Category: Uncategorized

Copyright © 2019 by Wendy Waszut-Barrett

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. In light of yesterday’s post about dye drops, now is a good opportunity to unwrap Jesse Cox’s purported contribution and his scenic art process. 

In 1983, Mrs., Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, an happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor of a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s.  This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. They museum staff that gave me a tour of the museum during their off season, did not really Cox’s artifacts or the scenic art painting process.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them” (an I am sure they were before child labor laws). Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.”

So what makes a product indispensable? Availability.  In 1915, “The Practical Druggist” included the article, “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book,” noting “Diamond Dyes are unquestionably staple goods for druggists.”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing.  Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.”

One might immediately recognize that an enterprising scenic artist who decided to use this readily available material to make theatre scenery would be an immediate benefit to both the company and himself, becoming an example of the versatility of the company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’ 

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses.  Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference. 

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows.  Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant.  Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the one who was credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

While looking for information about scenery delivered by Sosman & Landis in 1913, I stumbled across an interesting publication – “How to Enter Vaudeville” written by the Frederic LaDelle that same year. The content of the book covers a lot of ground, providing an interesting snap shot of the production process and terminology in 1913. There was also a guide to theatre manufacturers, suppliers, and services. The “Dealers in Theatrical Goods,” however, only four studios were listed under “Theatrical Scenery.” I don’t know if this speaks to Frederic LaDelle’s limited connections or if other scenic studios perceived this publication as lacking importance.

The four dealers in theatrical goods were listed in the following order:

1. John C. Becker, 143 Southport Ave., Chicago, Ill.

2. Manning Studio, Rochester, N.Y.

3. Eugene Cox, 1528 Van Buren St. Chicago, Ill

4. W. Crosbie Gill, Warrick’s Theatre, N.Y.

N J. Pausback purchased advertisement space in the book, yet was not listed as a theatrical dealer in the directory. The add was worth mentioning.

Here is Pausback’s 1913 ad on “How to Enter Vaudeville:”

“DYE SCENERY! Papier mache properties and stage effects. The best scenery for vaudeville performers is that which is known as ‘Dye Scenery.’ “It is brighter in color and can be folded and packed into trunks and traveling cases without the slightest injury to the scene itself. Dye scenery is also lighter in weight than the old kind and is therefore an important item in reducing excess baggage expense which amounts to considerable in the course of the season. Many acts make good on scenery and stage setting alone, and in such acts as Japanese, Chinese, Western Cowboy, Indian and in fact all impersonations of race or nationality, the scenery should be best. Write me a letter stating your requirements, and the nature of your act and I will submit you a rough sketch and quote you a satisfactory price on your work. N. J. PAUSBACK, Theatrical Contractor 6539 Ellis Avenue, Chicago, Illinois.”

I have continually explored the production of dye scenery in many past posts over he past few years, but it is worth repeating at this particular juncture in the life and times of Thomas G. Moses.

During the first decade of the twentieth century, much traveling scenery was created with aniline dye, allowing drops to be easily folded and packed in a trunk (for additional information, see past posts # 548-550).  This process ensured that the painted composition would not crack or dust off during transit and repeated use. Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors also worked well for certain stage effects, such as sunsets and stained glass.  All you needed to do was mix the dye with a binder, such as gum arabic. The right mixture provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct or it was a big bleeding mess.  Dyes were also used for inking the drawing. It was a wonderful and versatile “go-to” product for painting and staining.

Dry pigment was also used in place of dyes, applied in a series of thin glazes. Many of the dry colors remained quite vibrant, even when watered down, but were not comparable to certain anilines. The earliest translucencies for the stage were simply produced with a thin glaze of dry pigment, but dry pigment glazes could not hold a candle to aniline dyes in terms of vibrancy.

In the past, I have examined dye drop collections at historic theaters. For example, in Madison, Wisconsin, all of their drops are dye drops, with the majority are kept off stage in a nearby storage room, as there are more drops than lines. Now kept in plastic tubs, each drop is easily accessible to immediately hang for a degree (for more information about this particular installation, see past post #107). There are also several lovely examples of dye drops on display at the theater museum in Mount Pleasant, Iowa.  This museum purports that scenic artist Jesse Cox invented the diamond dye process for theatre drops, instigating the immediate popularity of dye drops for touring vaudeville acts and tent shows. Whether or not Cox was the first to popularize dye drops in immaterial, but the increased resulted in dye drop ads, such as Pausback’s in “How to Enter Vaudeville.”

In addition to vaudeville and tent shows, many circus spectacles also used dye scenery. In 1906, Thomas G. Moses created a dye canopy for Al Ringling (see past post #548). Moses describes how dye work was still vulnerable to water, causing Ringling to greatly chastise him after one particularly sever rain storm. Just because a backdrop was painted in dye did not mean that it could not be water damaged.  A dye drop simply helped the painted composition stand up to excessive wear and tear, it did not make it water proof; an application of paraffin helped waterproof canvas outdoors.

