The Fostoria Company That Made History Come Alive.

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It hardly seems likely, but there was once a modest little red brick building on Center Street  in Fostoria Ohio that put more people under the lights of the stage and theater than probably any other drama producers this side of Broadway. From coast-to-coast, for most of the 1900’s, thousands of communities, large and small, would become seduced by the bright lights and the scriptwriters from this Fostoria company who helped those regular folks put on the grease paint and costumes so they could “put on a play”. Not just any typical community theater production, but grand outdoor pageants designed to highlight the histories of those communities that were celebrating centennials, or other significant milestones of their heritage.

The company was the John B. Rogers Company, started in 1903, by Mr. John Rogers, an attorney from Fostoria who used the various talents of local actors and musicians to stage his own local dramas and musicals. Enjoying early success, Rogers soon expanded the concept and began employing the talents and eagerness of other amateurs in other communities to celebrate the anniversaries and centennials.  Many of the early productions were performed on indoor stages as operas, or minstrel shows. As the years progressed the company began selling community leaders on the idea of staging elaborate Centennial anniversaries, or commemorations of notable events of history from their area.  

The shows would often utilize a cast of hundreds of people, a truckload of period costumes, various animals, a large rolling stock of wagon and cars, plus a wealth of music scores, and about a dozen choreographed dance routines. In later years, the Rogers’ directors included early forms of multi media complete with slide shows, sound effects and pyrotechnics. Most of these elaborate shows were performed on a hand-crafted grand stage, made of platforms, scaffolding and curtains about 200 feet in length. It was built strategically on a football field where thousands of people attended the spectaculars from the stands.

These pageants were usually the culmination of a year-long celebration of the centennial or the sesqui-centennial at a 150 years. After World War Two, company officials estimated the Rogers’ Company produced over 5,000 of these shows before they finally closed down operations in 1977 in Fostoria, however another company bought the Rogers inventory and moved it to the Pittsburgh area where it continued until the 1980’s. 
The Rogers company, on average, would produce about 70 shows a summer. Most of operations focused on small town America where local communities would pay a fee for the Rogers company to design a celebration plan for them, that included not just an outdoor historical pageant, but would also give them an organization “plan of action” with which the townspeople could use to stage the entire year-long celebration. Those festivities always included beard contests, vintage clothing sales, commemorative dinner plates, historical programs and photos, wooden nickels, and other souvenirs of the community’s celebration. In the final six weeks of the event, the company would assign a director-business manager to the town to direct the pageant and generally oversee the celebration to ensure that company procedures and fiscal policies were being followed.

 

This writer became very familiar with the Rogers Company when I went to work for them in the summer of 1969, as a wet-behind-the-ears 20-year-old freshly minted “director”. Yes, I was unusually young for this type of heady assignment, but not one to shrink from adventure. One spring morning, I flew to points south to begin my director’s training in the small southern community of Clayton North Carolina, a few miles south of Raleigh.

(My first association with Rogers came the summer before when I took part in their production of Genoa Ohio’s centennial pageant in 1968. I was a theater major at the time, and the chance to work for Rogers the next summer was an experience of a lifetime)

Because this story was intended to be about the Rogers’ Company, and not about me, I’ll try to refrain from too much self-indulgence, but I will attempt to provide a unique perspective of the company and the effect in had on the communities they worked with.

The Clayton show was special and somewhat atypical because it was being directed by the Vice President of the company, George S. Elias. A man as unforgettable as he was skilled at his craft. With hundreds of Rogers shows on his long lists of credits, George also brought to his mini-school of new directors, an unflinching passion for the world of show business and showmanship. His stocky build,his soft blue eyes, and a face framed by a shock of graying blond hair, combined with a friendly smile and quick wit, had little trouble getting the attention of those around him. Be they young directors, novice actors or the most influential community’s leaders. I was fortunate to have had George Elias as a mentor in those early years.

