Brochure of the Egyptian Theatre in DeKalb, IllinoisThe front of the Egyptian Theatre
My visit to the Thomas G. Moses’ Oak Park home and the
gravesite of Walter W. Burridge took more time than anticipated on Friday, July
19. This prevented my traveling north to Fox Lake where Palette & Chisel
club members once congregated during the summer. I came up with a quick “Plan B.” Looking at
rush-hour traffic on a Friday afternoon, I decided to simply head to my final
destination for the evening in Genoa, Illinois, by way of DeKalb. On a whim, I
decided to contact the executive director of the Egyptian Theatre to see if I
could stop by and see the theater.
I met both the executive director and architect who are in
the midst of a major renovation, expanding the theater to expand restrooms,
concessions, storage and add air conditioning. Representatives from theater had
actually attended my session on researching historic venues at the League of
Historic American Theatre’s conference that week.
Signs explaining the major renovation at the Egyptian Theatre in DeKalb, Illinois.
I arrived a few minutes early for my meeting, allowing me the
opportunity to walk around the block and examine the “L-shaped” structure of
the building from various angles.
Fortunately, it was a small block, preventing me from suffering heat
stroke on my short walk. It was one of those ridiculously hot and humid days. The
earlier trek about the Forest Home Cemetery had just about done me in that
afternoon.
View of the Egyptian Theatre’s fly towerAlley between the auditorium and nearby buildings, the structure is “L-shaped.”
I had never stopped in the area, but downtown DeKalb is
lovely with colorful floral displays dotting every corner. The front of the
Egyptian Theatre is really an anomaly when compared with other buildings on the
street. Opening in 1929, the exterior
and interior was decorated in the popular Egyptian theme, a trend that picked
up speed after the discovery of Tutankhamen’s tomb in 1922.
Interior of the Egyptian TheatreView of the Egyptian Theatre form the stage
As I entered the building, I examined by the narrow lobby that
led to the auditorium on the right; no wonder the need for expansion. Not quite sure of what to expect in the
auditorium, I was surprised by large murals on the house left and house right
sides.
Looking at the rows of refurbished seating, I had to wonder
what local audiences thought when the theater first opened to the public. I made my way to the stage, curious to see if
any original machinery still remained. Nope.
When the building was constructed, however, the focal point
of the auditorium’s Egyptian decor was a colorful fire curtain. Removed,
encapsulated, and repositioned in the early 1980s, the painted composition is now
difficult to see under work lights. My host graciously pulled up an image of
the curtain on his phone. The scene reminded me of one in the scenic collection
database at the University of Minnesota Performing Arts Archives. I went to the backside of the fire curtain to
see of there was a studio stamp.
The fire curtain at the Egyptian TheatreThe fire curtain at teh Egyptian TheatreThe fire curtain under stage lights during my visit
What I discovered made my brief stop completely worthwhile.
Above a very faint union stamp, was the name of the studio. The executive
director was completely unaware of the stencil as I attempted to read the
script. After a few moments of squinting
and taking pictures to enlarge the font, it became clear that the name of the
studio was “National Theatre Supply Co. Chicago.” Wow.
National Theatre Supply Co. of Chicago was one of the many
theatre firms that Thomas G. Moses (1856-1934) worked for during the late 1920s
and early 1930s. He passed away in 1934.
He not only worked for National Theatre Supply Co., but also Armstrong
Studios and William Lemle and Co, dividing his time between studios in Chicago,
Illinois, and Oakland, California.
While planning my journey back from Philadelphia after an
exhausting week at the League of Historic American Theatre national conference,
I decided to stretch my car trip out over three days. My return trip included
stops at the Cleveland Scottish Rite, Thomas Moses’ Oak Park home and Walter
Burridge’s gravesite at Forest Home Cemetery. I realized that if I were to
route my trip through Des Moines to see our eldest child, my journey would also
pass by Moses’ hometown of Sterling.
After spending the evening of July 19 in Genoa, Illinois, with
close friends and visiting the Egyptian Theatre at DeKalb, I was on the road the
next morning by 6:20 a.m. Instead of taking a direct route that would take an
hour, I decided to meander west first to Oregon, Illinois, and then head south
along the river. That provided and opportunity to pass a few historic opera
houses, understanding that I would have to be satisfied with just seeing the
exterior of each building.
Oregon, Illinois
It was going to be another scorcher, and I was thankful to be
spending most of the day in a cool car, driving along a picturesque river. I first
stopped in Oregon at the Kiwanis Park to enjoyed the early morning sun sparkling
down a rambling river, Then I tracked down the local opera house, as I knew
there must be one somewhere nearby. It was too early to visit any theater; I
located the opera house building adjacent to the Masonic hall and across from
city hall – go figure.
Other stops included Castle Rock State Park and Grand
Detour. Grand Detour is an idyllic town, home to an 1850 Episcopal church and an
1857 hotel. A small village nestled between two rivers; the old hotel with
hitching posts was for sale. So much potential in this little town. As I
ventured south, I stopped by another opera house in bustling town of Dixon; who
knew that this was the birthplace of Ronald Reagan?
Dixon Opera House
As I drove to my destination in Sterling, Illinois, I passed
one of the major cemeteries, making a little note to come back and peak
around. I would later discover that the gravestones
had many scenic art family names, including Landis and Tuttle.
As I followed my navigational route to 508 W. 7th
Street, I noticed the sign “Lincoln Memorial.”
This recent memorial that sat across the street from the first home that
Moses purchased in 1879. For a brief period of time, the couple returned to
their hometown of Sterling until Moses realized that there was not enough
theatrical work in the area to cover their bills.
I sat awestruck looking at the small white house, imagining
what the neighborhood looked like when the couple moved in. After all, it was
only a stone’s throw away from Lucius M. Moses’ tannery along the river. Moses
had left the town to escape the family trade and settle in 1879 only a few
blocks away – struggling. His father had also gone out of his way to discourage
local businesses from hiring his son. It
must have been an incredibly difficult period in his life, as well as their
marriage, when young couple was just trying to make a go of it.
The Moses’ home in 1879The Moses’ home in 1879Thomas and Ella in front of their Sterling Home
Before leaving town, I could not resist stopping by the local
public library, chatting with the librarians, and donating a book in honor of Thomas
Moses. The Sterling Public library was founded in 1878, but the current
building had been constructed in 1913, another Carnegie Library building.
Sterling Public LibrarySterling Public Library
I soon discovered that the library’s local historian had
recently retired, but I was given access to the history center and genealogy room.
There I discovered some interesting history about the area, captured in old
postcards and local directories. I searched for specific listings that provided
answers to many of my questions about extended family members and businesses. Unfortunately
I could not stay for long, as my Des Moines lunch date was over three hours
away and I had another four-hour drive back to Minneapolis after that. I left
town at 10:30 and headed West, all the while contemplating new bits of
information that provided insight into Moses’ childhood and hometown.
