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Tales from a Scenic Artist and Scholar. Part 1166 – Fred Sosman

Early in 1923, Thomas G. Moses was in Indiana trying to drum up work for Sosman & Landis. He wrote, “Went to Evansville, Indiana, and closed a small $1,200.00 order. On March 13^th went to Terre Haute and caught a train for Buffalo, had a little trouble on account of the cold weather and snow.” At this same time, Fred, the son of studio founder Joseph S. Sosman, was also traipsing across the state of Indiana in a vaudeville act. Moses had worked with Fred in the Sosman & Landis shops for years, instructing the young man in landscape painting. It didn’t take.

On April 16, 1890, Sosman married Maria (also, May or Mary) Pinney Jones (1858-1947), adopting her two sons from a previous marriage to Benjamin Hodge Jones. At the time Arthur Burton Jones (1878-1929) was twelve years old and his brother and Frederic Pinney Jones (1882-1946) was only eight years old. Over the years, Sosman provided for the boys and repeatedly attempted to train them into the family business, but it never took, as their passions remained elsewhere. By the age of twenty-six, Fred was touring a solo act as part of the amateur line-up in many venues. On April 4, 1908, he performed at the Orpheum in Los Angeles (Los Angeles Herald). On May 29, 1908, he performed on amateur night at Chutes Theatre in San Francisco.

*Fred Sosman was part of the amateur vaudeville line-up at Chutes in San Francisco, 1908.*

*Fred Sosman’s vaudeville act. Orpheum Theatre, Los Angeles, 1908.*

By 1914, Sosman was part of the Keith Circuit and advertised as “King of the Cabaret.” On June 9 of that year, the “Detroit Free Press” reported, “With a whole flock of new ‘Broadway Hits,” Fred Sosman, justly styled ‘King of the Cabaret” comes to Edelweiss for a limited summer engagement. Many vaudeville devotees will recall Mr. Sosman as a Keith headliner, for it was not so long ago that Sosman adorned the boards along with Bert Williams and other celebrities. Fred Sosman has the ability which folks along New York’s ‘Big White Lane’ term the ‘Speed ‘em Up Stuff.” You can’t keep from shuffling your feet when Sosman is working. Mr. Sosman’s entertainment does not consist of coarse comedy. His fun is of the clear, sparkling kind – in short, the work of an artist. The ‘King of Cabaret’ handles dialect work as cleverly as straightaway stuff and, during his Edelweiss stay will feature some humorous talking songs.”

Reviews were not always glowing for Fred. On August 27, 1915, he was mentioned in the “Stage Jottings” section of the Terre Haute’s “Daily Tribune.” He was performing at the Hippodrome and the review noted, “Fred Sosman has a couple of very good songs which he reserves for the finish of his otherwise so-so act.” It may have been the critic, or the timing. Two weeks earlier his stepfather passed away. The death of Joseph S. Sosman left both his business and personal affairs in dire circumstances. Until his passing, no one truly understood the financial balls that Sosman had continued to juggle over the years, or the dire financial circumstances despite booming business.

Upon his passing, Moses was elected president of the firm, with Sosman’s eldest son Arthur becoming vice-president. In 1915, Moses wrote, “It is very strange to me that I had never given this change of the business a thought. I had never thought of Sosman dying.” No one did and all of their lives were tied to the same business. Although Arthur was elected as vice-president, he didn’t last long at Sosman & Landis. Three years later, Moses and Arthur left the company. Although Moses would return, Arthur did not; he began working as a salesman elsewhere. Fred seems to have made a good choice by leaving the company early and joining the vaudeville game.

By 1920 Fred Sosman was a popular singer and comedian, advertised as “a lively boy with good shape and good clothes, and he, too, has a personality.”

In 1923, Fred Sosman was performing in an act with Gladys Sloan. On Feb 21, the “Indianapolis Star” reported:

“In Between Dances,” a comedy act presented at the Lyric this week by Fred Sosman & Gladys Sloan, is a combination of repartee and songs. Mr. Sosman and Miss Sloan recently entered vaudeville after extended engagements at the Moulin Rouge and Café DeParnee, New York, and the Marigold Gardens, Chicago. Miss Sloan was formerly engaged in concert work. Mr. Sosman is the son of Sosman of the famous firm of scenic artists Sosman & Landis. For several years he specialized in landscape painting, and has been awarded prizes for his work at exhibits in New York, Chicago and London.”

