The Billboard 1906-05-12: Vol 18 Iss 19 (1906-05-12)

MAY 12, 1906. The Billboard 7 RISE AND DEVELOPMENT OF THE SCENIC THEATRE History of Popular Amusement Device Prototypes Established at The Great International Expositions Undergo A Process:iof Evolution That Finally Reaches the State of Perfection Observed_in Modern Exhibitions. (Written for The Billboard by C. D. Baker.) HE first electric scenic theatres were brought .out in this country at the World's Columbian Exposition, held in Chicago in 1893, aud were known as A Day in the Alps—there were two. One was placed on the Midway Plaisance, being built in Germany, and was a beautiful conception and deserved a better fate than oblivion, but it was never used after the fair. The other was placed in the Electrical building and was considerably larger than the one on the Midway and much finer, both from an electrical and artistic point of view, and was strictly American. It was built for an exhibit to illustrate what could be done with electricity as an illuminating agent combined with the best of art and practice of stage scenery and painting, and was the combined efforts of two great firms—the electrical portion being furnished by the Western Electrical Company of Chicago, and the sctnery from the great studio of Sosman & Landis, Chieago. The history of this first production is soon told After the close of the Columbian Expo sition it was taken to the California Mid-Winter Fair, at San Francisco, in the winter of 1893-4, when it was again a success, as in Chicago. Since then all trace of this one is lost. A REVIVAL During the winter of 1903-4 another scenic theatre, using A Day in the Alps as a subject, was built by Sosman & Landis, and painted by the same artist, Thos. G. Moses, who made the original sketch and model, which is in existence to-day and in his possession. This was taken to Philadelphia in connection with the first great World's Fair Midway shows, then to Madison Square Garden, New York, and Boston, where it was again a success at efch place. This closed its season until the fall, when it was the feature at the great St. Louis Indoor Exposition in Entertainment Hall. In the spring of ISM, the Masonic Temple hoof Garden, in Chicago, was opened. The features here were two scenic theatres, a new edition of A Day in the Alps, smaller than the one used at St. Louis but finer in every particular, and a reproduction of the celebrated Court of Honor at the Columbian Exposition. The Court of Honor, after a successful season at the Temple, was taken to Atlantic City for two seasons, then to Asbury Park, and finally to Denver, Col., where it is lost, but the records of its success are pleasant history. Then follows A Day in the Alps at the Cotton States Exposition, Atlanta, Ga., in 1895, when the management of the Exposition took the en tertainment from the Midway and placed it in an addition they built to the Electrical Building for its accommodation and at their own expense, in order to have it where it belonged. Fhen to the Texas State Fair, the Tennessee Centennial at Nashville, in 1S97, the Milwaukee Exposition, in 1898, and the Pittsburg Exposition, in 1900-1. JOHNSTOWN FLOOD PRODUCED Nothing new was brought out until the PanAmerican Exposition at Buffalo, when the Johnstown Flood, by Austin, proved the greatest attraction of this fair, in spite of the fact that everybody predicted its failure. Its subsequent career at Coney Island is well known. Then comes Mt. Pelee, the great show Charleston saw volcano nothing new, but the Louisiana Purchase Exposition at St. Louis, in 1904, saw the birth of two new scenic theatres, in the Galveston Flood and New York to the North Pole, both by Austin, and very good, especially The tendency the New York has heen to to the North Pole. build them larger, and from small one on the Midway in Chicago, in 1893, with its proscenium opening of eight feet wide by six feet high, to the ones at St. Louis, in 1904, with their width of eighty feet by twentyfive feet high, shows the stride that has been made. Several other small enterprises have heen brought out only to last for a day, as it were, and then disappear when subjected to the test of public opinion The successful seenic theatre has been from the beginning the highest type of scenic art, and real things enter very largely into its com position SCENIC THEATRE ART Yow, take the first one as an example, A Day in the Alps. The subject is taken from the most beautiful part of Switzerland, with its lofty mountains, quaint village and running stream, and forms a becutiful picture of itself; the village is actually built of miniature houses, requiring great skill in their perfect reduction, are true to life, and must be well built, for they have to show the true perspective from all sides; for no two views of a scenic theatre are alike any more than they are in nature. Sometimes the entire production is modeled, then again only a portion. Then comes the mountain stream of real water, the beautiful waterfall, the working mill-wheel, also operated by real water. Here again the hand of the skilled mechanic must mold the elements to do his bidding and produce harmony. And finally the artist must blend the whole into an apparent reality. The passage