Musical Act Scenery – Drypigment.net

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…