Grave of Walter W. BurridgePicture of Walter W. Burridge pasted in the scrapbook of Thomas G. Moses
After visiting the home of Thomas G. Moses, I ventured over
to see the gravesite of another scenic art legend – Walter Wilcox Burridge
(1857-1913). The day had turned into a scenic art pilgrimage, as both Moses and
Burridge were incredibly significant within the framework of American scenic
art.
Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908
On Saturday, June 28, 1913, the “Oak Leaves” reported, “The
funeral of Walter W. Burridge, late of New York, took place this Saturday afternoon
from Grace church. Mr. Burridge died in New Mexico and the funeral took place
here because Oak Park has become the home of Mr. Burridge since he became ill.
Interment will take place at Forest Home” (page 34).
Unfortunately for me, my visit coincided with an intense
heat wave in the Midwest. It was far too hot to be traipsing about the Forest
Home Cemetery, yet I persisted, realizing that this opportunity may not dome
again. Moving the car from one shaded spot to another and donning my sunhat, I
finally located the Burridge’s tombstone. Kneeling in the grass before his
grave, I took a moment to contemplate the life of this extremely talented artist. Despite the heat, I thought about his many
projects in a relatively short period of time. Burridge died from “heart
disease” at the age fifty-six years old while on a sketching trip to
Albuquerque. He was working on an upcoming project for the 1915 Panama-Pacific
Exposition.
Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908
A line from the musical “Hamilton” popped into my head while
kneeling in the warm grass, “I ask myself, what would you do if you had more
time.” Moses included an article by T. D. Williams article about Burridge in
his scrapbook. Here is the article, “Great Colorist Dead.”
“A number of Chicago gentlemen prominent in the paint
business have been life long friends of Walter W. Burridge, an artist of
national, and one might almost say, international repute, because he visited
London several times in the interest of art, who just dies while at
Albuquerque, N. M., where he had gone to make sketches for pictures to be
exhibits at the Panama-Pacific Exposition. The pictures painted by Mr. Burridge
of the Grand Canyon earned him great praise, while other well known works have
brought him equal prominence. He studied color, as every artist must do, and he
sought and obtained pleasing effects for his scenic work, and is probably best
known for his wonderful production of stage scenery. Many leading theatrical
managers, actors and authors engaged him to paint settings and illustration for
their productions, and there are few men who in the present time have painted
as many excellent scenic and studio pictures. His beautiful pictures of
Yellowstone National Park scenery have never been surpassed, while his
wonderful scheme of color, so true to nature, makes a living record of the
beauty and grandeur of the Yosemite valley, cataracts, lakes, giant rocks,
towering domes and all the beauty spots of the valley which he faithfully
transferred to canvas. The studio pictures of Mr. Burridge have frequently been
exhibits in the various art institutions and galleries of this country. Nature
was his great teacher. His mastermind gave him supreme command of the scale of
color, which is evidenced by the many beautiful works of art which he has left.
Mr. Burridge came from New York and was a resident for many years in La Grange,
Illinois, the beautiful suburb in Chicago, in which he had many friends.”
Although I have written extensively about Burridge in past
installments of “Tales of a Scenic Artist and Scholar,” here is a brief recap
of his career:
At a very early age, Burridge apprenticed himself to a sign
painter from Hoboken, New Jersey. His
talent and outgoing personality soon brought him in contact with key
personalities who were connected with the old Park Theatre in Brooklyn.
Burridge soon found himself engaged as a part-time scenic art assistant, and by
the age of thirteen was working full-time for Harley Merry at his Brooklyn
Studio. Merry was the “artistic alias” for English stage performer Ebenezer
Brittain.
Burridge was only was thirteen tears old at the time. He accompanied
Merry to complete distant projects in both Chicago and Philadelphia, making all
of the necessary connections for his career to soar. Burridge’s early career
included a series of mentors, such as Russell Smith, who took a great interest
in shaping the career of this talented young artist, later recommending him for
a series of projects. Burridge’s talent and magnetic personality drew people toward
him, providing one opportunity after another.
His network of support included well-known performers and producers,
including actress Mrs. John Drew.
Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908
Burridge’s artistic endeavors throughout the duration of his
career spanned all across the continental United States and Hawaii. I will
include just a few of the more notable venues. In Philadelphia, Burridge did a considerable
work at the Arch Street Theatre, Broad Street Theatre, Walnut Street Theater,
and Academy of Music. He also painted scenery for the Academy of Music in Baltimore,
before moving to New York City where he accepted an engagement under J. H.
Haverly, painting for many of Haverly’s theaters from New York to California,
including the Fifth Avenue, Fourteenth Street, Niblos’ Garden, and Chestnut
Street theaters. Other artistic endeavors included panoramas. In 1876, Burridge
painted the “Siege of Paris” for the Centennial and later the “Battle of
Gettysburg.”
He moved to Chicago by 1882, settling in suburban La Grange
with his wife and securing work at the Bijou, 14th Street Theatre
and Standard Theatre. Around this time, Burridge
was also under contract with John A. Havlin from 1882 to 1885 for work at the
Grand Theatre. He also worked for six years as the scenic artist at the Grand
Opera House and at McVicker’s Theatre; the man seemed unstoppable and scenic
art was a thriving business. From 1887 until 1882, Burridge partnered with Thomas Moses (1856-1934) and
successful art dealer M. Louderback to found Burridge, Moses & Louderback,
located at the Columbia Theatre in Chicago. During
less than two busy years, Burridge, Moses & Louderback stocked six theatres
with all of the necessary scenery – no small task. Unfortunately personality clashes between
Burridge and Louderback ended the partnership; Louderback came from a “managing
art” background while Burridge came from a “creating art” background.
It was only a few years later, Burridge partnered with
Ernest Albert (1857-1946), and Oliver Dennett Grover (1861-1927), to form “Albert,
Grover & Burridge, Scenic and Decorative Painters” by 1891. Ernest
Albert. Albert and Burridge, both
artists first worked for Harley Merry at the Park and Union Square Theatres in
New York. Albert, Grover & Burridge
had a studio with over 12,000 square feet of working area, and another 2,500
square feet devoted to storage and sewing rooms. They had twenty paint frames,
ranging from 56 by 35 feet to 30 by 20 feet.
The firm did a considerable amount of business for the World’s Columbian
exposition of 1893, including the cyclorama, “Volcano of Kilauea.” Burridge traveled
to the Hawaiian Islands, making a series of faithful reproductions to capture
this natural phenomenon, with his final composition measured 54’ x 412’ and was
also a major attraction at the Mid-winter Fair in Sacramento. Unfortunately for
Albert, Grover & Burridge, their business venture went bankrupt in two
years and Burridge was again on his own.
