the bank rolls of modistes and tailors. Some of them rode donkeys to enhance the illusion of a Moorish scene. The ball, the annual charity event of Chicago, netted about $25,000 for the Chicago lying-in hospital. Mrs. Potter Palmer, the ‘400’s’ leader had as her guests former Ambassador and Mrs. Myron T. Herrick”  (18 Dec., 1915, page 1).

To be continued…

From February 3 – 7, 2020, I am cataloguing one of two historic scenery collections at the Tabor Opera House in Leadville, Colorado. Horace Tabor’s 1879 opera house was purchased and renovated by the Benevolent and Protected Order of Elks in 1901, with new scenery being delivered in 1902. The venue’s original scenery was then placed into storage. My previous visit to the Tabor Opera House was posted on June 19 and June 21 of 2018 (just keyword search “Leadville”). I examine the 1902 scenery collection next week.

Here is an article recently published about the upcoming event in the “Leadville Herald” on January 20, 2020.

From February 3 to February 10, I will resume “Travels of a Scenic Artists and Scholar,” sharing my experience in Leadville at the Tabor Opera House.

On February 10, I will return to the life and times of Thomas G. Moses in “Tales of a Scenic Artist and Scholar.”

Copyright © 2019 by Wendy Waszut-Barrett

Sosman & Landis delivered scenery to Detroit’s Temple Theatre in 1908 and 1915. The Temple Theatre was not a Masonic structure, but a performance space constructed by the Benevolent and Protected Order of Elks for both public and private performances (BPOE).

The Elks Temple and Temple Theatre opened on Dec. 23, 1901. The entertainment complex originally hosted the Wonderland Theatre Company and curiosity museum of oddities. John Scott designed he building, with Col. J. M. Wood designing the 1500-seat theater. It was located next door to the Detroit Opera House, on the north side of Monroe Street in the Campus Martius area.

In 1908, the Temple Theatre closed for three weeks during July to complete the renovation of the theater space. The “Detroit Free Press” described the imminent renovation plans in an article in July 2 (page 7):

“The Temple theater will close at the end of the week to permit decorators to transform the interior. The work will take three weeks, artists working in two shifts, night and day. When the theater is thrown open to the public, Monday afternoon, July 27, the many patrons will marvel at the transformation.  It is said that the decorations, with carpets, tapestries, drop curtain and incidentals will cost in the neighborhood of $20,000. The entire decorations will be in the Italian Renaissance period, and William Wright company has guaranteed Manager J. H. Moore the richest vaudeville theater interior in this country. The ceilings and cornice work will be in light Italian blue and ivory, this scheme being carried throughout. The proscenium boxes will be draped with rich brocatelle hangings of light blue, with heavy cords and tassels, and fine old Roman gold chairs will replace the mahogany ones now in use. Artists and designers have been at work on the preliminary plans for the last three months, and all that is left now is to complete the actual work. The carpets have been made from a special design by the decorators, and Sosman & Landis, the scene painters of Chicago, are in consultation with the William Wright artists carry out in the new drop curtain, to cost $1,000, the color scheme of the auditorium. The double baize doors, leading from the foyer to the right proscenium boxes will be replaced with Roman gilt and gold plate glass doors, with gold columns. New and beautiful electrical effects will be seen in the ceiling of the foyer. On account of the reopening of the Temple falling the revival of the famous Blue Ribbon meeting in Detroit, the bill of vaudeville for that week will be designated the “Blue Ribbon” bill. It will contain the names of artists, not the least of whom will be Loie Fuller, the celebrated fire dancer. The Temple Theater has not been closed, summer or winter, since it was thrown open to the pubic eight years ago.  The many hundreds of patrons who have reserved their seats throughout the seasons will call for them during the week preceding the opening when the regular sale will go into effect.”

The “Detroit Free Press” described the 1908 drop curtain by Sosman & Landis in detail: “Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago.  It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater.  Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden.  It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense” (July 26, 1908, page 7).