 

George’s proudest accomplishment as a Rogers’ director was no doubt his annual reenactment of Custer’s Last Stand at the Crow Indian Reservation in Montana. It was a brilliant idea designed to raise money every year for the reservation and to tell the story of this great American story from the perspective of the Indians who crushed Custer’s 7th Calvary unit.
Elias for a number of years wrote and directed the spectacular battle scene, in classic Cecil B. DeMille’s style with bull-horn in hand, directing the hundreds of actors on horses with guns and arrows to be brutal and violent, while at the same time imploring them not to hurt anyone. Elias became so loved by the Crow Nation, he was made an honorary tribe member. By 1969, Elias was on set with director Arthur Penn, offering technical advice in the production of the movie “Little Big Man” with Dustin Hoffman and Faye Dunaway. Elias called me in June of 1969 to ask if I wanted to come out for the weekend to see the battle scenes being shot and to meet with Penn and the crew. I declined. A decision I have always regretted.

George Elias was not the only Rogers’ director whose roots were buried deep in the loam of Hollywood and Broadway. There were many others, including screen writers, dancers, actors, and behind the scenes technicians, who joined this Fostoria company during the summer months to earn some extra money and to experience a rich slice of pure Americana. One of the most popular directors for the company during its last years in operation was Carl Hawley, a Hollywood scriptwriter and showman who delighted in lending his experience and talents to these small town productions.

 

In 1968, Hawley and his wife LaFaye, produced a show for Brookfield, Illinois’s 75th anniversary, called the Diamond Jubilee. The local paper wrote of Hawley.

Everything was coming together. In late June “congenial” Carl Hawley, of Hollywood, Calif., arrived in Brookfield to produce and direct the pageant. Apparently no local person could come up to the standards needed for this job, so Hawley was sent for by the Rogers Company.
Hawley was a true showman, in the best “S.E. Gross” style, brimming over with good nature, optimism and a fine sense of flamboyance. And he had 20 years’ worth of experience in promoting such spectaculars as this.
The July 3rd Enterprise reported that   “he has worked with a number of movie stars before joining the Rogers Company. He has assisted in producing and directing James Arness in ‘Gunsmoke,’ Red Skelton and others. He has also traveled with Bing Crosby and appeared in movies under the name Carlos Fernando.”
On his pinky finger, Hawley wore an outrageously large ring, with a gigantic diamond in it that would’ve made Eva Gabor jealous, if it were real. He wore it, he said, as a symbol of Brookfield’s Diamond Jubilee. In early July, his wife, LaFaye, arrived to help co-produce and direct.

There were many directors in the history of the Rogers company and they essentially became the public face of this mostly obscure Northwest Ohio company that provided a wealth of memories to hundreds of thousands of people across the nation. One of their long time directors, Phillys Shelflow, left her Hollywood home each year along with her husband to direct and choreograph the pageants. She said in a 1968 interview that she loved the work because it was all about “bringing America to Americans”.
And speaking from my own experience as a Roger’s director, this seemed to be the essence of each celebration and each production. Every celebration would not only feature the pageant, but a “queen’s contest” which allowed local women in the town to sell tickets to the big show and the woman who sold the most won the crown and a truckload full of prizes from local merchants. Each celebration also featured beard growing contests for the men any man who grew some facial hair was encouraged to join the “Brothers of the Brush” which involved buying a button, an old-fashioned bow tie, and maybe a top hat or some other type of historic fashion.

The ladies, as well could pick through the racks of beautiful recreation of historic period dresses of many type which were at the Centennial store.

This store was also the headquarters for the event and was the place where everything was coordinated, meetings were and a variety of commemorative items were up for sale. Items that were mostly produced or brokered by the Rogers’ company. In fact the Rogers company also owned another firm called the Ohm Company which specialized in various trinkets, badges, hats and ties that most folks, who got into the celebratory spirit were eager to buy. It was a win-win-win situation. The town, the Rogers company and the director all shared a cut of the profits.