His relationship with Sloan was short, as he married someone else that fall.

To be continued…

Tales from a Scenic Artist and Scholar. Part 975: Thomas G. Moses and “Happy Jack” Gardner, 1918

“Happy Jack” Gardner, picture in the “Sioux City Journal,” 28 March 1915, page 33.

In 1918, Thomas G. Moses wrote, “Made a Saturday afternoon visit with Jack Garner regarding his act, which was very good.”

Jack E. Gardner came from a theatrical family and initially performed in a musical comedy skit called “The Three Gardners.” The vaudeville act starred Jack, Andy and Ada Gardner in 1900. By 1905, Jack had quit the trio. He became known as “Happy Jack,” and advertised as a musical comedian in a solo act (The Morning Call, Paterson, New Jersey, 4 Oct. 1907, page 3). The “Los Angeles Times” reported “‘Happy Jack’ Garner recalls a pleasant turn, consisting of good songs and tuneful melodies drawn from a disreputable old tuba (Feb 17, 1907, page 75). In 1909, Gardner was still doing his musical routine, but now was performing in black face (The Salt Lake Herald-Republican, 16 Jan. 1909, page 7). By 1910, Happy Jack was touring the west as a minstrel performer (Oregon Daily Journal, 4 Dec. 1910, page 37). About this time, Gardner and his wife Edna (Beard) Gardner joined the Actors’ Colony in Muskegon, Michigan. There, he was performed in the colony’s annual charity shows. For more of his involvement in this group, see http://www.actorscolony.com/Gardners.htm

In 1912, Gardner starred in “A Close Call” with his own company on the Sullivan and Considine circuit. That summer, “Happy Jack” was featured alongside his good friends in Butte, Montana – Jack Jeffries, Jim Jeffries (former heavyweight champion of the world), and Barney Oldfield (racing car driver). The “Butte Miner” reported “Gardner was the first handler of Jeffries when he forsook the ring for the stage and he is now one of the closest of big Jims friends and intimates – and Jeff hasn’t many” (20 June 1912, page 3). Gardner was also a former room-mate of James J. Jeffries (Calgary Herald, 14 June 1912, page 9). Oldfield was making an appearance in Butte at this time with his famous racing car for July celebrations.

From the “Butte Miner,” 20 July 1912, page 3.

“Happy Jack” made quite a name for himself as he continued to perform across the country. Notable productions included “Madame Sherry” and “The Chocolate Soldier.” However, it was Gardner’s later interaction with film on the vaudeville stage that really caught my attention He had a brand new idea for vaudeville that would tour the Orpheum Circuit; a first that I have encountered to date.

On Jan. 31, 1915, “Oakland Tribune” reported, “Jack E. Garner has turned his back upon the lyric stage and has become a dramatic actor. His new departure is entitled “Curse You, Jack Dalton” and is an exaggerated melodrama of the old school acted upon the moving picture screen” (page 5). Of the vaudeville act, the “Atlanta Constitution” reported, “The brand-new idea of Gardner’s embraces the moving pictures, with which he is assisted in the production of “Curse You, Jack Dalton.” The main action is enacted upon the screen, but the versatile Garner fits himself into each situation with ludicrous effect” (20 June 1915, page 1). The “Lincoln Star” added, “The ‘stunt’ is something entirely new and novel to the vaudeville stage. Jack Gardner had a reel of pictures, with clever actors, the hero, the villain, the heroine and her papa – a blood-curdling melodrama – incomplete, however, without Gardner walking around the stage mingling with his picture characters, talking with them, prompting them and even shooting with a real revolver the mustached villain, who falls writing to the floor with a bullet in his arm” (Lincoln, Nebraska, 19 March 1915, page 2). This was a movie produced under the personal direction of Billy Arnold. The “Fort Wayne News” reported, “Arnold’s ‘company’ consists of a movie film produced under his personal direction and in which he in the flesh and blood makes himself a portion of. The act isn’t one that will live a long time, but while it is new the novelty is so marked that it makes a great hit” (Fort Wayne, Indiana, 29 Jan. 1915, page 4).