The scenic studio founded by Walter Burridge, Oliver D. Grover and Ernest Albert
By 1900, Burridge was the scenic artist for the Chicago
Auditorium and the Great Northern Theatre. He was also engaged by Henry W. Savage
to prepare the scenes for the Castle Square Opera Company at the Studebaker
Music Hall. We also know that Burridge designed the scenery for the premiere of
“The Wizard of Oz” at the Chicago Opera House.
In 1900, Horace Lewis recalled a visit with Burridge
writing, “every object, from his devoted wife to the pictures upon the walls,
and his den in the garret, is indicative of the genial, most modest nature and
simple poetry of the man who finds his greatest wealth within that home.”
Burridge passed away during a trip to Albuquerque, New
Mexico while visiting the area to sketches for the upcoming 1915 Panama-Pacific
Exposition. His funeral was at Grace Episcopal Church in Oak Park, Illinois,
although the family did not attend the church. One can only imagine the
projects that Burridge could have accomplished had he lived beyond the age of
fifty-six.
Know as “Wallie” to his close friends, he was laid to rest
at Forest Home Cemetery on June 24, 1913. His son would join him at Forest Home
Cemetery three years later after an accidental drowning at the age of 30. The
family grave now contains Burridge, his son son Walter C. (1886-1916) and wife
Jane Anne (1860-1938). After losing her husband and son in such a short span of
time, Jane lived for another twenty-two years, passing away when she was of 78
years, 4 months, and 20 days old.
Backside of Burridge grave site with dates for his son Walter “Cyril” Burridge who died three years after Walter W. BurridgeAerial view of Forest Home Cemetery near Oak Park, Illinois
Thomas and Ella Moses began house hunting in Chicago at the
beginning of 1893. A few months later, they selected a home in the western
suburb of Oak Park, Illinois. The S. Euclid Ave structure was only a year old
and spacious enough to accommodate four young children. At thirty-seven years old, “Tom” and
Ella had four children William “Pitt,” Mary
Titcomb, Thomas “Rupert,” and Lillian Ella were ages fourteen, twelve, seven,
and four. Moses was thirty-seven years old and at the top of his profession;
life was really looking up.
Moses wrote that their new home had “very fine wood-work, a large stable, driveway, and a 60 x 178 foot lot.” They bought the house for $8,575.00, today’s equivalent of $222,238.22, a substantial sum. Although the amount was much more than the couple wanted to pay, Moses wrote that it appealed to them as no other one had. He had a perfect spot for a home studio with plenty of light. His studio was located in the attic with a high ceiling and ample room to hang pictures.
Moses in his attic studioMoses’ attic studio
Years later, his grandchildren would recall being told not to bother their grandpa when he was painting, yet they still managed to escape to the third floor. Opening the attic door and venturing up steep steps, they were never reprimanded, just given a small project to keep them busy.
The Moses family moved into their new home on May 1, 1893 – the
same day that the Columbian Exposition opened in Chicago. Moses recorded that their new home provided
plenty of room to entertain World Fair visitors. There are extant photographs that
depict the interior of their Oak Park home. In one, Moses sits in front of an
easel in his third-floor studio. Paintings, statues, masks, and art supplies
surround him, capturing a moment in the life and times of Thomas G. Moses. There was painted ornament in almost every
nook and cranny of the home.
The home of Thomas G. Moses, 1893-1934The home of Thomas G. Moses, 1893-1934The home of Thomas G. Moses, 1893-1934The home of Thomas G. Moses, 1893-1934
I have wanted to
visit Moses’ Oak Park home since I first read about it. The Oak Park and Forest Park area, suburbs
located immediately west of Chicago, were home to many Chicago artists who
commuted to the city. When my trip home from Philadelphia, I had the
opportunity to pass through Oak Park and see the neighborhood.
Until Moses’ passing in
1934, Oak Park remained his home. The only time that he and Ella did not live in
there was when they temporarily moved to New York from 1900 until 1904. Although
they spent time on the West Coast too, Oak Park was the primary home to Ella
and the children, hosting seasonal gatherings for family and friends. While
living in New York for the four short years, Moses found renters for the Oak
Park house. In 1900, he wrote, “I didn’t regret going east; but we did
miss our Oak Park home.”
On the morning of July 19, 2019, I planned my drive to Moses’ home and a nearby cemetery. Moses’ one-time business partner, Walter Burridge, was buried in Forest Home Cemetery in the nearby suburb of Forest Park. As I pulled off at the Oak Park exit, I closely examined the houses as the navigational system directed my to S. Euclid Avenue. I had already looked at the Moses’ home in Google maps, so knew the color and exterior of the home.
Picture from Google maps of the old Moses home
All morning I contemplated actually going up to the house, knocking on the door and introducing myself to the current owners. Risky move, as I was unsure of the area or the people that I may meet. Times are different and doors do not always open to reveal a smiling face. I realized that I would have to quickly explain that I was not selling a product or peddling any particular religion, before explaining my interest in their house. At least my visit wasn’t occurring during an election season.
As I walked up the
front steps, it was hard not to think of the many artists who ascended these same
steps throughout the duration of Moses’ life, his close friends who stopped by to
chat or discuss an upcoming project. I recalled one particular instance when
his close Palette & Chisel Club friends came over to examine the 300+
paintings in his attic studio, convincing him to do a one-man show.
When I reached the
front door, I noticed to signs – “We still stand with Standing Rock” and “All
are Welcome.” I heaved a huge sigh of
relief as all trepidation evaporated. I looked at the decommissioned doorbell
and decided to knock, but not too loud. A chorus of dogs responded to my
knocking, and then the door slowly opened.
I smiled at a woman about my own age and explained, “I’m not some nut
off the street…”
Almost two hours
later, I left the home. As expected, I got
teary eyed when I entered Moses’ old studio on the third floor. There is still
so much history and such a wonderful energy about the space. I can see why this would be the perfect paint
studio for Moses or any artist. There is so much more to the story of my visit,
but I can’t bring myself to share. For now, I just want to keep it close and
reflect on both the details and newfound friends.
My grand tour ended
with a cup of tea and a copy of her daughters’ music CD. In exchange for the hospitality and gift, I
left my copy of “The Santa Fe Scottish Rite: Freemasonry, Architecture and
Theater.” One chapter includes a lot of information about Moses’ life and his work
at Sosman & Landis. It was the least I could do, especially after my host invited
me to stay at their home anytime I came to Chicago. The family is perfect fit
for the Moses home.
The CD gifted to me by current residents of the Thomas G. Moses home.
There is that moment
when fate intervenes and you encounter people who make your entire journey
better, enriching your life, even if it is just for a moment. I have been fortunate over the course of my
studies and career to be repeatedly blessed with meeting so many positive
personalities; they always overshadow any negative individual or situation that
I encounter. Stopping by the Moses’ old home
and meeting the current residents was absolutely magical and made me reflect
how lucky I am in my own journey.