Over the years, dye drops have made their way into various performing arts collections. The historic examples greatly range in both size and quality.  However, it is the brilliance of color that often remains, bringing to mind the spirit an energy that characterized many touring shows that left their mark on small Midwestern towns. I will continue down the dye drop road and Jesse Cox’s perceived role in this history tomorrow.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

I stumbled across an interesting publication while looking for information about Jackson, Michigan.  “How to Enter Vaudeville” was published by the Frederic LaDelle the same year that Sosman & Landis delivered scenery to the town. The content of the book is interesting and cover a lot of ground, providing an interesting snap shot of the production process in 1913. Below is the list of what was contained in LaDelle’s publication:

“CONTAINING – – The Keynote of Success Now to Start in Vaudeville, How to make a success. How to secure an original act. What kind of act to get up. Rehearsals. How to report for rehearsals. How to rehearse. Breaking in your act. Cues. Properties. How to finish your act. How to dress your act. Where to work on the stage. Scenery. Billing and property lines. How to get some publicity. Vocal and instrumental music, free. Conduct off the stage. A dictionary of stage terms, fixtures and appurtenances, Vaudeville slang and phrases. Characterization and impersonation. The orchestra. Headliners. How to overcome stage fright. Encores. How to get a reputation quickly. Distinctiveness and originality. How to enter the dramatic profession. Ordinary acts and big reputations. Theatrical publications. Circuits, Contracts, House rules. Booking agencies. Writing to booking agencies.  Booking agents partial to beginners. Salaries. Seeing booking agents personally. Writing for engagements. Professional letterheads. Stage conduct. After receiving contracts. Presenting yourself to the stage manager. Handling your baggage. Behavior toward stage managers. Closing an engagement. Booking your act through Europe and the continent. Firms dealing in theatrical goods. Securing press notices. Advertising your act. How acts are reported. Questions and answers. Ninety vaudeville acts explained. How to interest your audience. Eccentric wardrobe and makeup. Eliminating crudity and amateurishness. Process of making up illustrated. Making up for various races, nationalities and characters.”

However, it was the inclusion of “a dictionary of stage terms, fixtures and appurtenances” that really caught my eye. We often look for technical terms in technical manuals. We forget to consider other sources, such as “How to Enter Vaudeville.”  Although written for the performer, it provides a wealth of information about theatre technology. Stage terms vary from country to country, region to region, and sometimes decade to decade.  LaDelle’s publication provides insight into theatre terminology specific to Jackson, Michigan, in 1913.

In LaDelle’s dictionary section (page 48), I want to point out the following definitions as it forms some technical context for this period as I continue to write about the life and times of Thomas G. Moses:

Box set. A set of flats representing a scene, where each piece is lashed to the other forming a square box.

Battens. Wooden strips attached to drop.

Border lights. Those lights suspended above the stage.

Bunch lights. A cluster of lights in a reflector attached to a movable iron stand.

Cyclorama drop. A suspended drop that encircles the stage from back up to tormentor wings

Drop. A painted scene suspended by ropes through pulleys in gridiron.

Dimmer. A dimmer is an electrical device for gradually brightening or lowering the lights of the theatre. It is used for production effects as sunrise, twilight, etc. The larger theatres have their own dimmers, but where the act calls for this effect they should be included in the property of the performer.

Flats. Pieces of scenery that are made rigid by frames and are placed and replaced by hand.

Fancy borders. Strips of painted scenery suspended across the stage to match different scenes.

Footlights. Row of lights sunk just below the floor level at the front of the stage.

Grand teaser. A fancy border suspended behind the asbestos curtain and in front of the house curtain.

Grips. Those stage hands that place and replace flats on stage by hand.

House curtain. This curtain is the first back of the asbestos curtain and is generally painted with some attractive scene, such as a landscape or some similar view. A good many houses also paint advertisements of local merchants on the house curtain.

Leg drop. A suspended scene with an opening cut out of it, forming a leg on each side.

Olio or street drop. A suspended scene representing a street dropped directly behind tormentor wings. [Note that this defines the olio as a scene and not machine].

Stage braces. Strips of heavy wood, with hook in one end and eye in the other. They are hooked into the eye in the flats and the other end screwed down to the stage to brace the piece of scenery.

Sky borders. Strips of blue cloth suspended by lines across the stage to represent the sky.

Scrim drop. A suspended scene with an opening in it backed with transparent gauze. [does this not sound like what we call a cut drop?]

Spot lights. A circle of intense white light thrown from the balcony or gallery, upon the performer while on the stage. Flood lights are produced by enlarging the circle of light so as to light the entire stage with strong light from the front of the house.