Jack E. Gardner in “Curse You! Jack Dalton.” Advertisement in the “Democrat and Chronicle,” Rochester, NY, 8 Dec. 1914, page 22.

The September 1916 issue of “Variety” described another short film by Gardner that I found pretty interesting:

“Jack E. Gardner. Songs and Talk. 17 Min. One. Fifth Ave. Jack Gardner is at least to be congratulated on his streak of progressiveness. He, unlike many other “single” men, seems continually to strive for the original, and generally makes proper connections. His present turn is a neatly constructed affair, consisting of an introductory number, after which he runs through a routine of songs of different style, each one prefaced with an explanation in rhyme, Gardner explaining he would never think of imitating others, then proceeds with an illustration of what he means. The finale is the comedy trump. A speech, in which he invites applicants to the stage, introduces the well-known Benjamin Schaeffer, who “masquerades” as an amateur and who craves the attention of the house during a recital of “Gunga Din.” Gardner promises Ben protection, but at the finale stages a comedy-choking scene, with Ben retreating to the auditorium delivering a routine of satirical remarks. It’s a good finish and Benjamin was surprisingly good. So was Gardner. With this act and his name Mr. Gardner should do nicely, although some of the number could be cut down so that the act would not exceed 12 or 14 minutes in running.”

By 1917, “Happy Jack Garner” and his company toured the Orpheum Circuit in a comedy entitled “In the War Zone.” Advertised as performed by the “Jack Gardner Trio” or “Happy Jack Gardner & Co.” the show was advertised as “a riot of laughs” (The York Dispatch, York, Pennsylvania, 17 May 1917, page 10). The “Ithaca Journal” reported, “There is fun galore in Happy Jack Garner’s act which contains several talented persons” (The Ithaca Journal, 9 March 1917, page 6). The “Fitchburg Sentinel,” reported “Mr. Gardner will be remembered as a blackface artist who appeared as the Cummings a few seasons ago and scored on of the biggest laughing hits ever secured at that theater. This time he is the head of an organization of four people who present his latest creation ‘The War Zone.’ Mr. Gardner is supported by C. Ward Brown as General Bolters of the Belgium forces. Miss Edna Beard as Kitty Wilson, a Red Cross nurse, James F. Gallagher, as Denny O’Brian of the British forces. Mr. Gardner will be an American negro playing in the French band. It is laughable burlesque of the best type and should be welcomed by local theatregoers”

This was likely that the Gardner performance that Moses saw in 1917 was “In the War Zone.” It was still touring in 1920 (The Tribune, Scranton, Pennsylvania, 13 Oct. 1920, page 13).

By 1917, Garner was performing with another film “The Range Boss,” the second of his Essanay Western Productions, appearing as a dare-devil cowboy. The film was based on a novel by Charles Alden Seltzer. Here is a link to the book, if you feel like reading a western novel today: https://www.gutenberg.org/files/25754/25754-h/25754-h.htm The film version was directed by W. S. Van Dyke, the silent film also starred Ruth King and Carl Stockdale. Of Garner’s performance, the “Charlotte News” reported, “His defeats of horsemanship in this picture demonstrate that it isn’t altogether necessary to live in the west in order to learn to ride a horse” (Charlotte, North Carolina, 26 August 1917, page 13). The Essanay Film Manufacturing Co. was established in 1906. The firm offices in Chicago were located at 1333 West Argyle Street.

Gardner passed away on April 16, 1929, in Muskegon, Michigan.

To be continued…

Tales from a Scenic Artist and Scholar. Part 959 – Musical Acts, 1917

In 1917, Thomas G. Moses wrote, “Another ‘Katz’ show, $1,050.00, and one vaudeville act from Brazee $300.00, and one from Banda Rosa for $445.00, a big act.”

Yesterday, I explored J. C. Brazee’s production of “The Honey Bees” with scenery by Sosman & Landis. Today I am looking at “Banda Rosa.” Moses was referring to Signor Guiseppe Sirignano’s “Banda Roma” that toured the country with thirty-five musician and soloists during the early twentieth century.

Banda Roma pictured in the “San Francisco Call,” 11 Jul, 1909, page 40.