Update: TempleLive, a network of historic entertainment venues abruptly closed all location in September 2025. Owned by Beaty Capital Group, the venues often included Masonic structures such as Scottish Rite Temples.
The Cleveland Masonic Temple, once home to the Scottish Rite, is now owned by TempleLive.
I stopped by the Cleveland Scottish Rite building on my
return trip from the League of Historic American Theatre’s national conference
in Philadelphia. The venue has recently changed hands over the past two years and
is under the operation of TempleLive, a group that is buying historic
properties and using them as event centers. (https://www.templelive.com/). TempleLive is the
subsidiary of the Beaty Capital Group, an investment firm with an interesting
past. TempleLive’s most recent purchase was the Scottish Rite in Wichita, a
significant loss for the Fraternity in terms of historical artifacts and material
culture.
The Scottish Rite in Wichita, Kansas, was recently purchased by TempleLive.
The Cleveland Scottish Rite has popped up on my radar
multiple times over the past years, in both personal research and blog posts.
It represents a single square in the quilt of American theatre history, as well
as the life and times of Thomas G. Moses (1856-1934). I first made contact with
Cleveland’s Scottish Rite secretary on my way to Cleveland. He was a very pleasant
fellow. Although happy to meet with me, he could no longer show me the stage
area, as the entire building was under the management of TempleLive.
The Scottish Rite Secretary shared the telephone number for
the local TempleLive representative, urging me to schedule an appointment that
day for a tour with her. She was very accommodating and graciously set a time
to meet. In addition to daily
administrative duties, the local TempleLive manager is also part of the
overhaul team, even painting walls and cabinets as part of the ongoing
renovation work. In addition to implementing new color schemes, she negotiates
the contracts with the Fraternity and is their key contact. Her immediate
supervisor specializes in managing entertainment venues, the two previously
working together on at separate venue in
Cleveland. She explained that the TempleLive protocol is hiring local
individuals and maintaining a congenial relationship with the previous owner,
now a dedicated renter.
Both the Scottish Rite representative and TempleLive host
could not have been more gracious or accommodating during my visit. They each spent an ample amount of time
explaining the transfer of the building from the Fraternity to a private
investor and the necessary renovations that needed to occur prior to using the
facility for public events, particularly Live Nation events. Live Nation
Entertainment advertises as a “Global Leader in Live Entertainment. Artist
Powered. Fan Driven” with over 200 venues, 35,000 annual concerts, 4,000
touring artists, and 93 million fans in 40 countries (https://www.livenationentertainment.com/). They boast, “On average
every 16 minutes there is a live Nation event starting somewhere in the world.”
Scottish Rite stage in Cleveland with some new lighting instruments for Live Nation.
It
is my understanding that Live Nation is solely involved with the stage
entertainment only and not the rest of the building. Live Nation recently installed
new trusses for the secondary lighting system on the main stage. The old
lighting system is still in place, but Masonic Bodies can use the new system for
a substantial fee. With the continued flickering and blackouts during my stage
visit, however, it is possible that the new system has problems. My TempleLive
host explained that the light issues had been a problem since the new system
was recently installed. Hmmm.
Lighting instruments for Live Nation shows.
Both of my hosts adamantly stressed the beneficial
relationship between the Fraternity and TempleLive’s management, especially the
generosity of the new owner allowing the previous owner to rent space in the
building. I could not help think that
the arrangement may be most beneficial to the new owner as there is no
preparation for a new tenant, or any period of vacancy waiting for rental
income. Yet the spin is more of generous landlord helping out struggling
tenant.
My hosts were friendly, inquisitive, and sharing, yet
something seemed off. In fact, as I
walked through the building, I continued to experience a sinking sense of
dread. It was the same feeling that I felt when the last painted setting left
the Scottish Rite building in Fort Scott, Kansas; the soul of the space was
gone. Interestingly, by the end of my two-hour visit, I still had no idea what
happened to the historic scenery collection, who had removed the drops from the
main theater or where they were currently stored. The backdrops went from
“rolled up” to “in storage,” to “there may be a few still hanging.” The cathedral scene may be hanging – smart
move for weddings on TempleLive’s part. There was a framed photograph of the
scene that the Scottish Rite Secretary shared during my visit and both hosts
stressed the beauty of the painting.
Framed picture of one Scottish Rite setting manufactured by Toomey & Volland scenic studio of St. Louis, Missouri, 1919.
To put this all in context, however, here is my current understanding
of what TempleLive does when investing in a Masonic property. First of all, they
target historic venues because of the construction quality and layout, an
aspect stressed by my Cleveland host noting, “buildings just aren’t made like
that anymore.” Paying a fraction of the building’s market value, the new owner ensures
that the various Masonic orders meeting in the space still have access as
renters. In the case of Cleveland, that the Masonic bodies have a base rental
fee and are up-charged for a variety of services, such as using the “new”
lights on stage. This is brilliant, because you not only get a good deal on
real estate, but you immediately have dedicated renters who have no incentive
to find another location. They are not going anywhere anytime soon as securing
another location and moving all of the ritual paraphernalia is a deterrent.
So let’s start from the beginning as explained by my host… the
building changes hands and TempleLive focuses on getting the stage/auditorium
ready to sell seats for touring and local performers. This makes sense as it
provides an additional revenue stream beyond the Masonic orders. TempleLive
invests in the theater areas first. In the case of Cleveland, the $725,000 is
paid for the building and 5 million was solely sunk into theater renovations,
making it immediately ready for performances and additional revenue. Again, the price was $750,000 for a historic
building with 102,000 sq. ft. in a prime downtown location. Keep in mind,
similar transactions have repeatedly occurred during the past decade, with
Scottish Rite buildings changing hands to private investors for next to
nothing, in some cases only $1. Yet almost all have the agreement that the
Masonic orders can still meet in the building, often for a fee. After the theater
is up and running, TempleLive focuses on renovating the remainder of the
building. That is where Cleveland is at right now, moving onto the remainder of
the building.
One of many ornate halls in the Cleveland Masonic TempleOne of many meeting spaces in the Cleveland Masonic TempleA lodge room still used by Masons at the Cleveland Masonic Temple, now owned by TempleLive.
Now there is a second theatre space in the Cleveland Masonic
building that has yet to be renovated. Some of the original scenery is still
hanging. We did not lower the historic
scenes, so I have no idea if they were manufactured by Sosman & Landis in
1909 or Toomey & Volland in 1919. I took as many pictures of the stage
machinery as possible. Sadly, I doubt that retaining any historic scenery directly
benefits TempleLive. If anything, it is likely to be an impediment to their
standard protocol in creating spaces for touring productions.