Strip Lights. A strip of lights at either side of the stage opening.

Tormentors. Fancy draped and painted wings, one on each side of stage, fixed permanently.

Tormentor border. The strip of painted drapery suspended above and just behind tormentors.

Working in one, two, etc. The stage is divided on each side by imaginary spaces or entrances which are between each wing; for instance, working in one, means that an act is using that space on stage from street scene to footlights; being the space from the footlights to an imaginary line from one tormentor wing to another. Working in two, means using the space in front of the second wing which is generally set four feet back of the tormentor wings. The same idea holds for working in three, four, full stage, etc.

For more definitions and a scan of the entire publication, here is the link from the Library of Congress page on Bob Hope and American Vaudeville:

http://memory.loc.gov/cgi-bin/ampage?collId=bobhope&fileName=hope41Apage.db&recNum=0

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Jackson boasted a modest population of 31,433. That year, Thomas G. Moses wrote that Sosman & Landis delivered “a new interior” for Jackson, Michigan.” The studio also delivered “a new interior” to Chicago’s Olympic Theatre in 1913. A “new interior” signified a box set, constructed with series of interchangeable flats that could be lashed together with cords and cleats. The theater that received the interior set in Jackson was the Athenaeum.

Julius Cahn’s Official Theatrical Guide for the 1913-1914 season listed the Athenaeum as Jackson’s sole performance venue for touring productions. The Athenaeum first opened in 1898, two years after the town lost the Hibbard Opera House to fire (“Bessmer Herald,” 17 Dec., 1898, page 19). Built by Charles C. Bloomfield, the “Bessmer Herald” reported that “Jackson’s New Theatre,” the Athenaeum, was a “playhouse second to none in the State outside of Detroit.” Cahn’s Guide also noted that this ground floor theater had a seating capacity of 1290, with 462 on the main floor, 328 in the balcony and 500 in the gallery. In addition to the standard seating, there were 20 boxes.

The proscenium opening at the Athenaeum was 34 feet wide by 26 feet high, a standard size for the day. The depth of the stage was 34 feet with the stage width measuring 64 feet. The measurement from the Athenaeum’s stage to the rigging loft was 50 feet, the fly gallery 24 feet.

Beyond a few technical descriptions, I uncovered little about the interior set or other scenery on the stage. However, discovering a new publication made my entire search worthwhile. In 1913, an author in Jackson published 1913 an illustrated course of instruction on “How to Enter Vaudeville.” Copyrighted by the Frederic La Delle Co. the course contents are worth noting:

“CONTAINING – – The Keynote of Success Now to Start in Vaudeville, How to make a success. How to secure an original act. What kind of act to get up. Rehearsals. How to report for rehearsals. How to rehearse. Breaking in your act. Cues. Properties. How to finish your act. How to dress your act. Where to work on the stage. Scenery. Billing and property lines. How to get some publicity. Vocal and instrumental music, free. Conduct off the stage. A dictionary of stage terms, fixtures and appurtences, Vaudeville slang and phrases. Characterization and impersonation. The orchestra. Headliners. How to overcome stage fright. Encores. How to get a reputation quickly. Distinctiveness and originality. How to enter the dramatic profession. Ordinary acts and big reputations. Theatrical publications. Circuits, Contracts, House rules. Booking agencies. Writing to booking agencies.  Booking agents partial to beginners. Salaries. Seeing booking agents personally. Writing for engagements. Professional letterheads. Stage conduct. After receiving contracts. Presenting yourself to the stage manager. Handling your baggage. Behavior toward stage managers. Closing an engagement. Booking your act through Europe and the continent. Firms dealing in theatrical goods. Securing press notices. Advertising your act. How acts are reported. Questions and answers. Ninety vaudeville acts explained. How to interest your audience. Eccentric wardrobe and makeup. Eliminating crudity and amateurishness. Process of making up illustrated. Making up for various races, nationalities and characters.”

I’ll look at the section: “A dictionary of stage terms, fixtures and appurtences” tomorrow.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote that Sosman & Landis delivered, “A new interior for the Olympic Theatre.”  This meant that they designed and installed a new painted interior set (box set) for the stage at the Olympic Theatre. An interior set included a series of interchangeable flats that could be lashed together to form a box set. I transported an interior set to the Matthews Opera House (Spearfish, South Dakota) that was manufactured by the Twin City Scenic Co. around that time and set it up. Cleats and cords lashed the various flats together, and we rapidly assembled the set in a manner of minutes. Previously, I had set up a series of vintage interior sets at the Czech-Slovak hall (C.S.P.S. building) that was similar in construction for documentation.  In both instances, I was amazed at how quickly a box set could be assembled and torn down. What an ingenious system.