Sirignano was later noted as “the former musical dramatizer of Ziegfeld and Fine-Arts Theatres, Chicago, and of the Banda Roma” (Des Moines Register, 9 Oct. 1918, page 10). Sirignano’s Banda Roma also performed music for silent films. For “Cleopatra,” his 15-piece orchestra played a special overture.

This brings up another type of client for Sosman & Landis – musicians. Many musical acts ordered decorative and distinct scenery for their touring productions. This demand also drove a new aesthetic for the stage during the second and third decade of the twentieth century. There was no need to have traditional scenic art provide the backing for a band, or musical vaudeville act.

Photograph in sales book from Acme Studio of Chicago, Illinois.

Decorative painting of specialty fabrics became increasingly popular. Instead of providing a series of painted layers on cotton sheeting that suggested an exterior or interior setting, musical acts used a series of decorative layers that simply suggested a subject, and not realistically represented. There were no cumbersome bottom battens that stretched scenes taut, just fabric suspended from any system. In many ways, this type of painting was intended to work with fabric that would bunch.

Detail of photograph in sales book from Acme Studio of Chicago, Illinois.

The painting of fabric was popular at many new firms, such as the Service Studios, the Fabric Studios and Acme Studios in Chicago. Studio sales books began to include an increasing number of these decorative scenes for clients. The use of stencils created an interpretive view for both exteriors and interiors. These soft goods were easy to transport and hang. Many were even interchangeable.

The downside was that this type of painting was that it altered the type of labor required to staff a shop; these projects did not require the same skill set as those realistically painting a subject. The use of repetitive patterns and stencil work was quickly taught and did not necessitate years of study or training. Aspects of the scenic industry became a craft, with many projects requiring artists with minimal skill sets.

I look at some of the curtains with stylized donut-shaped flowers, hundreds of them throughout compositions, thinking about the basic instruction:

“Bob, they don’t need to be perfect, they just need to be little circles with dots in the center. Just do your best and paint as many as possible. Remember, it ships tomorrow.”

Detail of donut flowers. Photograph in sales book from Acme Studio of Chicago, Illinois.

Detail of stylized leaves and flowers. Photograph in sales book from Acme Studio of Chicago, Illinois.

Foliage painting for stylistic scenes demanded very little from an artist. Instead of building up mass on a branch, there was just repetitive pattern. What once destroyed scenic illusion was now popular.

To be continued…

Tales from a Scenic Artist and Scholar. Part 931 – The Oak Park Theatre, 1916

In 1916, Thomas G. Moses wrote, “The Oak Park Theatre gave me $825.00 contract for vaudeville scenery.”

The Oak Park Theatre opened on October 20, 1913 and was a combination house, featuring both live vaudeville acts and silent films. Their advertisements promised continuous high-class vaudeville and first run motion pictures. Vaudeville acts for the venue were booked by Jones, Linick & Schaefer, the same firm that handled entertainment for McVickers Theatre, the Colonial Theatre, the Wilson Theatre and many others around Chicago.

Of the Oak Park Theatre, the “Historical American Building Survey” suggested that there was architectural evidence that the building was greatly enlarged in 1915. This coincides with Sosman & Landis delivering new vaudeville scenery in 1916; new scenery would have been ordered during the renovation. The original building structure had a footprint of 67 feet by 112 feet; the enlarged size after 1915 was 67 feet by 168 feet.

The Oak Park Theatre was located on Wisconsin Street, but the address later changed to 120 S. Marion Street. The venue was at the heart of Oak Park’s entertainment district and near Moses’ home. Many scenic artists and architects settled in Oak Park. The benefit to Oak Park residents was living a short train ride away from downtown Chicago.

There were three theaters in close proximately to one another– Oak Park’s Warrington Opera House (1902 stock theatre), the Oak Park Playhouse (1913 combination house) and the Oak Park Theatre (1913 combination house). The 800-seat Oak Park Theatre was adjacent to the Warrington Opera House, and promised “perfect ventilation.” This meant that the auditorium air was changed every ten minutes. In addition to many “fireproof” features, each seat boasted a “perfect view of the stage.”