The second stage at the Cleveland Masonic TempleThe second stage at the Cleveland Masonic TempleThe second stage at the Cleveland Masonic TempleThe second stage at the Cleveland Masonic Temple
I stayed in Cleveland, Ohio, on my return to Minneapolis
after the League of Historic American Theatres national conference in
Philadelphia. In 1905 Thomas G. Moses wrote, “I had to go to Cleveland to put
in a lot of old mill scenery at Luna Park.
Ed Thompson went with me and J. H. Young went to do the properties and
papier mache work.” Moses had a long relationship with amusement park
attractions and exciting projects with entertainment visionary Frederick Thompson.
Luna Park in Cleveland, Ohio, opened in 1905 and lasted until 1929, when it was
destroyed by fire. Constructed by Frederick Ingersoll of Ingersoll Construction
Company, the park was located on a 35-acre site, bounded by Woodland Avenue,
Woodhill, Mt. Caramel, and East 110th Street. Four years later,
Moses was working in Cleveland again. This time it was for a Masonic theater.
In 1909, Sosman & Landis delivered a new set of scenery to the Cleveland Scottish Rite Theatre. That year, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” Scottish Rite installations delivered by Sosman & Landis during 1909 included Masonic theaters in Dallas, Texas, San Francisco, CA, Cleveland, OH, Kansas City, KS, Winona, MN, and Atlanta, GA. Several months ago, I wrote about the Cleveland Scottish Rite and its recent purchase by an investment group that was targeting Masonic theaters. Here is a brief recap on the history and why I made a point of stopping at the Scottish Rite in Cleveland.
Postcard of the Cleveland Scottish RiteThe Cleveland Scottish RiteCleveland Scottish RiteThe Cleveland Scottish Rite
The Scottish Valley of Cleveland consists of a ten-county area
in northern Ohio. The four Scottish Rite bodies include the Eliadah Lodge of
Perfection, Bahurim Council, Ariel Chapter and Lake Erie Consistory. Before
their move to their home at 3615 Euclid Avenue, the previous home to the
Cleveland Scottish Rite bodies, was built in 1883 and located at Superior
Avenue and East 6th St.
Like many Scottish Rite Valleys during the early twentieth
century, Cleveland’s membership dramatically increased, necessitating a new
facility. Construction for a new Masonic building commenced during 1918.
Interestingly, in 1919, Toomey & Volland scenic studio records indicate
that they created scenery for the Cleveland Scottish Rite Temple. Ten years
earlier, Sosman & Landis created the scenery for degree work in Cleveland. It
is unclear how much of the original scenery may have been enlarged and moved to
the new facility, if any.
Once the Scottish Rite Theatre in Cleveland, Ohio. Now owned by TempleLive.Newly repainted ceiling at the Cleveland Scottish RiteThe seats were recovered tooOriginal seats in at the Cleveland Scottish Rite theater
After 1915, it was not uncommon for Toomey & Volland to
underbid Sosman & Landis on Masonic projects, especially in the Northern
Masonic Jurisdiction. However, even a second scenery collection delivered by a
competitor would not preclude the retention of some original scenes for the new
stage. Some favorite settings were simply enlarged and installed in the venue
alongside the new scenery collection.
Keep in mind too, that many Northern Jurisdiction Scottish
Rite installations were delivered by a scenic studio located in the Southern
Jurisdiction (Toomey & Volland of St. Louis), and many Southern Jurisdiction
Scottish Rite installations were delivered by a scenic studio in the Northern
Jurisdiction (Sosman & Landis of Chicago). This may have been a calculated
move for the scenic studio owners who were Masons, as working outside of their
personal jurisdiction may have prevented any pressure on the studio owner to
donate time, money, services, or goods.
Hubbell & Benes, the same firm that designed the
Cleveland museum of art in 1916, designed the new Masonic Temple in Cleveland.
The new fraternal complex was home to many Masonic Orders, including Scottish
Rite, York Rite, Shrine, DeMolay, Job’s Daughters, Eastern Star, etc. The
massive building covered 102,000 square feet of space, with a 2200-seat
auditorium. Acclaimed for its acoustics at the time, the Masonic Temple was even
home to the Cleveland Orchestra for a decade, before their moving in 1931 to
Severance Hall.
Backstage at the Cleveland Scottish RiteIndividual lines at the Cleveland Scottish RiteBackstage at the Cleveland Scottish RiteBackstage at the Cleveland Scottish Rite
As with many other Masonic buildings of this scope, the
Valley cited declining membership after World War II and escalated expenses
from deferred maintenance when they put their building on the market in 2017.
The corporate secretary of the Cleveland Scottish Rite admitted that it cost
$400,000 a year to maintain the building, “an outlay that would soon exhaust
the operating endowment.” Keep in mind that the endowment is now used for rent
paid to the new owners). Cleveland’s Masonic building is listed on the National
Register of Historic places, so the property is eligible for preservation
funding including state and federal tax credits.
Nearly one hundred years after construction began on the
Masonic Auditorium in Cleveland, it was sold to a private developer. The
affiliate of Arkansas-based Beaty Capital Group, Inc. paid only $725,000 for
the entire complex on March 31, 2017. TempleLive, a subsidiary of Beaty Capital
Group is the same company that purchased the Scottish Rite in Forth Smith,
Arkansas, and most recently, the Scottish Rite in Wichita, Kansas. They also attempted
to purchase the Zembo Shrine building in Harrisburg, Pennsylvania during
January 2018.
In Cleveland, Fort Smith and Wichita, the Fraternity will
never be able to afford the expense of constructing anything comparable. In
many cases, the materials and craftsmanship necessary to build these types of
buildings are often no longer available. It is the future generations of Masons
who lose in the end, as they are the ones who will never experience the space,
or the physical sense of heritage. The buildings were planned and constructed
by men with vision. It also takes vision
to contemplate how these venues can be saved and marketed. The winners are
those who purchase these jewels for pennies on the dollar.
I was curious to see how a Masonic building was operating
under the direction of Templelive, hence my stop. More on my experience at the
Cleveland Scottish Rite tomorrow.
Update: TempleLive, a network of historic entertainment venues abruptly closed all location in September 2025. Owned by Beaty Capital Group, the venues often included Masonic structures such as Scottish Rite Temples.
The opera house in Howell, Michigan.The opera house in Howell, Michigan.
Late nineteenth century theatrical guides provide great
insight into historic theaters, especially the technical specifications, staff
and local network of support for touring groups. I often cite Julius Cahn’s
Official Theatrical Guide when writing about various historic theaters,”
however, there were other
theatrical guides too, including: Harry Miner’s American Dramatic Directory; The
Donaldson Guide; Jno. B. Jeffery’s Guide and Directory to the Opera Houses,
Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America;
and Henry’s Official Western Theatrical Guide. Each provides a unique snapshot
of theatrical activity and stage houses in North America. From small rural
towns to large metropolitan areas during the 1880s through 1920s, one
understands the scope of American theater construction, as well as the daily
operation. These guides are a wonderful resource for historians, historic
theatre enthusiasts and theatre technicians.