In regard to the theater where Sosman & Landis delivered the interior set, Chicago’s Olympic Theatre was located on Clark and Randolph streets. At the time, Sam Lederer managed the venue, featuring Klaw & Erlanger productions. The ground-floor theater, illuminated by electricity, had a seating capacity was 1,584. The proscenium opening measured 37 feet wide by 24 ¾ feet. The stage was 26 ¾ feet deep with a back stage width of 71 feet. The height to the rigging loft was 53 ¾ feet and the height to the fly gallery 25 feet. The under stage area was 8 feet deep. A pretty standard space for the time.

Like many entertainment venues in Chicago, the Olympic Theatre has a very complex history. Originally named the New Chicago Theatre in 1873 by James H. McVicker, it was built on the previous site of Kingsbury Hall, a building that had been destroyed during the great fire of 1871. This venue enjoyed a series of names changes between 1873 to 1893, switching from the New Chicago, to Grand Opera House, Cristy’s Opera House and the Music Hall. An extensive remodel of the space then resulted in the newly named Olympic Theatre.  However, in 1907, a fire caused extensive damage to the building, resulting in the rebuilding of the space. When Sosman & Landis delivered the interior set, it would have been an extension of their stock scenery collection.

The Olympic Theatre name did not last, however, and soon became Schubert’s Apollo Theatre. This name change was after the 1921 Apollo Theatre at Dearborn and Randolph Streets was converted into the United Artists movie house in 1927.

It is the repetition of theater names across the country that makes tracking down the history of some venues so very difficult. I of ten feel like a detective, verifying all of the specifics before including any specific details.

The Olympic Theatre/Schubert’s Apollo Theatre building was eventually closed and razed in 1953 for a Greyhound bus terminal. Unfortunately, even the bus station did not last and was replaced with the Chicago Title & Trust building in 1992.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “We did one act for Mrs. Leslie Carter, an Old English Garden.” That same year Carter starred in “a magnificent revival” of her great success ‘Zaza’ with “fine scenic equipment and a strong cast’” (Lansing State Journal, Michigan, 1 April 1913, page 6). This was likely the scenery delivered by Sosman & Landis studio.

In 1913 Carter’s name was also mentioned in regard to theater superstitions.  An article in “Journal Gazette” reported, “Theatre Folk Are Superstitious” noting, “Mrs. Leslie Carter always raps three times on the wings before walking on stage, and she thinks the precaution will banish all evil influences” (Journal Gazette, Mattoon, Illinois, 4 July 1913, page 7).

Mrs. Leslie Carter was born Caroline Louise Dudley in Kentucky, and the exact date of her birth various greatly between sources. Carter’s acting career began in earnest after a scandalous divorce. She selected life on the stage instead of life with her first husband. By 1906, Mrs. Leslie Carter married a second time, yet under her maiden name.  On July 14, 1906, the “Portsmouth Herald” announced:

“Queer Ceremony Performed Here.  Mrs. Leslie Carter Becomes A Bride. Famous Actress Marries a Young New Yorker.” 

The article reported, “One of the most mysterious marriages ever celebrated in this city was quietly performed shortly after half-past eleven on Friday forenoon by Rev. Henry Emerson Hovey, Pastor of St. John’s Episcopal Church. According to all evidence at hand, the bride was Mrs. Leslie Carter, the famous American actress. The groom was William L. Payne of New York, who calls himself a student. The Lady was married under the name of Caroline L. Dudley and gave her age as thirty. She told the clergyman she had never been married before.” The article described the families, “Payne’s birthplace was given as Elmira, N. Y., and his father’s name as Alfred T. Payne. The occupation of the father was stated to be that of a painter, his age fifty-eight and his present residence New York City. The elder Payne was born in England. The maiden name of young Payne’s mother was Frances Pelton and her birthplace was Rollins, Pa. She is fifty-one years old. ‘Miss Dudley’s’ father was Austin Dudley, formerly a Chicago lawyer. His age was sixty years at the time of his death and the license states that he was a Kentuckian by birth. The maiden name of the mother was Caroline Stevens and she was born in Lexington, Kentucky. Her present age, according to the license, is fifty-five years.”

Of the actress, the article noted, “Mrs. Carter was born on a plantation only a short distance from Lexington, Ky. Her father was of English parentage and her mother was a member of a prominent Kentucky family. When she was sixteen, her father died and her mother was soon afterward stricken with what was believed to be a fatal illness. In this crisis of her career, the young girl was married to Leslie Carter, a wealthy Chicagoan and a friend of her family, that she might not be without a protector. Contrary to the expectation, Mrs. Dudley recovered and her daughter’s marriage proved unhappy. A separation of husband and wife followed and later came divorce.