While money and the American “profit motive” were certainly in play for the Rogers Company, I always sensed that the owners and directors were motivated by more than just the almighty dollar, and that the greatest reward was in the sense of community these productions created.  In the smaller towns across the country who got caught up in the spirit of the celebration, the people who took part often found themselves making new friends, sharing new experiences and generally painting some indelible memories they carried for many years.

 

One case in point, was my first show I directed on my own which was in Newell, Iowa. A small farming hamlet of 700 citizens in Northwest Iowa, not far from Storm Lake, and about 60 miles east of Sioux City. It was essentially in the middle of nowhere and I thought I’d be dealing with some pretty dusty folks who had corn silk in their ears. How wrong I was. This little town was as prosperus and progressive as any town I had ever known, and  . the townspeople of this bucolic village were as energetic and friendly and competent as any I have ever encountered throughout the rest of my life. These folks knew how to have fun. A small town with a big heart. I learned a lot from them and never forgot their hospitality and zest for life. The show and the celebration of the town’s 100th birthday was a grand success. I was proud to be a part of it.  In 2004, 35 years after the 1969 Newell Iowa Centennial. I decided to visit that small town again while on a trip out West. The intervening years had taken their toll.  Much of Newell had physically changed, with closed up store fronts, and fewer downtown businesses. But more importantly, the people had not changed. Many of the same folks instrumental in putting the celebration together were still there, 35 years older, but just as eager as ever to have a good time. They held a party for me and my family. I was humbled. We reminisced, we laughed, we drank, we traded stories, and we paid tribute to those who had passed on, and by the night’s end, we made the past come alive again.  I also realized that the Centennial they observed in 1969 was more than just a one week event. It had stayed with them for decades. Several told me that it was the biggest thing that had ever happened in their little town and it was a very important time in their lives. One they would never forget. Nor shall I.

The work of the Rogers Company may be over, but still quietly lives on in thousands of towns across America.

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  The Rogers Room At The Fostoria Museum

In The Heat of History: 1936, A Summer of Discontent

Thousands of people slept on their lawns at night to keep cool

Okay. I know it’s been hot and sticky for a few days this week and so far this month we’ve seen our share of 90 or near 90 degrees days(seven, to be exact). And there is probably more on the way. Before we start to complain too loudly, we should know that “this heat ain’t nothin’”.   Not compared to 1936, when 80 years ago this month, the Toledo area, and most of the Midwest was under siege by the sizzling and deadly sun. Temperatures soared for 8 days straight well past the 100 degree mark. Toledo recorded its all-time high of 104.7 degrees.  At the old Muni airport in Lake Township, the recorded high one day was 107 degrees, while Bowling Green was burning at 110 degrees. And remember, there were few, if any air conditioners. Just electric fans. Stores couldn’t keep them in stock.

 

Office workers in St. Paul Minnesota enjoying the fan

 

 

 

 

 

 

DEATH TOLL CLIMBS

The resulting oven like temps were blamed for over 70 deaths in Toledo, including 17 patients at the Toledo State Hospital for the Insane. More victims, by the hundreds were rushed to hospitals with heat stroke and collapse. Local towns around Toledo also reported heavy casualty tolls from the broiling sun. Day after day, the toll climbed. The oppressive heat was not just dangerous for humans, but all life withered under its heavy hand. Animals and livestock by the hundreds succumbed from the assault of heat and dehydration. As a result, tallow and rendering companies found themselves working non-stop to clear the dead carcasses from the farms and fields.