In 1884, the
Howell Opera House was listed in “Harry Miner’s American Dramatic Directory.” Published
by the Wolf & Palmer Dramatic Publishing Company, in New York, the
publication was advertised as “a complete Directory of the Dramatic and
Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls
of America together with much other Information of Value to the Amusement
Profession.”
The Howell Opera
House entry listed a seating capacity of 825, with a stage measuring 26×44.
Both Donaldson and Jeffrey confirm this size stage in their respective
publications. It was only Harry’s Miner’s Directory that provided additional
measurements and other technical specifications. The Howell’s proscenium
opening was 19 feet high by 20 feet wide. This opening suggests that many of
the roll drops were approximately that size, give or take a foot, depending on
the painted side tormentors and other wings. The height from the stage to the
top grooves measured 13 feet with 22 feet from the stage to the rigging loft. The
groove height was to accommodate the painted side wings to mask the sides of
the stage. The depth under the stage was 5 ½ feet with one trap in the stage
floor. Traps allowed action to either emerge from, or disappear into, the stage
floor, such as an apparition.
Harry Miner’s
Directory also listed eight sets of scenery that were created by Sosman &
Landis, with R. T. Holmes was listed as the stage carpenter. This was a
standard delivery that would contain eight backdrops. The subject mater would
range from landscapes, seascapes, woods and garden scenes to city scenes, fancy
interiors, plain interiors and prisons.
Each scene would utilize at least one pair of wings to conceal backstage
activities. These wings were likely 4 to 6 feet wide by 13 feet high. It
remains unclear how many sets of grooves were installed during the original
installation of stage machinery and scenery. Additionally the original scenery
installation would have included painted flats and profile pieces, such as
garden balustrades, statuary, or rocks.
Some of the
of the most exciting backstage elements that I noticed at the Howell were the extant
border lights. A wooden base held the sockets; this same type of system was originally
installed at the Scottish rite Theater in Guthrie, Oklahoma, only to be removed
and replaced with a metal version less than a decade later. This was the first
example that I have encountered since reading a description written by M. C.
Lilley western sales manager, Bestor G. Brown.
Wooden border lights at the Howell Opera House.
Another
exciting artifact was an original windlass, still positioned in the stage left
wings, waiting to raise and lower the front curtain. There were so many other historically
significant artifacts littering the old stage, that it blurred my focus; too
much information to take in at once. I could have stayed for hours, but my
guide had an impending dinner appointment.
From an
administrative perspective, Harry Miner listed the Howell’s rental rates as $25
for one night and $50 for three nights. This number varies a bit from Jeffrey’s
1882 guide that reported rental rates were one night, $30; two nights, $50;
three nights, $70, and one week, $125. Both publications noted that the
preferred “to play on shares with good attractions.” The equivalent purchasing
power of $100 in 1882 is around $2500 today. Between 1882 and 1884, the
management of the venue went from Hunter & Holmes to just T. B. Hunter.
In addition to the above
information, Miner’s noted the advertising protocol and local marketing
expenses for touring production advertising.
The local newspaper was the “Republican,” with advertising rates being
$3 per column. Touring companies received a special rate at the hotels of
$1.25.
Initially the Howell was illuminated
by gas, with the gas jet holes for footlights, still being visible on the edge
of the stage’s apron. As with many
theaters during the turn of the twentieth century, gas jets were replaced with
electrical fixtures. At the Howell, original gas fixtures were simply converted
to electric. What is exciting about this
aspect is that almost all of the original fixtures still exit, preserving the
historical aesthetic throughout much if the building. The auditorium’s
chandelier is a treasure to behold, instantaneously transporting any visitor to
the 1880s.
Gas chandelier at the Howell Opera House that was later converted to electricity.Later electric footlights installed at the Howell Opera House to replace original gas lights with reflectors.Original holes for gas jest and reflectors for footlights at the Howell Opera House.
During my tour of the Howell, my
guide discussed many of the original artifacts that still exist. For example,
poster bills and the signatures of famous personalities still grace the walls backstage.
The amount of information contained in a relatively small area upstage of the
proscenium wall, would cause any theatre historian’s heart to rapidly flutter.
Each pasted piece of paper represents a production, providing a sneak peak into
the performers and technical crews of the past.
Most recently, piles of peanut shells were found under the balcony’s
floorboards, left from patrons munching during a show over a century ago.
A small sampling of poster bills pasted to backstage walls at the Howell Opera HouseBackstage at the Howell Opera House
Although some physical alterations
have occurred over the decades, most instigated by well-meaning architects and
structural engineers, much remains preserved. For example, even though the
original grand staircase that led from the street to the second floor theater
was removed, the original front doors were carefully sets aside. One of two original box offices, located at
the top of the grand staircase, also remains as a window into the past. Although some of the dressing rooms were
walled off when I new backstage staircase was constructed, they were not
gutted, just entombed for another generation.
This theater is silently waiting for
the renovation to continue.
Late nineteenth
century theatrical guides provide great insight into historic theaters,
especially the technical specifications, the staff and network of support for
touring shows. I often cite Julius Cahn’s Official Theatrical Guide when
writing about various historic theaters.
Julius Cahn was the manager of the Charles Froman’s Booking
Department at the Empire Theatre. In the
theatrical guide’s foreword Cahn states his reason for the publication, citing the
need for a “complete and official Theatrical Guide that would give the managers
of theaters throughout the country, the managers of traveling attractions and
others closely interested in their affairs, a complete and exhaustive volume
pertaining to the various braches of business, arranged in a concise and clear
manner, so as to make it both valuable and available as a book reference”
(Julius Cahn’s Official Theatrical Guide, 1895-1896, page VII).
Great idea, but there is the element of human error. Theaters
owners, manager and staff submitted the information in regard to their space,
mailing it to Cahn’s office. As far as I
can determine, there was no independent study to verify that the submitted
information was correct. I have noticed that the names of many scenic artists
are misspelled.
In the case of the Howell opera house, the scenic artist
credited with the stock scenery in Cahn’s Theatrical Guide is “S. E. Landis
(Chicago).” This was Sosman and Landis. My guess is that the individual
submitting the information read the ampersand as the letter “E” – so he read “Sosman
E. Landis.” Thinking that this was an individual and not a company, he further
shortened the name to S. E. Landis. I have encountered Sosman & Landis spelled
in various ways throughout Cahn’s Guide, including Sausman & Landis,
Sussman & Landis, Sosman & Lundis, and Sussman & Lundus to name a
few.