Mrs. Carter was left without means and after considering her situation, sought employment on the stage. After many futile attempts, she secured an interview with David Belasco and the great manager recognized at once that he had met one who desired to be a great actress. Mrs. Carter was given her first opportunity in a play called, ‘The Ugly Duckling,’ written for her by Paul Potter, who dramatized ‘Trilby.’ This was at the Broadway Theatre, New York, on Nov. 10, 1890. Her first venture was a doubtful success, but she was brave and her manager believed in her ability. There were years of discouragement and partial success and finally, in 1898, Mrs. Carter appeared in ‘Zaza.’ Since then, her career has been one of continual triumph.”

Despite the obvious obstacles and scandals listed above, Carter became known as the “Bernhardt of America,” especially achieving fame for her roles in “The Heart of Maryland” (1895), “Zaza” (1898),  “Madame Du Barry” (1901), and “Andrea” from 1895-1905. In 1906, the same year as her marriage to Payne, she broke with Belasco. This proved to be a fatal move for her career as it began a downwards spiral. Payne was often her leading man and later managed her business affairs, another unfortunate move for the actress. As her career began to fizzle, Carter turned toward silent movies and supporting roles on Broadway. She passed away in 1935 of heart disease and is buried in Woodland Cemetery in Dayton, Ohio. Her theatrical career was fictionalized in “Lady With Red Hair,” portrayed by actress Miriam Hawkins in 1940. Her Payne was a technical adviser for the film.

Maurice Barrymore, father of Lionel, John and Ethel Barrymore, once recalled one entertaining story about Carter. The elder Barrymore was the leading support to Carter when she appeared in David Belasco’s production “The Heart of Maryland.” Barrymore told the following story about the Kansas City production to a local newspaper: “ In the big third act Barrymore, the hero, was in the hands of designing villain, who had caught him off guard. Two rookies bound Barrymore’s hand and the villain, left alone with his prey, taunted the hero. It was Barrymores “business” to squirm and to wail. ‘Oh, if my hands were free,’ he would repeat several times, as he tried vainly to break the rope which held him fast. The villain would approach and snap his fingers right under Barrymore’s nose. ‘Loosen my hands, you devil!’ Barrymore would exclaim. One night at this great and exciting moment in the scene Barrymore had just finished his dare to the villain to loosen his hands when the traditional gallery god yelled out in a sharp, clear voice: ‘Why don’t you kick him in the shins, Barry; your feet ain’t tied.’ Barrymore cursed that part from that moment until his dying day” (The Herald, Crystal Lake, Illinois, 6 Feb. 1913, page 3)

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “We did a hurry up job of ‘Girls’ – a burlesque show for Geo. Dameral [sic.].” Keep in mind that family burlesque was primarily parodies that followed a variety show format, like vaudeville. Burlesque included comically exaggerated imitations in a dramatic work.

In regard to the 1913 entry, it is likely that Moses was referring to Damerel’s production of “The Heart Breakers” when he wrote, “Girls.” Damerel toured with ‘The Heartbreakers” and “The Knight of the Air” that year. “The Heartbreakers” was a play was about the Heartbreakers Club, an organization of young men “formed for the purpose of lacerating the feelings of young women who [had] ruthlessly trifled with the affections of young men” (Nashville Banner, 7 Jan. 1913, page 5). The young men sought revenge after being jilted by kissing the young women who have wounded their hearts. In seeking one particular girl the leader of the club loses his heart. The musical was managed by M. H. Singer, and enjoyed a six-month run at the Princess Theatre in Chicago in 1913. This is likely when Damerel sought out assistance from Moses at Sosman & Landis. The burlesque show had already been on the road for five years prior to their stint in Chicago. The production was described by the “Nashville Banner” reporting, “”It is a question whether this play is a vehicle for good or bad influence on the stage, but it is a clever performance. Its doubtful air is offset by making a burlesque of what might be termed some risqué situations” (7 Jan. 1913, page 5).

In 1913, Damerel was also featured in the leading role for  “The Knight of the Air” (Star Tribune, 16 Nov. 1913, page 60). The operetta was written by Bela Jenbach and Leo Stein with music by Herman Dostal. The show satirized the current craze for “aeroplaning.” Damerel was quite a character and newspapers loved him.