I recently discovered another article pertaining Sosman & Landis scenery delivered to Detroit’s Temple Theatre in 1915. The new scenery was for the reopening of the redecorated theater on July 19.  My fourth-grade German classes and Google translate helped me understand the gist of the German article in “Detroiter Abend-Post.” However, I still needed help and turned to my friend Art de Hoyos. Below is the translation of what was published in “Detroiter Abend-Post” on July 11, 1915 (page 12):

 “English stage. Temple Theatre. This popular Vaudeville house will remain closed this week, but next week it will be reopened with new outfitting, and a few years will pass before the theater has to be temporarily closed again. Certain repairs and improvements were urgently needed in the theater room, but they will be completed later this week, so that nothing will stand in the way of reopening on July 19. The American Seating Co. was entrusted with the contract for the delivery and laying of new carpets in the parquet and the so-called ‘mezzanine floor.’ New scenery for the stage will be supplied by the well-known theater company Sosman & Landis Co. Chicago. The Temple Theater will reopen with an exceptionally rich, good program.”

I also found a newspaper advertisement pertaining to the old chairs being removed from the Temple Theater in 1915.  The opera chairs were listed for sale in the “Detroit Free Press” on June 6, 1915 (page 30). The listing announced, “Attention, Theatre Managers. THEATRE CHAIRS FOR SALE CHEAP. All parquet and balcony seats now in use in Temple Theatre must be sold to make room for new seats to be installed soon. CHANCE OF A LIFETIME. Inquire Temple Theatre Offices.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

Thomas G. Moses worked with Chas. H. Miles from 1908 to 1917, designing and delivering scenery to many of his theaters across the country. We know for certain that in 1910, 1913 and 1915, Sosman & Landis delivered scenery to the Miles Theater in Detroit. During 1917 Moses wrote, “Went to Cleveland June 21^st [1917) to see Miles regarding a picture set for the Miles Theatre.” By August, Moses met with Miles in Detroit, receiving a contract for the Regent Theatre. Two weeks after the Regent contract, Moses was back to Cleveland to meet with Miles concerning more scenery for the Grand Theatre. Each of these projects was a sizable contract, ranging between $2,800 and $2,90. That’s today’s equivalent of $58,000 per project.

Later in 1911 Moses recorded, “Inspected the New Grand and it is very good indeed.  Miles is very proud of it, and I don’t blame him.” Miles’ was a mover and shaker, opening one theater after another during the early twentieth century. For quite a while, Thomas G. Moses of Sosman & Landis Studio, was the preferred source for theater scenery in venues owned and operated by Charles H. Miles.

Newspapers reported that Miles’ success was based on “Planning for everybody,” in other words, constructing combination houses with continuous vaudeville presenting both live theatre and movies.  The “Pittsburgh Press” reported, “And this is how Mr. Miles went about his unique policy. First he planned for the business of boy and girl downtown who had contracted the ‘movie’ habit, and all of whom dearly love to patronize picture houses during their ‘hour-off’ at noon. Then he took into consideration the housewife on her almost daily shopping and marketing tour – the woman who has time to see a film or two, or perhaps, two or there acts of vaudeville. Then came the children on their way home from school, who have their nickels and dimes for a little fun. And finally, the grown-up people who have some special vaudeville favorite they wish to see, and those who come to witness the entire bill. Here we, indeed, have all sorts and conditions of pleasure-seekers. To adequately provide for each and all of them was not a very easy task. Mr. Miles’ solution of the problem resulted in the invention of a schedule that straightway revolutionized vaudeville. Here is an outline of the workings of this schedule, which will be put into effect in the new Miles Theater in Pittsburgh tomorrow evening. All daily performances commence with a continuous matinee from 12:30 to 5:30 p.m. This matinee consists of pictures from 12:30 to 2:30 with an admission price of 10 cents, and of vaudeville and pictures from 2:30 to 5:30, for admission of 10 and 20 cents. The house extends an invitation to those who wish to come at 12:30 to sit through the entire matinee until 5:30p.m. – a five hour show for 10 cents and 20 cents! In the evening there will be two complete vaudeville and picture shows, from 6:30 p.m. to 10:30 p.m., with an admission price of 10, 20 and 30 cents” (18 Oct. 1914 page 39). Today’s equivalent of 10 to 30 cents prices are $2.54 to $7.63, a very affordable entertainment, much more so than seeing a movie today. They were making money based on volume of sales.