In 1917, the “Chicago Eagle” reported, “Lubliner & Trinz” owned and operated the following high class theaters all over the city: Artcraft Theatre at Devon and Clark Streets, Biograph Theatre at 2433 Lincoln Ave, Covent Garden Theatre at 2655 North Clark Street, Knickerbocker Theatre at 6225 Broadway, Michigan Theatre at 55^th and Michigan Boulevard, Paramount Theatre at 2648 Milwaukee Ave., Vitagraph Theatre at 3133 Lincoln Ave, West End Theatre, at No. Cicero and West End Avenues, and the Oak Park Theatre in Oak, Park, Illinois (22 Dec. 1917, page 7). Lubliner & Trinz was operated by Harry M. Lubliner and Joseph Trinz, whose offices were at 510 Westminster Building.

In 1930, the Oak Park Theatre was remodeled and renamed the Lamar Theater. The marquee was added in 1929, the lobby remodeled in 1930 and the stairs relocated in 1936.The new name reflected its location on Lake Street and South Marion Street. Now advertisements forcused on “truly perfect sound” in this “new wonder talkie theatre.” Unfortunately, this Art Deco theater has did not last and was razed in 1988.

The Oak Park Theatre was later named the Lamar Theatre.

The Oak Park Theatre was later named the Lamar Theatre. Image posted at cinemareasures.org. Here is the link: http://cinematreasures.org/theaters/2641

To be continued…

Tales from a Scenic Artist and Scholar. Part 914 – Thomas G. Moses and Charles H. Miles

Charles H. Miles, from the “Pittsburgh Press,” 18 Oct.1914, page 39.

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…

Tales from a Scenic Artist and Scholar. Part 912 – “The Fall of Antwerp,” a 1915 Stage Spectacle with Scenery by Sosman & Landis

On September 1, 1915, Thomas G. Moses wrote, “I went to Pittsburg to set up ‘Fall of Antwerp.’ We were behind with our work and I had to allow them for two performances. I settled for $1,300.00.”

Advertisement for “The Fall of Antwerp” stage spectacle in the “Bridgeport Times” (Bridgeport, CT) 31 March 1915, page 9.

I have never understood the public’s fascination with horrific events. It is even difficult for me to read about natural or man-made disasters, because I feel as if my entire being absorbs the sorrow, and I feel utterly helpless. This post was especially difficult write, as we know the duration of WWI, and how long it took for the United States to help. America stood on the sidelines, watching in fascination. We even created a scenic spectacle about the Antwerp’s destruction. Only a few years prior to Antwerp’s fall, my grandfather left to city to sail to America, hoping to start a new life. The city streets that he walked would soon fall victim to heavy shellfire. He had left Europe trying to escape what many saw coming.

The final siege of Antwerp began on October 9, 1914, as German artillery weakened the city’s fortifications and the city fell. Here are two links for more information about the historical event for context of the stage spectacle: https://www.britannica.com/event/Siege-of-Antwerp-1914 and https://www.mentalfloss.com/article/59426/wwi-centennial-fall-antwerp

By Oct. 11, 1914, American newspapers reported, “Press Bureau issued the following at 12:10 p.m. yesterday: – The War Office announces that Antwerp was evacuated by the Belgian forces yesterday.” The London “Observer” stated, “Antwerp has fallen. The Belgian Army has succeeded in slipping out, and the town is now practically undefended. Great damage has been done to the city by shellfire and incendiary bombs. Many public buildings are badly injured, among them, is said, is the Cathedral. There is much rejoicing in Germany. German official news, received by wireless, states that many German vessels, including a number of large liners and some Rhine streamers, were blown up before the Belgians evacuated Antwerp. This followed the Dutch Governments refusal to allow the refugees to escape in them by Scheldt waters. We publish several stories told by refugees from Antwerp, including one by a lady doctor who had charge of a hospital there. On the battle line in France the Allies are holding their own, and north of the Oise they have gained considerable advantages” ” (11 October, 1914, page 7).