In regard to their work for the Howell Opera House, however,
corroborating information from many other sources confirms that the company
painted the original scenery for the Howell stage. An 1882 article published in the “Macomb
Journal” lists all of the theaters “fitted up” by Sosman & Landis from June
1881 to July 1882. The New Opera House
in Howell, Michigan, is one of the 73 theaters listed in the article.
Regardless, it is possible that local individuals or other
professional scenic artists added to the original scenery collection over the
years. In regard to the Howell, the roll drops that have not been unfurled in
decades. Although they look in fair shape from the stage floor, there is no way
to anticipate the condition of the painted surface or verify a specific scenic
artist.
When I visited the Howell opera house on July 11, 2019, I had
the opportunity to examine an enlarged photograph of the original drop
curtain. It depicted a lovely Venetian
composition, one popular for drop curtains at the time, especially those
credited to Sosman & Landis.
Purportedly, the original drop curtain is still in place, and the
painted details visible from the stage floor support that idea.
Photograph of the original Howell drop curtainHistoric scenery still hanging above the stage at the Howell Opera HousePainted detail of scenery at the Howell Opera House,
During the 1880s, Sosman and Landis sent out teams of scenic
artists to paint scenery. Joseph S. Sosman and Thomas G. Moses traveled as a team,
following Abraham “Perry” Landis as he secured contracts across the country. At
the time, there were five scenic artists on staff; it is unclear if this number
included studio founder Sosman.
The 1882 “Macomb Journal” article reports, “A visit to the
studio of Messrs. Sosman & Landis, in this city, reveals the fact that
these gentlemen at this time give employment to five of the best scenic artists
in the United States, and that their facilities for turning out first-class
work with promptitude and at reasonable figures is unequaled by any
establishment in America. At this very moment these gentlemen are actively
employed in fitting-up the interior of one or two of the best theatres in the
West, and their large corps of artists and stage carpenters are constantly kept
busily at work.” Any one of the five scenic artists working for the firm at
this time could be responsible for the drop curtain in Howell. Until the Howell drops are unrolled, it is
impossible to identify any potential artist.
Although Moses painted in the studio, he was on the road – a
lot – traveling from city to city to paint stock scenery and drop curtains on
site. In addition to painting scenery at their Chicago shop and shipping it by
rail to distant venues, scenery was still painted on site. When looking at the
listed of theaters supplied with scenery from 1881 to 1882, the main Sosman
& Landis studio could not accommodate the sheer amount of work contracted
by their salesmen. Therefor, pairs of artists were also sent on site to paint scenery.
Paint frames were constructed for each stage, providing a temporary studio for
scenic artists to work. This not unusual,
a common practice for nineteenth century itinerant artists, especially as the
scenic studio system was relatively new to the country. Keep in mind, that at the time only a handful
of scenic studios had been established, with the majority of work being completing
by individual scenic artists or pairs or artists in temporary partnerships.
At Sosman & Landis, Moses records that he went on the
road to paint scenery with not only with Sosman but also Will Davis and Lem
Graham.
I left Minneapolis on June 11, to head east for the League of Historic American Theatres national conference in Philadelphia. Breaking down the drive into two days, I decided to visit family in Michigan. On the way, I planned a stop at the Howell Opera House. Rick Boychuk had visited the small opera house last year and shared images of the space.
I was familiar with the name, as Sosman & Landis
delivered the original stock scenery collection. Over a year ago, I discovered
an 1882 article published in the “Macomb Journal” that listed all the
performance venues “fitted up” by Sosman & Landis from June 1881 to July
1882 (see past installments #384 and 385). Here is the article in its entirety:
“SOSMAN & LANDIS – A Leading Firm in Their Line in
Chicago – The Senior a Macomb-Raised and Educated Boy” (The Macomb Journal, 13
July 1882). “Nearly all the county
readers of the Journal know “Joe” Sosman, and that he is in Chicago in the
scenery-painting business, but few, if any, are aware of the prominence of the
firm of which he is the senior partner. “The News Letter,” a paper devoted to
the theatrical interest, in an article not long since, gave some account of the
prominence and business of the firm, which article we append below. We know it
will be perused with interest by hundreds of the “Journal” readers, who have a
lively solicitude not only for Mr. Sosman, but for every McDonough county boy
who goes out in this great world to carve his fortune, his head and hand being
his only capital. Here is the article:
“One of the surest indications that
Chicago is fast becoming one of the most important dramatic centers in America
is the evidence before us, that in all matters pertaining to the theatrical
profession Chicago has become, so to speak, a manufacturing center. Theatrical
printing, etc., have long been staple industries, but of late years, matters
which hitherto might have been considered as peculiarly belonging to the great
metropolis of the East, have taken prosperous root in Chicago. Among the industries
we refer to is that of fitting up opera houses and out of town theatres.
Some five years ago, Messrs. Sosman
& Landis, a firm composed of a couple of enterprising young fellows
established in this city what they termed a scenic studio. The beginning gave them
a good deal of hard work, but in the period we have mentioned above, their
business has grown from comparatively nothing to being one of the most
important of its description in the United States. This all speaks volumes for
Chicago as a theatrical center, and say what we may, there is no disavowing the
fact that next to New York city, Chicago is without a question the most
important locality in America in all matters pertaining to general amusement
affairs.