In 1914, newspapers across the country featured Miles and his new Pittsburgh theater “The Pittsburgh Press” reported, “Mr. Miles is first, last and all the time, a man of action. Discommoded beyond endurance during one of his visits to Hibbing, he acquired a hotel site, appointed a manager and straightway made all arrangements for a comfortable hotel before he left town. To increase the patronage of this hotel, when was named for him, Mr. Miles started a small vaudeville house next to it. The little theater first revealed to him the possibilities of the show business, since it earned between $200 and $500 weekly. Unfortunately, the combined venture ended disastrously after a few years, the entire structure – hotel and theater – being gutted by fire. By this time, Mr. Miles had learned what profit was in the theatrical business, and 13 years ago [1901] he took over the Majestic Theater in St. Paul – one of the original vaudeville houses in that city –a show in connection with a beer garden. He turned it into a first-class vaudeville house, catering especially to women and children, a policy, which is especially characteristic of all the Mile houses. This venture in St. Paul gave birth to he present-day circuit of Miles theaters throughout the west. Mr. Miles now owns theaters in almost every city in the west. Among the most celebrated houses I his chain are the Miles theater in Detroit, the Hippodrome in Minneapolis, the Crystal theater in Milwaukee, the Hippodrome in St. Louis, the Garden in Kansas City and the Miles theater in Cleveland. “ Of the Miles theatre circuit, the article noted, “It goes without saying that the vaudeville acts that will be put on at the Miles Theater this winter are all of the highest class. They will be booked through the largest agency in New York and Chicago, and branches, agents and managers all over the world who are trained to be on the lookout day and night for acts that are considerably out of the ordinary. Thus Miles representatives are enabled to secure absolutely the best and most expensive acts, since Mr. Miles and his affiliations control over 100 houses, and can assure performers steady work for an almost indefinite length of time. For that matter, Mr. Miles is today recognized as the most expert vaudeville connoisseur in America; and it is his personal selection of most acts that he books that has lifted his entertainment far ways and above the average run of variety” (Pittsburgh Press, 18 Oct. 1914 page 39).

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “Dropped in on Miles at Detroit and got $815.00 for some new work.” Chas. H. Miles was listed in the Detroit City Directory as the manager of the Orpheum Theatre, and lodging at the Statler hotel. Miles’ was a mover and shaker, opening one theater after another, and from 1910 to 1917 Sosman & Landis was the preferred scenic studio for Miles.

Miles’ Detroit theatre had a frontage of 152 feet on Griswold Street between State Street and Grand River Avenue. Once built, his theater’s policy included three shows a day, with extra matinees on Saturday and Sunday. On May 30, 1911, the “Detroit Press” included an advertisement to buy stock for the Miles Theatre, promising “You will be paid dividends every three months” (page 3). The advertisement commented, “It is the largest, most handsome, update and complete theatre in Detroit – the Miles Theatre has been in operation over one year and is earning money every day.” It continued to explain that the theatre was ideally located and convenient to every carline in the city, and near one of the busiest marts. Miles and Mr. C. W. Porter, local manager, personally looked after the sale of stocks in the Miles theatre building daily.

Miles had been in the theater business for quite some time. Already in 1910, Moses recorded that the studio sold $3,800.00 worth of scenery to Miles for his new theater at 1220 Griswold St., Detroit, Michigan. Three years later 1913, they provided an asbestos curtain for Miles, painted by Moses. The relationship between Sosman & Landis and the Miles was ongoing. The theater magnate also established the Miles Detroit Theatre Co. He was the president of the firm, operating many theaters across the country. By 1915, there were Miles theaters in Detroit, Cleveland, Pittsburgh, Scranton and Minneapolis.

The success of Miles’ theater in Detroit was noted on March 16, 1913. The “Detroit Free Press published, “People soon found that they could go down-town after supper, see an entire performance and get back home in time to retire at the usual house. Or, if they were detained down-town by business or a dinner party, they found it convenient to drop in for the second show and still get home at a reasonable hour. Thus, very shortly, going to the Miles came to be a regular habit and the Miles clientele steadily grew larger. In the meantime, stores and offices erected by Miles as part of the general structure were leased by various concerns and Griswold Street, north of State, began to take a commercial look. Property values around Capitol Park began to soar. Men of large means began to take an interest in the development of Griswold Street. Car lines were re-routed, old brick pavements were supplanted by the more modern creosote block…That is the story of the rejuvenation of Griswold street, and to Mr. Miles, as the man who took the initiative, is due a large share of the credit. It is just another illustration of how much can be accomplished through that happy combination of courage, determination and far-sightedness” (page 83).

The last show at the Miles Theatre was on Nov. 28, 1927. By May 1928 the theater was demolished to make way for the Griswold Building, designed by Albert Kahn, a structure that still exists today.

To be continued…