In 1913, an interesting article appeared in the “Star Tribune” that provides a little insight into Damerel at this time (Minneapolis, Minnesota, 21 Nov. 1913, page 7):

“George Damerel has developed a dual personality. Oh, yes, he’s still matinee idol. The folks on the other side of the footlights won’t let him give up that side of his character. And he just couldn’t give it up even if he wanted to, which he doesn’t. He dances and sings and makes love as ‘Knight of the Air’ with much ginger as he did in ‘The Merry Widow.’ Because he’s just naturally a gingery person, his French ancestors are probably responsible for that. And he loves it. He declared so yesterday as he came dancing off the stage at the Orpheum at the close of the Vienese [sic.] operetta. And he’s going to keep right on dancing and singing and making love before the footlights until – to his own words – he’s too old. Imagine George Damerel too old! And right here’s where the new side of his character comes in. He is a businessman. He’s owner and manager of the tabloid opera he’s in this season and tremendously interested in the business side of it. He pays himself a salary and also gives his wife her pay envelope each week along with the other members of the company. And when all expenses are paid he pockets the profits, which is also interesting.

When he ceases to please – that is when he drops off the matinee idol side – he’s going in for the business end of the show business exclusively. The business side of the performance doesn’t occupy quite all of Mr. Damerel’s attention off the stage. For there’s little 5-year-old Donna Celeste Damerel who inherits a good deal of the vim of her lively father and demands a large chunk of his attention. Mr. Damerel says that if she wants to go on the stage when she’s older, he’ll raise no objection. ‘I’ll feel perfectly contented to have my daughter on the stage. The pitfalls and dangers are exaggerated. There’s no reason for objection. If one has talent, it’s smooth sailing. And my little girl has already shown that she has talent.”

In 1907 the Damerel married Myrtle Vail, mother of Donna. Vail was only 16 at the time and a vaudeville actress touring with Damerel in the “Heart Breakers.” In 1913, the “Coshocton Daily Times” included three separate articles on the popular vaudeville artist (11 March 1913, page 3).

One of the articles described Damerel’s dual roles as both actor and ball player:

“George Damerel who will be seen in the leading role in the ‘Heart Breakers’ the latest of musical comedies is under the management of Mort H. Singer, was a professional ball player before he took up the stage. He was a pitcher in the Great Northern League, having started with the Grand Forks team at the same tie that Deacon Phillipi was playing in the Fargo, North Dakota, club.

Damerel was finally drafted to the Minneapolis club, during the time that Perry Weedon was captain, and although he has been out of baseball for a number of years, yet he has never been released by Minneapolis. Each summer if he is not acting he takes about three weeks with the team and practices with them, as he thinks baseball is the best exercise in the world and that he is ready to put in another hard season of traveling. Mr. Damerel was asked why he gave up the profession of base ball and in reply said that he found out that he was not what you would call a wonder at the game and as he had a good voice, he had been advised to try the stage. Also another thing he found that actors were better paid than ball players unless they were top notchers. The young man is an ardent fan and can be seen at all times to back his judgment as for instance last season he cleaned up quite a tidy sum on the New York Nationals, winning the pennant and then came back and bet that the Red Sox would win the world’s series. This early spring he wagered that the Washington team would be in the first three at the end of the season and the way that they played ball shows that the young man must watch the game quite closely. Mr. Damerel is an all around athlete, being a fine swimmer and he has had the gloves on with all the fighters of any note.” 

On the same page, the “Coshocton Daily Times” included another article on Damerel, pictured with his wife Myrtle Vail (11 March 1913, page 3).  Under the heading “Footlight Flashes” the caption described, “George Damerel and Myrtle Vail Singing ‘Your Eyes, Your Smile and You’ in ‘The Heart Breakers.” This dance between Damerel and Vail in “The Heart Breakers” was said to have eclipsed his performance in the “The Merry Widow” waltz.  

Later in life, Damerel became best known as husband to Myrtle Vail. Vail achieved even greater fame as a vaudeville actress, film actress and writer. She was a well-known radio personality from 1932-1946, starring in the popular show “Myrt and Marge.” She created, wrote, and starred in the show, playing the role of the experienced chorus girl Myrt who takes the inexperienced chorus girl Marge under her wing. Vail’s actual daughter Donna paled the role of Marge. The radio serial was eventually transformed into a film, with the film’s plot centering on Myrt Spear’s touring vaudeville revue. Although Myrt’s show was full of talent, it lacked the necessary funding. In steps a lecherous producer who will help, but only if he can romance the young chorus girl Marge Minter. It doesn’t take much imagination to compare the tale with Vail’s own life as a chorus girl and early marriage to her husband in 1907 that subsequently resulted in their marriage and immediate birth of their daughter. Interestingly, Myrt, with the aide of Marge’s boyfriend step in to save the revue and the young chorus girl from the clutches of the producer. Other notable characters in the film were some comical stagehands, actors who were the famed Marx Brothers.