Perhaps no better recommendation
could be given to the firm we have referred to above than the information which
is contained in their circulars to managers, and which tells the actual number
of houses they have fitted-up since the first of June, 1881. We give the list
as a matter of curiosity as much as anything else:
New Opera
House, Rockford, Illinois
Academy of
Music, Minneapolis, Minnesota
Grand Opera
House, Richmond, Indiana
Hill’s Opera
House, Ann Arbor, Michigan
Humblin’s
Opera House, Battle Creek, Michigan
Union Opera
House, Kalamazoo, Michigan
Russell’s
Opera House, Bonham, Texas
Brownsville
Opera House, Brownsville, Texas
My Theatre,
Fort Worth, Texas
Leach’s
Opera House, Somerville, Tennessee
Kahn’s Opera
House Boliver, Tennessee
King’s Opera
House, Jackson, Tennessee
Stummer’s
Hall, Washington, Georgia
Vicksburg
Opera House, Vicksburg, Mississippi
McWhinney’s
Opera House, Greenville, Ohio
Yengling
Opera House, Minerva, Ohio
City Hall,
Athens, Ohio
Freeman’s
Opera Hall, Geneseo, Illinois
Odd Fellows
Hall, Peshtigo, Wisconsin
Hyde’s Opera
House, Lancaster, Wisconsin
Klaus’ Opera
House, Green Bay, Wisconsin
Storie’s
Opera House, Menominee, Wisconsin
Holt’s Opera
House, Anamosa, Iowa
King’s Opera
House, Hazleton, Iowa
Opera House
Nanticoke, Pennsylvania
Opera House
Athens, Georgia
Opera House Gainesville,
Texas
Opera House
Reidsville, North Carolina
Edsell Opera
House, Otsego, Michigan
New Opera House, Howell, Michigan
Stouch Opera
House, Garnett, Kansas
Germania
Hall, Blair, Nebraska
Bennett’s
Opera House, Urbana, Ohio
Klaus’ Opera
House, Jamestown, Dakota
Opera House,
Westville, Indiana
City Hall,
Mineral Point, Wisconsin
City Hall,
Lewisburg, West Virginia
Opera House,
Denison, Iowa
Opera House,
Nevada, Ohio
Opera House,
Hoopeston, Illinois
Opera House
Cambridge, Illinois
Turner Hall,
LaSalle, Illinois
Kolter’s
Opera House, Wausau, Wisconsin
Opera House
Moberlv, Missouri
Krotz’s
Grand Opera House Defiance, Ohio
Opera House,
Montague, Michigan
Opera House
Eutaw, Alabama
Opera House,
Greyville, Illinois
Opera House,
Carthage, Illinois
Masonic Hall,
Macomb, Illinois
New Hall,
Good Hope Illinois
Music Hall,
Eau Claire, Wisconsin
Temperance
Hall, Seneca, Illinois
Opera House,
Jefferson, Iowa
Opera House,
Waupaca, Wisconsin
Soldiers’
Memorial Hall, Milwaukee, Wisconsin
Opera House,
Mexia, Texas
Opera House,
Wilson, North Carolina
Opera House,
Newbern, North Carolina
Opera House,
Goldsboro, North Carolina
Grand Opera
House, Cheyenne, Wyoming
Cosmopolitan
Theatre, Miles City, Montana Territory
Arbeiter
Hall, Ludington, Michigan
Opera House,
West Bay City, Michigan
Opera House,
Detroit, Minnesota
Opera House,
Lockport, Illinois
Opera House,
Fort Atkinson, Wisconsin
Opera House,
Grass Lake, Michigan
Opera House
Demopolis, Alabama
Opera House,
Unionville, Missouri
Opera House,
Harrodsville, Kentucky
Opera House,
Hancock, Michigan
City Hall,
New London, Ohio
Opera House,
Stevens’ Point, Wisconsin
A visit to the studio of Messrs.
Sosman & Landis, in this city, reveals the fact that these gentlemen at
this time give employment to five of the best scenic artists in the United States,
and that their facilities for turning out first-class work with promptitude and
at reasonable figures is unequaled by any establishment in America. At this
very moment these gentlemen are actively employed in fitting-up the interior of
one or two of the best theatres in the West, and their large corps of artists
and stage carpenters are constantly kept busily at work.
We take some little pride in the
success of these gentlemen. It has always been, and still is, our ambition to
see Chicago ahead in all matters pertaining to western dramatic affairs, and
the unusual success which has attended the venture of Messrs. Sosman &
Landis is a feather in the cap of our wishes.
It is true that much of the success
attended these gentlemen has been due to the fact that they have proved
entirely reliable in all their transactions, and that their work has always
been of the very best. They take contracts to fit up the entire stage of any
new house in course of erection, and we venture to say from undoubted
information that no contract that they have ever undertaken has proved aught
but most highly satisfactory. With their success the success of Chicago as a
dramatic center is blended, and we are more than glad to see that to-day, in
nearly every opera house in the West which is under erection, the contract for
fitting up the stage has been let to Sosman & Landis.”
Between 1880 to 1889, Sosman
& Landis outfitted 1000 thousand theatres. By 1894, the company’s brochures
advertised that 4000 places of amusement were using scenery made by their firm.
In 1880, Thomas G. Moses wrote that he and Sosman
traveled a great deal in the beginning and Landis was always away, traveling to
secure orders. Sosman and his crew followed Landis, painting whatever was
contracted. It would take six months before Moses even meet Landis after being
hired as he was constantly traveling across the country to drum up work.
Interestingly, Thomas G. Moses
left the Sosman & Landis studio for the first time during May 1882, just a
few months before this article was published.
He left his position at Sosman & Landis to partner with Lemuel L.
Graham. Graham would later found Kansas City Scenic.
Tomorrow, I
will share some images of the many treasures that still remain in this
delightful building.
I left Louisville at 6:30 AM on Sunday, March 24. After dropping Richard Bryant off at the airport, I headed to Chicago where I was going to meet Gene Meier, a panorama historian. There have been several individuals who I have encountered while searching for online information. Gene has done extensive research on American Panorama companies. On a whim, I decided to see if he wanted to meet on my return trip. We have been talking quite a bit recently after I uncovered a panorama company established by Sosman & Landis. This was in addition to their main scenic studio.
After winding my way to Sycamore, Illinois, I located Gene’s house. It was only twenty minutes away from where I was staying that evening. In many ways, meeting Gene in person was like reuniting with a long lost friend. We have been in contact about various panoramas and scenic artists for the better part of a year. Gene’s great aunt was an artist with quite an interesting background who was connected with the panorama artists. It was wonderful to see her work up close. She left diaries, sketches, paintings and other memorabilia. The care with which Gene has pieced together little bits and pieces about her past is impressive.
Gene Meier in his library
Gene’s Tante Tilda, Mathilde Georgine Schley, is most famously pictured in costume with a group in front of a panorama.
Mathilde Georgine Schley pictured in front of panorama. From the Wisconsin Historical Society collection.
The Milwaukee Journal also published an article about her in 1925 (29 Oct. 1925, page 10). She was a Wisconsin painter, and the granddaughter of one of the Kindermann pioneers. The Kindermann emigrants came from Pomerania, Stettin, the districts on the Baltic, Brandenburg and the lands along the Oder. Under the leadership of Rev. G. A. Kindermann, the “Altlutheraners” sought religious freedom. They were the forerunners to the later German emigration that would follow, reaching Wisconsin during 1843. The Milwaukee Journal article notes that “They formed a common treasury into which rich members of the group poured their wealth and out of which passage and even land for the less prosperous ones was paid. The Kindermann emigrants came to Milwaukee. Some of their number became the first settlers in the Chestnut St. district…Those from Stettin and the Oder, between 70 and 100 families settled at Lebanon and Ixonia.” Mathilde’s grandfather settled in Lebanon, Wisconsin.
Mathilde Georgine Schley,
Gene with two paintings by M. G. Schley,
A painting by M. G. Schley,
By the age of 19, Mathilde taught art in Dodge county. She studied art with Loranz and von Ernst in Milwaukee before moving to Kansas where she once again worked as an art instructor.
This was such a wonderful conclusion to my USITT trip, and certainly gave me incentive to return soon.