This historic event soon became a stage spectacle that toured American theatres. Unlike the WWII newsreels, this was more like the Johnstown Flood attraction at amusement parks across the country. Baltimore’s Garden Theatre advertisements announced “The Fall of Antwerp” as a new vaudeville spectacle. The production promised, “An unusually good vaudeville bill with a scenic production depicting ‘The Fall of Antwerp’ as the top liner and many other excellent numbers” (23 March 1915, page 4). Within six months of Antwerp’s devastation, Americans were watching a “realistic electrical reproduction of ‘The Fall of Antwerp’ (The Times-Tribune, Scranton, Pennsylvania, 20 April 1915, page 15). The vaudeville spectacle was advertised as “the greatest electrical scenic war spectacle of modern history” (Tribune, Scranton, Pennsylvania, 19 April 1915, page 14). The “Times-Tribune” described, “Raymond O’Malley and George M. Cohan, scored unusually big at the opening day performances. The act is staged in splendid style and is one of the season’s best. ‘The Fall of Antwerp’ is a marvelously well presented novelty. The scene represents the Belgian city by day. When night comes, the attack of the Germans is shown. Houses are fired and the town is soon reduced to smoldering piles of debris.”

Painting depicting the attack on Antwerp in 1914.

“The Bridgeport Times and Evening farmer” reported, “Realism in stagecraft attains its perfection in the mammoth production of the Fall of Antwerp which is featured in the big bill at Poli’s the first half of this week. Not a motion picture, but a most realistic spectacle requiring a carload of scenic and electrical effects, the Fall of Antwerp, is an absolute novelty in stagedom. The beautiful city is pictured in trueness of detail as it stood before the siege. Beautiful electrical effects show twilight fade into dusk as the moon and stars appear. There comes a roar of a distant cannon. A whirr of Zeppelins forewarns the aerial attack. The sky becomes afire and airships drop bombs and the aerial batteries answer the attack from above. A bomb hits the oil tanks and they blow up with a thunderous report, scattering fires to all parts of the neighborhood. The climax is reached as fire sweeps the city, razing the buildings left intact throughout the fusillade of shells. An interesting lecture by Miss Margaret May Lester, who recently returned from the stricken city, accompanies the spectacle and adds much to its interest. In addition, there is a big bill of vaudeville and photoplay features.”

From the “Wilkes-Barre Times Leader,” 28 April 1915, page 9.

While reading about this particular spectacle, I could not help thinking about other spectacles that depicted tragic events, such as the Flood of Jamestown and the Eruption of Mount Vesuvius. Both of these disasters had been popular attractions at Coney Island, as well as featuring the scenic art and illusion. For the Eruption of Mount Vesuvius, the audience was transported across the sea to the shores of the doomed town, as they waited at dawn for the destruction that would soon rain down on the sleepy town and into the sea. The Fall of Antwerp combined both water and fire effects for the war spectacle, using tried and true illusions. The scenic art and stage machinery was a fine-tuned product manufactured at the Sosman & Landis studio by this time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 890 – Philadelphia’s Globe Theatre, 1914

In 1914, Thomas G. Moses wrote, “Got an early start on the Globe Theatre, Philadelphia, for New York Studios.”

Two years earlier, Moses wrote that he also painted a New York studios set for “a new theatre in Philadelphia, the Globe.” New York Studios was the eastern affiliate of Sosman & Landis, founded and run by a one-time employee David H. Hunt. Hunt was a theatrical manager, as well as scenic studio founder. In the 1890s he convinced Sosman and Landis to establish the theatrical management firm of Sosman, Landis & Hunt. By 1910, Hunt convinced Sosman to invest in New York Studios, run by Hunt and his second wife, Adelaide.

In 1914, the “Philadelphia Inquirer” reported, “New Globe Theatre to Open Tomorrow” (May 31, 1914, page 25). Located on the corner of Market and Juniper Streets, the seating capacity of the Globe Theatre was 2000, with a stage, “equipped with every modern improvement in the line of gridiron, lighting devices, scene shifting apparatus.” The article noted that the stage also had a clearance of 30 by 50 feet, noting that the Globe Theatre was “located in the shadow of City Hall and in the heart of the business section.” It provided “a suitable place for those who, with business finished still have an hour or two to while away recreation before taking a train for home” (31 May, 1914, page 9). Of the theater, “The Globe stage is large enough to accommodate the most pretentious of vaudeville acts and the acoustic properties are such that in every nook and corner of the building the audience will have no difficulty in hearing as well as seeing all that is transpiring on the stage. A competent orchestra under the direction of Charles Kitch, formerly of the Metropolitan Opera House, has been engaged and the orchestral effects will be supplemented by a $15,000 pipe organ.”