As an older actress, Vail became known for her roles in “A Bucket of Blood” (1959) and “Little Shop of Horrors” (1960), written by her grandson Charles B. Griffith.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913 Moses wrote, “The Palette and Chisel Club boys wanted me to give an exhibit at the club.  I always refused, claiming that I am not in the picture game, and paint pictures for pleasure only.  September 3^rd, a committee came to the house and insisted on going to the studio, I had over three hundred pictures in the studio; some very good but the other 275 were not as good, but the boys seemed to think I had at least 250 good ones, which was quite flattering… November 3^rd, I got all my framed pictures; oil, watercolor, pen and ink and lead pencil.  While we were hanging the show, Father McCann dropped in a bought one canvas for $200.00 and another for $100.00, starting the sale in good shape. 

An announcement in the “Oak Park Leaves” on Nov. 8, 1913, appeared under the heading, “Palette and Chisel Club Exhibits Sixty Paintings of Oak Park Man.” The article reported, “There is an exhibition of pictures by Thomas G. Moses, of 233 Euclid South, now on view at the Palette and Chisel club, 59 East Van Buren Street, Chicago. The opening-reception, which inaugurated the exhibition, was held Wednesday evening and the pictures may be seen until November 22. On weekdays the exhibition will be open from 10 to 7 o’clock, and on Monday, Wednesday and Saturday evenings until 9 o’clock.”  The article cited an excerpt from “The Cow Bell,” the Palette and Chisel club newsletter: “November 4 should is a great day for the club, as it does the Tom Moses exhibition. Uncle Tom, as he always will be to the camp contingent, has to be rooted out of his Oak Park residence like a poor retired badger, before Mac-Combs could get at the spoils. Tom has shied consistently at one-man shows and Mr. Moses had to put on blinders before Mac hitched him up for November 4. Mac says the painting Tom has done while jogging around these United Railways of America passes belief and also promises some rare treats to those who know him only as a painter of scenery to the crowned heads of Thespia.”

The formal exhibition announcement stated, ‘There is not one of our members of whom we are more proud. There is probably not another painter in Chicago who has sought out and painted so many of the beauty spots of our own country. From a thousand sketches and paintings sixty have been selected, and are hung in our club to give our members and their friends an opportunity of seeing a representative collection of the works of Thomas G. Moses” (page 5).

Of the fall art exhibition, Moses wrote, “I sold 20 pictures; some very cheap to artist members.  The whole sale netted only $675.00 which was not so bad for a scene painter.”  Keep in mind that $675.00 in 1913 is approximately $17,546.32 today.

Moses’ continued, “A great many of the members didn’t expect to see so many or as good pictures as I had the pleasure of showing there.  The amount of the sale went far ahead of what I thought it would.  It was pretty good for me, and up to this date it was the most ever sold at the one show.  I had 77 pictures on the walls, oil, water, temper, pen and ink, and pencil.  Maine to California.  That made it quite interesting.  I received some very flattering newspaper notices.  Mama and Rupert were responsible for the show, as I would have never gotten it up myself.  We opened with a reception, which was well attended.” Rupert was Moses’ youngest son, and the one who would follow him in theatre work.

A few months later, Moses was mentioned again in the “Oak Park Leaves.”  An article reported, “Mr. Moses presented this—a delightful little September landscape, painted in the neighborhood of Fox Lake, to the parochial guild, and the men folk at once showed their appreciation of his compliment by clubbing together and purchasing it for the new rector, Rev. F. R. Godolphin. A very handsome sum will be realized by the organization” (Saturday, December 06, 1913, page 38).

To conclude 1913, Moses wrote, “Pitt and the family were with us again this Christmas and we always enjoy them as the years fly along, and I think at the close of each that during the next, I will certainly make some progress in pictures and get nearer the goal for which I have been striving for so many years.  But the everlasting grind and hustling for the mighty dollar has just about knocked all the ambition out of me and side tracked my picture game.  My show this year has given me a lot of encouragement.  I hope to make another some day.  The [Palette & Chisel] boys want me to do one each year, but that is impossible.  I should like to do a whole year’s sketching and I know at the end I would have something.  The few weeks I get in a year don’t really mean much.  I can hardly get started before I have to go.  No vacation this year, and I regret it very much, as I think we are entitled to one each year.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “I got $3,000.00 contract from Father McCann of Elgin, for a scenic decoration for their Coliseum.  This represented a tropical island and was very effective, and the Bazaar that was given with the decoration was a very wonderfully successful one, netting $6,000.00.” To put this project in financial perspective, $6000 in 1913 is the equivalent of approximately $155,000 today. That is a lot of money for a church to spend on a bazaar. Father McCann at St. Mary’s Roman Catholic Church, however, was a poet, lover of the arts, and tango enthusiast. The 1913 church bazaar was set in the Elgin Coliseum, a venue with a seating capacity of 4,000. The tropical theme in 1913 supported a variety of performances, including the controversial dance. For a little perspective, by 1913 dance instructors who taught the tango in Paris were banished from the city due to the sexual overtones. It is understandable why McCann had to defend the dance in the regional papers, as he was certainly pushing the envelope of social acceptability at the time.