STREETS AND ROADWAYS EXPLODED

The mercury rose to levels that the heat triggered numerous spontaneous combustion fires. Barns, grasses and hay blossomed with flame throughout the area. Most startling perhaps was the constant buckling many  sidewalks, streets and roadways as the asphalt boiled and the pavement ruptured. Toledo’s downtown streets were not immune to the ravages, as street level temps were recorded in excess of 110 degrees for a week of afternoons. At the Jamra’s Tobacco Company in the 500 block of Monroe Street, the thermometer recorded 119 degrees on the afternoon of July 8^th. Further out Monroe Street at the railroad viaduct near Auburn, the retaining walls buckled and heaved in the heat. Even the Toledo city bridges were affected as drawbridges were unable to close properly because of heat expansion in the closing latches. In Ottawa County, brick-paved streets were reported to be bursting in Oak Harbor on State Rt. 19 as the blistering temps caused the pavers to expand and explode. After 7 days of sweltering conditions, state highway officials said more than 550 roadways in Ohio had exploded.

LABOR AND NORMAL ACTIVITIES AFFECTED

Throughout the region many stores and numerous factories were forced to close with the mercury surpassing 100 degrees by mid afternoon. In several incidents, factory workers were reported to be overcome by heatstroke and rushed to hospitals for treatment. Construction workers were especially vulnerable and many had to put down their tools and get out of the blazing sun to seek shelter from the broiling conditions. It was reported that even the hens at local egg farms were so hot, they too stopped work and wouldn’t lay eggs.

WATERY ESCAPES PROVED DEADLY

Another consequence of the scramble to keep cool as thousands Toledo area resident turned to the relief of water. To escape the sweltering misery, they went swimming and many did not return. During this eight day period, dozens of people died from drowning as they crowded the rivers, beaches, lakes, ponds, pools and quarries. Newspapers everyday carried numerous articles about those folks, young and old swallowed forvever by the very thing they had hoped would bring them some temporary comfort.

Coney Island Beach 1936

 

Local health officials became very concerned at one point because thousands of people were so desperate they began venturing into the murky Maumee River. A river that even in 1936 was already considered a public health hazard for its stew of sewage and pollutants. Some health experts warned that long term exposure to the toxins and bacteria in the water could claim more lives than the drownings. The huge number of Toledoans that crowded the public pools was also a problem for it was feared that the filters couldn’t handle the pollution from the high number of bathers and that could also be a public health danger. Walbridge Park pool was recommended for closure, while city chemists worked to ascertain bacteria levels in the pools throughout the city.

WATER SUPPLY GREW SHORT

It wasn’t just the purity of the city’s water supply that came into question during this pressing heat wave of the 1930’s, but the supply and water pressure began dwindling. In downtown office buildings and hotels, many rooms on the upper floors of those buildings did not have water for days. Water restrictions were put in place and residents were warned not to use their lawn sprinklers or to use water needlessly. In the meantime, many residents had few options but just to do their best to move slowly and stay cool. Some began peeling off clothes, or sitting in front of fans, while others found that ice cream was an effective coolant. Ice cream parlors and beer joints in the city racked up record business. A few of the movie theaters in downtown Toledo, the Princess, the Valentine and the Rivoli all had air conditioning and were kept at a cool 70 degrees. Theater goers by the thousands flocked to what the NewsBee called the “Coolies” at these downtown venues.

TOLEDO JUST ONE SLICE OF THE SEARED LANDSCAPE

As the drought conditions began to take a firm grip on Toledo that summer of ’36, other areas of the Great Plains and the Upper Midwest were already reeling from the solar blight, dealing with crop failures and livestock starvation. From South Dakota to Texas, to the Eastern Seaboard, millions of acres of wheat and corn had been parched and lost, forest fires scorched the earth and hundreds of thousands of rural residents were left destitute and struggling. The Works Progress Administration, the WPA , reported at least 25,000 people were facing a lack of food and they were cutting red tape to get money to those affected.

Many farms suffered catastrophic damage

 

The newspaper stories of the heatwave also reminded us that heat can make strangers of us all. “Crazy from the Heat” was not just the title of a David Lee Roth Album. In nearby Sandusky, a man reportedly went berserk from the stress of the heat and went “out of his mind”.   Police there say C.C. Lanley, 60 years old, was pushed beyond his limits of sanity. He shot his wife to death as she lie in bed, and then turned the gun on himself.