The new Globe Theatre featured vaudeville acts and motion pictures from 11:30AM until 11:30 PM daily. “Continuous vaudeville” was to prevail at the Globe; with two complete shows every day. Prices for the matinees were 10, 20 and 30 cents, with loges and boxes at 50 cents.

From the “Evening Public Ledger” (Philadelphia, PA) 14 April 1915, page 9.

To be continued…

Tales from a Scenic Artist and Scholar. Part 889 – Thomas G. Moses and Shea’s Theatres in Buffalo, New York, 1914

Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.

In 1914, Thomas G. Moses wrote, “Did a drop curtain and two gardens for Shay’s Theatre, Buffalo. “ In 1914, Buffalo was home to Shea’s Theatre and Shea’s Hippodrome. Shea’s Hippodrome on Main Street in Buffalo, a venue that opened in 1914. It is likely that the drop curtain and two garden settings were for Shea’s Hippodrome, as garden scenes were frequently used as a setting to frame a projections screen. Shea’s Hippodrome is not to be confused with the 1926 Shea’s Buffalo Theatre, a 4000-seat venue that is now known as Shea’s Performing Arts Center and features touring Broadway musicals. Shea’s Theatre hosted vaudeville acts and kinetograph pictures. Shea’s hippodrome opened in 1914 and is the focus of today’s post. The namesake for both venues, however, was an interesting man in his own right.

Michael “Mickey” Shea was born on April 17, 1859 to Daniel and Mary (Griffin) Shea. After graduating from public schools, Shea first worked on the docks as a labor. He soon found employment as a structural ironworker at the Union Iron Works before trying his hand at entertainment. It was not until 1884 that Shea started his own business, opening a saloon at 535 Elk Street in Buffalo. By 1892, he opened the Shea’s Music Hall at 11 Clinton Street in the Arcade building. Unfortunately, fire destroyed the complex the following year. This did not deter him from continuing in the entertainment business, and in 1898 he opened Buffalo’s first vaudeville theater, Shea’s Garden Theatre. By 1905, he opened another venue called Shea’s Vaudeville House on Court Street, advertising as “Shea’s – Devoted to the Highest Class of Exclusive Vaudeville Attractions.”

In 1914, Shea opened Shea’s Hippodrome on Main Street near Chippewa in Buffalo, New York. He purchased the property from B. F. Keith, who had abandoned it as a theater site some years before. The “Buffalo Courier” reported, “As soon as Mr. Shea came into possession immediate plans were made for the erection of a theater, although the policy of this house was not decided upon until the present season. (Buffalo Courier, 30 Aug, 1914, page 8). The article continued, “The photo play is attracting world-wide attention at present and Manager Shea, ever abreast of the times, has secured for his Buffalo patrons for Shea’s Hippodrome the exclusive rights to screen the dramas of the famous players.”

This was during a time when Shea expanded from vaudeville into motion pictures. When it opened, Shea’s new venue was considered one of the finest picture houses between New York City and Chicago. Theaters opened after this one by Shea included Shea’s North Park Theatre on Hertel Avenue, the Great Lakes Theatre, the Seneca Theatre, the Century Theatre, the Community Theatre, the Park Theatre, the Bailey Theatre and the Riviera Theatre in Tonawanda.