The church bazaar was mentioned in the “Joliet Evening Herald-News” article:

“TANGO O.K. SAYS ELGIN PRIEST”  (29 Sept 1913, page 2).

Here is the article, as it provides a little more background about this quirky clergy member:

“Elgin, Ill., Sept 29.- Father John J. McCann, pastor of St. Mary’s Catholic church, wants everyone to learn and dance the tango in its appeared form, which he highly endorsed. He announced today that an exhibition of the new dance by three children couples under supervision of a professional teacher will be the feature of the church bazaar next month. His first idea was to have the teacher instruct adults at the bazaar, but she said improper steps would creep in unless there had been careful training beforehand, He expects to throw the dance opinion to all at the next bazaar.”

Moses previously worked for the McCann in 1912, writing, “Went to Elgin to see Father McCann about a show for their Coliseum – a big street effect.” Sosman & Landis did another big contract for a pained street scene for the event. This was another substantial project for the firm that brought in significant income. Unfortunately, McCann would not remain in Elgin.

Only a few years later, McCann’s career turned south, after a conflict with Bishop Peter J. Muldoon that dramatically escalated. McCann was even taken into custody after a police standoff from inside St. Mary’s Church in Elgin  (see past post # 811 for the sordid details). However, in 1913 McCann was still poplar with the public and flush with funds, even purchasing fine artworks from Moses at his 1913 Palette & Chisel Club art exhibition.  Moses recorded that McCann bought one canvas for $200.00 and another for $100.00, “starting the sale in good shape.”

In 1913, McCann made headlines again in the “Herald” newspaper article “Priest Named in Elgin Case” (Crystal Lake, 13 Oct. 1913, page 7). I think that this was the beginning of the end for Father McCann. Here is the article:

“Elgin.- On the witness stand before Police Magistrate Thompson, William J. Peer, manager of the Chicago Motor Cab company, testified that the automobile in which Joe Connor made his escape from the Elgin State hospital, July 25, was ordered by Father John J. McCann, pastor of St. Mary’s Catholic church, Elgin.” Oh my. It had to have been hard to explain that to Bishop Muldoon.

In 1914, Moses wrote, “The Elgin Coliseum that we started in the fall was put up in February and it was very effective; good lighting. The committee was well pleased with it.  The Palette and Chisel Club loaned some pictures.  I took up half a dozen and we made a little Art Gallery, and I think we put our name on the map, if nothing else. ”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “Did an exhibition for the Dairy Show at the Coliseum, November 1^st.”

Three Educational Expositions were held in Chicago during the fall of 1913, the National Dairy Show, the U. S. Land Exposition, and the International Live Stock Exposition (“Journal Gazette” Mattoon, Illinois 22 Oct. 1913, age 4).  The National Dairy show was held from October 23 to November 1, with exhibits of milk, butter and cheese. Activities included judging cattle, instructive laboratory work, and discussions on problems of breeding, feeding and fitting dairy cattle. Dairy Association meetings were also held throughout the event at Chicago’s International Amphitheatre and the Union Stockyards; the stockyards included a coliseum. There were also a series of athletic events staged at the Chicago National Dairy Show, such as motorcycle polo (Joliet Evening Herald-News, 0 Dec. 1913, page 10).Very little is available about the Chicago Dairy beyond a few advertisements and some souvenirs for sale online, so it is difficult to know what was delivered by Sosman & Landis  that year.

I did come across one entertaining article that described the milking championship at the 1913 Dairy Show. On October 30 ten dairymen contested for the milking championship of the world.  Of the event, the “Indianapolis News” reported, “Milking Cow is an Art,” describing the event in detail(30 Oct 1913, page 18). The article reported, “Although in the aggregate they handle nearly two hundred thousand quarts of milk daily, not one of the contestants had milked a cow in the last twenty years, and several had never sat on a one-legged stool before, trying to soothe “bossie,” and hold the milk pail, drive off flies, dodge the cow’s tail, and milk. The first prize, a leather medal, big enough to half sole a pair of shoes, was won by S. C. Shedrick, of Buffalo, proprietor of the Queen City Dairy Company. S. O. Dungan, proprietor of Polk’s Sanitary Milk Company, of Indianapolis, won second prize, a glass of milk. While third honors went to John Bingham, president of the Ottawa Dairy Company, of Ottawa, Canada. Bingham started under a handicap. In the first place, he forgot which was the proper side to introduce himself to “boss” and was kicked to remind him of the breach of conventionalities. Later, when his pail was half full, he moved his one-legged stool and spilled the milk. John LeFeber, of Milwaukee, claimed fourth honors and clamored for a prize, although only three were offered. He said the cow selected for him did not know how to be milked.”

To be continued…