Tales from a Scenic Artist and Scholar. Part 863 – Knickerbocker Theatre in Holland, Michigan, 1913

Copyright © 2019 by Wendy Waszut-Barrett

Holland, Michigan

In 1913, Thomas G. Moses wrote, “I did a ‘swell’ curtain for Holland, Michigan, and I sincerely hope they will like it.” Moses was referring to the Knickerbocker Theatre of that city, managed by J. A. Simon. Little is known of Moses’ painting beyond his diary entry. In 1913, Holland boasted a population of 11,000. Julius Cahn’s Official Theatrical Guide listed an overall drawing population of 15,000 for the venue.

The Knickerbocker Theatre
The Knickerbocker Theatre
The Knickerbocker Theatre
The original Knickerbocker Theatre after the name changed to the Holland Theatre

Located at 86 East 8th Street in downtown Holland, the ground-floor venue had a seating capacity of approximately 883, with 17 Loges. The proscenium opening measured 26 feet wide by 21 feet high. The stage was 30 feet deep and 48 feet wide. It was 50 feet from the stage floor to rigging loft and 24 feet to the fly gallery.

Holland is situated in the western region of Michigan’s Lower Peninsula, and was settled by Dutch Calvinist separatists under the leadership of Dr. Albertus van Raalte. The Dutch immigrants sought religious freedom and a better life, establishing their village near the Black River where it streamed into Lake Macataw near the shores of Lake Michigan.

Postcard of Holland, Michigan
Holland, Michigan

Holland features an annual Tulip Time Festival, an event that originated in 1930. Currently, six million tulips are used throughout the city, planted along city streets, in city parks and outside municipal buildings. There is also a large tulip farm, named Veldheer Tulip Gardens. Other tourist attractions include De Zwann, an original 250-year-old Dutch windmill situated on Windmill Island, and Dutch Village. 

The De Zwann windmill in Holland, Michigan
Windmill Island in Holland, Michigan
Windmills in Holland, Michigan
Windmill Island in Holland, Michigan

Although the city is best known for its Dutch heritage, there is also an annual Fiesta organized by Latin Americans United for Progress, with the Tulipanes Latino Art & Film Festival that celebrates the Latino cultural contribution.

Holland is home to Hope College, a private Christian liberal arts college. The institution was established in 1851, as a Pioneer School by Dutch immigrants. Hope received its state charter in 1866 and it is affiliated with the Reformed Church in America. The schools 125-acre campus is adjacent to the downtown commercial district and has been shared with Western Theological Seminary since 1884.  In 1988 the Knickerbocker Theatre was acquired by Hope College and remained opened to the public, offering a variety of events throughout the year, including films and theatrical productions. The website notes that Knickerbocker translates to “best in life.”

The current Knickerbocker Theatre operated by Hope College

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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