Shea’s Hippodrome opened its doors on August 31, 1914, and was advertised as “the handsomest and most complete photo-play house in America” (The Buffalo Times, 30 August 1914, page 47). The “Buffalo Times” reported, “Manager Shea has always given his patrons the best and the latest in the field of amusement that money could procure, and he is now placing in this magnificent theater the great photo-plays from the world’s greatest producers. Within the few years that the screen drama has been attracting attention of theater-goers that form of amusement has undergone a great change and that rapidly growing business is now placed on the high plane its merit deserved. Manager Shea has secured for Shea’s Hippodrome patrons the output of the Paramount Picture Corporation, which represents the best element of the various interests involved in photo-play production, Through this corporation the public is promised the best plays and the best stories, interpreted by the best talent; presented in the best theaters for the entertainment of the best people. The famous plays to be seen at Shea’s Hippodrome have been produced by such master artists as David Belasco, Daniel Frohman, Charles Frohman, Henry W. Savage, Jesse L. Lasky and Hobart Bosworth; famous stories from the pens of such popular writers as Jack London, George Barr McCutcheon, Hall Caine, Anthony Hope, Thomas Hardy, Harold McGrath and others of equal note. Those attractions from the Paramount Corporation will only be seen in Buffalo – Shea’s Hippodrome – and after their production here will not be shown at any time in any other house in the city; and for this service and privilege of exclusive use, Manager Shea is paying the sum that has that has made this same service prohibitive in any other theater in the city. The great seating capacity of Shea’s Hippodrome makes the use of this service possible, as patrons will see these great productions for the low price of admission of 10, 15 and 25 cents.”

Shea’s Hippodrome was under the management of A. R. Sherry and George Bouchard. Among the great features was the $25,000 orchestral organ that played at every performance.

To be continued…

Tales from a Scenic Artist and Scholar. Part 878 – The Edelweiss Girl, 1914

“The Edelweiss Girl and Co.” advertisement. From “The Times” (Streaton, IL) 26 Dec. 1914, page 8.

In 1914, Thomas G. Moses wrote, “Did a Vaudeville act for the Edelweiss Company.” Moses was referring to the “The Edelweiss Girl and Co.,” also billed as the “Edelweiss Trio” and simply “Edelweiss Girl.”

The vaudeville act opened with a musical number, quickly changing to a sharpshooting exposition that featured marvelous marksmanship skills (Des Moines Tribune, 12 Dec. 1914, page 3). The Edelweiss girl and her two countrymen were all accomplished vocalists and the three sung native yodeling songs of the Tyrol region.

The Edelweiss Girl pictured in the “Des Moines Tribune,” 12 Dec. 1914, page 3.

The “Rock Island Argus” reported, “’The Edelweiss Girl’ is an Alpine sketch of a novel kind, with a beautiful mountain setting. The girl yodels and does some remarkable rifle shooting, in which she is assisted by a young man. One of the prettiest exhibitions is when the girl, while playing a number on the organ, is accompanied with chimes effect produced by rifle shots fired by her assistant” (16 Oct. 1914, page 13).

From the “Joliet News,” 24 Sept. 1914, page 6.

Of the scenery, the “Omaha Daily Bee,” commented, “Special Alpine scenery and effects are a feature of the act” (23 August 1914, page 17). An entire carload of special scenery accompanied the act to provide the Alpine setting and lighting effects. “The Times” described, “The scenic setting is arresting beauty, the sunrise in the Alps invariably getting a round of delighted applause” (Streator, Illinois, 26 Dec., 1914, page 5). The show was billed as a “Spectacular Scenic Sharpshooter” (The Gazette, Cedar Rapids, Iowa, 23 Oct. 1914, page 3).

“The Edelweiss Girl. A Spectacular Scenic Sharpshooter” advertisement from the “Gazette,” (Cedar Rapids) 23 Oct. 1914, page 3.

Sosman & Landis delivered a similar scene and effect during the 1893 World Fair and later at the Temple Roof Garden. The earliest mention was the scenery for “A Day in the Alps” at the Columbian Exposition’s Electric Scenic Theatre. Located in the Midway Plaissance of the World Fair, the electric theater displayed a picturesque Alpine setting that transitioned from day to night for each performance.

World Fair guidebooks noted, “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights…Tyrolean warblers perform on their various instruments, and sing their tuneful lays. Their renowned ‘yodels,’ as sung at each performance, are applicable to the scenery.” Sosman & Landis later replicated this scenic who as a main attraction for the Masonic Temple roof garden in 1894.

To be continued…

Tales from a Scenic Artist and Scholar. Part 857 – Dealers in Theatrical Goods and Dye Scenery, 1913

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.

N. J. Pausback’s advertisement in “How to Enter Vaudeville.

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.

Dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

Painted detail of dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

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.”

Dye drop at the Scottish Rite Theatre in Madison, Wisconsin.

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…