In Erie, Pennsylvania, a 40 year old man on July 18^th 1936, a few days after he had suffered heatstroke conducted a prayer service at his church and then went home and hammered to death his wife and two sons. Sam Weed then ran screaming outside and threw himself in front of a moving semi.

In Prophetstown, Illinois, about 80 miles west of Chicago, a man tried to extort the entire village of about 1000 people. Merchants of the parched community say they were ready to pay a man about $1000 cash to keep him from bombing and setting fire to their community. “We intend to pay him” said the bespectacled mayor from his grocery store, “It’s mighty dry around here and we can’t take a chance on a fire.”

The national death toll from the fierce heatwave of 1936 was about 5,000 when all was said and done, with over a billion dollars in crop losses to farmers, and hundreds of thousands taken ill during this extrordinary summer of discontent. It is was and is still considered the worst heatwave on record in U.S. history. And surprisingly it followed one of the coldest winters on record.  While Toledo saw the mercury eclipse the 104 degree mark, other cities and regions coped with even hotter conditions. Okalhoma City experienced temperatures in excess of 120 degrees, as did parts of the Dakotas. Indiana’s high temp was 116 degrees and the residents of the little burg of Mio, Michigan dealt with 112 degrees on July 13th. Seventeen states broke or equaled their all time highest heat record that July.

LIFE STILL SOMEWHAT NORMAL

But…perhaps more interesting in hindsight, as we look back at the newspaper reports of the day was how our grand parents tried to keep life in the normal zone, despite dealing with the outrageous assault and nature’s attempt to kill everything and everyone.

Many people, as it would appear, continued working, shopping, taking in events and picnics, or attending ball games. Generally going about their lives with a minimum of complaint, albiet with fewer layers of clothing, and a heavier layer of sweat. The Willow Beach Dance contest was won by a Mr. and Mrs. Howard Marvin of Defiance, hundreds of people turned out for the funeral and internment of former Toledo Congressman Warren Duffey and a crowd of city officials and businessmen turned out in 102 degree heat to inspect and tour the all-new modern New York Central “Mercury” locomotive on display at the Middlegrounds. The Lion Store had a sale on cotton frocks, a shopper’s luncheon at Petro’s in downtown Toledo was just 20 cents, and thousands of Toledoans were eagerly heading to the Stickney Avenue Showground where the Ringling Brothers Circus was featuring two shows a day. Life was hot. But life was still being lived.

Maybe it says something about our grandparents who had not yet been spoiled by the cool comfort of air conditioning and the desire to live life at a constant 72 degrees. They seemed to roll with the punches and the hard times. Yeah, it was painfully hot, but life was always hard. Don’t expect anything less.

Wonder how we, in this part of the country would deal with 110 degree temps today. Can’t help but think that life, as we know it, would stop. If our roads started blowing up, and the water supply dwindled to a trickle, and we suddenly lost our precious air conditioning? Would we have as much grit as Grandma and Grandpa who somehow seemed able and willing to forge a life and a future in the heat of hardship.

I ponder that as I sit in my comfortable air conditioned office on this 90 degree day that is too hot for me to mow the lawn.

 

Respectfully;

Lou Hebert

Toledo’s Big Organs still make powerful music

(This is from a story I did recently at NBC 24)

 