of the peasants across the bridge, the circus parade, the moving train and all other elements introduced to illustrate life, are all subjects of much study and skill to produce, yet simple after success has crowned your efforts, to secure the proper effects. To simplify the description, a scenic theatre consists of a proscenium opening of suitable size built and modeled. foreground, occupying from one-half to two-thirds of the depth of the setting. a middle distance of the hills and valleys partially modeled and distant mountains with a eyelorama sky or horizon completely surrounding the setting. The action of the play consists in producing natural meterological phenomena, by artificial means, and electricity is used. The operator produces by his knowledge of light all the delicate tones of color that the artist tries to grasp and hold on his canvas, and to do this, there is an electrical equipment equal to, and sometimes greater, than a large theatre, and it must be of the best of its kind to produce good effects. There are stage dimmers, graduated so fine that they will not show any sudden changes or winks of the lights as they are changed; the finest of colored lights, and all kinds of incandescent lamps from: the small half candle power up to the big ones of two or three hundred candle power, and plenty of them; several good stereopticons for various effects and arc lamps, too, must enter the outfit. And all this must be at the hand of the operator without leaving his position as he builds the action of the play. Then his assistants must attend to the other effects. such as the wind, the rain, the thunder and other storm effects, the signal for the approaching train. the chiming bells, the various mechanical de vices of moving figures and passing train, and you may rest assured that everyone is kept busy during the entire performance behind the curtain In order to give some idea of the entertain ment itself, I will quote the synopsis of the original electric theatre, A Day in the Alps: THe ORIGINAL SCENIC THEATRE It is not a moving picture or stereopticon entertainment, but a model village, built se A DAY IN THE ALPS true to nature as to carry the imagination to the wild and beautiful mountain scenery of that romantic land—Switzerlah@—and represents a village nestled at the foot of snow-clad mountains, and by the wonderful effects of electricity produces a complete cycle of a day. At the commencement the room is darkened, and then comes the break of day, followed by a beauti ful sunrise, with roseate clouds. Gradually and very naturally the scene grows brighter until full day, when the village is astir, and its life is manifested by the inhabitants traveling to and fro across the bridge, under which runs a mountain stream of real water. Distant music causes all to stop while a circus crosses the bridge, with its band wagons, cages, animals and the clown bringing up the rear. Dark clouds begin to gather, and the people are seen hurrying for some shelter as the storm approaches. The wind blows, vivid lightnings, sheet and fork, flash across the sky, lighting up the scene, followed by peals of thunder. As the storm passes away, a rainbow spans the sky and the old mill wheel seems to run faster, thee 8eua ves ---saGetets | od as the daylight fades away, giving place to a gorgeous sunset. The scene presents ali the phases of delicate shading and shadows so characteristic of mountainous countries, including the celebrated Alpine glow when the sun seems to kiss the top of the mountain before bidding good night to the world. The stars come out, the village houses light up and, one by one, the chimes in the old ehurch tower ring out, and a full moon rising behind the mountain sheds its light over the scene, completing a most realistic and novel entertainment, absorbing and interesting. Probably the most beautiful idea ever brought out was the Enchanted Garden, which, in addition to all the scenic effects of the previous efforts, had a most elaborate set of fountains of real water working with colored effects. This coming season will see the electric scenie theatres more numerous than ever before, as nearly all the prominent parks througheut the country will kave some idea as a prominent attraction. ENCHANTED GARDEN RADICAL MODIFICATION IN THEATRICAL CONSTRUCTION (Continued from page 6.) xridiron, under galleries, under the stage, in all dressing rooms, in all workshops, property and all other rooms and passageways. “There shall be an independent water supply to the sprinklers which may consist of a gravity tank of not less than ten thousand gallons capacity, and elevated not less than twenty-five feet above the highest sprinkler, and in addition at least one of the following sources: (a) Antoematic fire-pumps of at least five hundred gallons capacity; (b) approved steel pressure tank of not less than seven thousand five hundred gallons capacity, located not lower than the highest line of sprinklers; (c) direct supply from the city water mains where the pressure is sufficient to maintain not less than twentyfive pounds at highest line of sprinklers when same are in operation. In addition to one or more of the above-mentioned supplies, there shall be a Siamese steamer connection placed on the outside of the building at each street front, with suitable iron plate with raised let| ters securely attacded to the wall near steamer , connection. reading: ‘Automatic sprinklers on stage.’ The location and spacing of sprinkler heads and the schedule of pipe sizes conform to the standard recommended by the National Board of Fire Underwriters. “Gas mains and electric light wires supplying the building shall have three independent connections, as follows: for the auditorium, excepting the exit lights therein, and a third for the halls, corridors, lobbies, exit lights, including the exit lights in the auditerium, and such other portions of the building used by the audience outside of the auditerium proner. All gas and electric lights in the halls. corridors, lobbies and other portions of the building used by the audience, with the exception of the auditorium proper, buf ineluding the exit lights therein, shall be conrtrolled by two separate switches or valves, one to be located in the lobby and the other to be s® leeated as to be operated from the outside of the building Provision shall be made for shutting off all gas at a point outside of the building Interior gaslights must be lighted by electricity or other suitable appliances, to be appreved by the underwriters having jurisdiction."* One for the stage, one HOW THE RAYS HELPED Johnny Ray. of the Rays, in Down the Pike, played baseball during the engagement in Milwaukee, Wis.. last week and swelled the fund that went to relieve the sufferers in ‘Frisco. The opposing team was the Kalts. The Down the Pike team wore some of the costumes used in the play and quite a large crowd witnessed the game. Johnny doesn’t say who won the vietory, so it is understood that the honors fell to the actors. The receipts were close to a hundred dollars. MARIE TEMPEST GIVES BENEFIT The popularity of Marie Tempest in London was demonstrated at the Duke of York's Theatre. April 28. when a benefit performance was given in aid of the ‘Frisco sufferers and $1,300 was raised The well-known player was greeted with an ovation in the leading role of All of a Sudden Peggy. and quite a number of social and political leaders were in the audience. MINNEAPOLIS MANAGERS GIVE BENEFIT The Associated Managers Minn., gave a benefit for the ‘Friseo sufferers Friday afternoon, April 27, at the Metrepolitan Opera House. The program consisted of musie by the combined orchestras of the different theatres, an address by Mayor David P. Jones, invocation by Rev. G. L. Merrill, chaplain of the Theatrical Church Alliance of America; & scene from Rufus Rastus with Ernest Hogan and company: Act IV. of The Clansman, the Ralph Stuart company in the third act of Men and Women, views from San Francisco by C. E. Van Duzee, and acts by Falardo. the instrumental man; Miss Louise Dacre, of the Fay Foster Co.; World's Comedy Four, and Elizabeth Murray. The Benefit Committee desires to extend sincere thanks to the following societies, firms and individuals for their hearty co-operation, and the contribution of material and _ services; The Tribune, The Journal and The News, for advertising; The Murphy-Travis Co. and The Kimball-Storer Co., for printing; The Northern Display Advertising Co. and The Billpesters and Advertising Agents’ Union for billposting and window displays; The Minneapolis Musicians Union for orchestra furnished: The ‘Theatrical Mechanics Association for services of stage hands; Mattison & Foye Transfer Co., John Ryan, Nic. Ronner, A. P. Baker, A. W. Campbell, F. M. Cartwright and George Miller, for carriages and scene trucks; Thurston-Hoffman Co. for banners: The Minneapolis General Electrie Co. for lights: and Manager L. N. Scott for use of Metropolitan Opera House of Minneapolis, Benefit Committee: Theo. L. Hays, chairman; Robert Scott. secretary; L. N. Seott, Lac Stafford and Sam _ Rork, Metropolitan; Arthur Lambie, W. S. Gitt and George H. Harris, Bijou; Geo. E. Raymond and Earle May, Orpheum; Walter Yager. Ike Speers and Ralph Stuart, Lyceum: William Singer and Joe Oppenheimer, Dewey; Geo. €. Porter and Jack Elliett, Unique: and E.. W. Murphy, W. T. Frazer and Smith B. Hall. DECORUMS SAVED ANIMALS Mr. and Mrs. J. T. DeCorum Deg & Monkey Cireus, escaped from cisco with all their animals but props. and wardrobe. They are now way east and are glad that their loss greater. of the DeCorum San Franlest their on their was no RACINE THEATRE CHANGES HANDS Messrs. Wingfield, Rowland & Clifford have purchased the Belle City Opera House at Racine, Wis., at a cost of $35,000, and will take possession of the same June 10. The building is to be entirely reconstructed and enlarged so as to accommodate the largest and best attrac tions on the road. It will open under the new management about the middle of August. ROSE SHAY CLOSES SEASON The Rose Cecilia Shay Opera Co. which has been touring the Unit States for the past thirty weeks, presenting the comic opera, Paul Jones, closed its season last Saturday in Washington, D. C The season was a good one, the company returning to New York on Sunday af ternoon last. Miss Shay will be seen next season in an elaborate production of a new teomic opera by one of our most successful composers, under the management of Mr. John H. Garrison.