TOLEDO — There is no larger musical instrument or nothing more majestic than a concert or theatre pipe organ.  In Toledo, we still have plenty of people who love to listen to their powerful music and luckily a number of people who are passionate about keeping their music alive. That passion for the big organ sound is in evidence this with the Toledo Symphony Orchestra as they continue to present special organ concerts featuring the now restored and historic Skinner organ at the Peristyle. For those who have never heard the Skinner organ or any large  theatre or concert pipe organ, it can be a thrilling experience. (Think Phantom of the Opera).  So what is it about this big music that we love so much. “It’s a combination of all the parts coming together to make a wonderful sound.” says Evan Chase, who is President of the Toledo Theatre Organ Society. Chase, who doesn’t play the organ is fascinated by them and has become an expert technician who can tune and restore them. He currently has two of the large theatre organs in his south Toledo home.  One of them is a “Mighty Wurlizter” organ, made in 1926, salvaged from the Loews’s Theatre in New Rochelle, New York.  This organ with a beautiful wooden console, he  is hoping to donate it to someone or some group that wants to give it a good home in a local theatre or concert hall.   While the Wurlitzer that takes up much of his living does not currently play,  Chase has another, set up in his basement, and it does play and is the centerpiece of his own old-time movie theatre, complete with seats, a large screen, and projector system.  The Golden Kimball organ, he says, was originally installed nearly a 100 years ago in the Capital Theater of Aberdeen South Dakota.   It was purchased by a Minnesota businessman in the early 1970’s and eventually found its way to Toledo and to Chase’s basement. The Kimball, which uses player piano rolls to key the music, belts out a huge sound from it many ranks of pipes and other mechanics which are hidden behind the interior walls of the basement theater.

Chase, 63, and now retired, says he became interested in this pipe organs many years ago when he visited a theater organ concert in suburban Detroit. ” “When I heard and saw that golden console rise up from the orchestra pit and hearing that and seeing the old movies again, I said this is it, this is my life’s work.” And the work of keeping these antique instruments in good shape is considerable. There are thousands of parts and there can be many ranks of pipes, all tuned precisely to a specific pitch, and each organ employs a system of air and mechanics to make the sounds. Without constant care and stewardship, they can become unplayable. Even the tuning can be thrown off with a change in the humidity or temperature.   At the Peristyle,  the restoration of the grand Skinner organ a few years ago was a major undertaking and required hundreds of thousands of dollars and meticulous detail in the rehab.

Evan Chase, meanwhile, hopes he can find someone in Toledo who would be willing to take the big Wurlitzer,  invest in its future well-being, and use it in a fitting venue.  So far, he hasn’t found any takers.  Historically, the large pipe organs were the primary source of music for Toledo’s many movie palaces. They were used in silent movie houses to play a musical score along with the action on the screen. But they fell silent and out of favor when the “talkies” or motion picture sound came into being, or when theatres could use recorded music.   Facing obsolescence,  many of these musical giants were left in the dusty backrooms or just found their way to junkyards or demolition yards. But not all.  Many of them were fortunately rescued. Their value was appreciated by historians and they were frequently restored and reused in other venues.  In Toledo, the “Mighty Wurlitzer” that once the throaty “voice” of the famed Paramount Theatre downtown was also headed for an uncertain future when the old theatre building was torn down in the name of “progress”.  Effiorts to save the organ locally were futile. Thanks to the efforts of those recognized its potential, the Golden Wurlitzer  found its way to California in 1986,  where it was restored is now the featured organ at the Berkeley Community Theatre near San Francisco.

At the Ohio Theatre on Lagrange Street, which is currently under renovation,  the pipe organ still remains on premises, and Evan Chase and others involved in the renovation of the theatre, hope it can be restored to its former sound and power.   Chase is also looking at other various old movie theatres around the Toledo area to see if he might be able to place his Mighty Wurlitzer there and re-create a classic movie palace, but the choices are limited.  In downtown Toledo, the only  large movie palace left is the now restored Valentine Theatre, but they have reportedly declined the offer to take the Wurlitzer and use it there.   At one time, in downtown Toledo, there were over 20 big movie and live performance theatres, but those days have faded, and most fell to the fate of a wrecking ball.  Chase, who is also a classic movie buff and promoter is currently offering special classic film series nights at the renovated Maumee Indoor Theatre on Conant Street. In a future writing, we’ll talk more about his efforts and the desire of others (including this authors), to recall with great fondness, those days when downtown Toledo in the evenings was ablaze with marquee lights and a full spectrum of entertainment choices.