Horace Lewis recalled a visit with Burridge in 1900 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 was well liked by many, including Thomas G. Moses. Despite the ups and downs of their business relationships, this friendship lasted for decades.
In Chicago, scenic artists constantly swapped partners and painting positions. One might think that this would have caused strained relations in the workplace, but work was plentiful and life was good. Regardless of where they were employed, scenic artists also continued to escape with each other on numerous sketching trips across the country. After two failed business partnerships (Burridge, Moses & Louderbeck and the Albert, Grover & Burridge), Burridge started one more partnership that it may also have been short-lived. They painted “An American Heiress,” “New Blood,” and the new McVicker’s drop curtain that depicted the World’s Fair Court of Honor.
Burridge later received a solo commission to make sketches for Margaret Mahler’s production of “Cymbeline,” travelling to London for historical research. His accuracy for many of the notable scenes received praise. I wonder if the quality of his work eclipsed those around him, to the degree that maintaining any successful business relationship was difficult. He was obviously a strong personality, visionary and leader. These traits may have become challenging for any business partner.
By 1900 we know that Burridge was the Chicago’s Auditorium scenic artist. He was also engaged by Henry W. Savage to prepare the scenes for the Castle Square Opera Company at the Studebaker Music Hall.
Studebaker Hall had opened September 29, 1898 and was primarily used for popular music, meetings and plays. It was noted as exceptionally beautiful and acoustically superior. Originally, it had an arched proscenium like the neighboring Chicago Auditorium Theatre with 34 box seats across three levels. In its early days it was used for light opera by the Castle Square Company of Boston.
We also know that Burridge designed the scenery for the premiere of “The Wizard of Oz” at the Chicago Opera House. This production later moved to the Majestic Theatre in New York. A show with a tornado scene, the glittering Emerald City, a lovely all-girl poppy field and more! In looking at pictures of the original scenery used at the Grand Opera and Majestic, you can see some metallic foil strips glittering on the drops.
It reminded me of the foliage scene and metallic foils that I had encountered at the Wichita Scottish Rite during 2015 and the St. Louis Scottish Rite during 2017. Although both were used for Scottish Rite degree work, the designs were possibly intended for another non-Masonic venue.
The original “Wizard of Oz” program notes are as follows:
Act I
Scene 1: A Kansas Farm (Painted by Fred Gibson from designs by Walter Burridge)
Scene 2: The Country of the Muchkins (Painted by Herbert Martin from designs by Walter Burridge)
Scene 3: A Road through the Forest (Designed by Walter Burridge, painted by Fred Gibson)
Scene 4: The Poppy Field (Painted by Walter Burridge)
Scene 5: (Transformation) The Poppy Field in Winter (Painted by Walter Burridge)
Act II
Scene 1: The Gates of the Emerald City (Designed by Walter Burridge, painted by Daniels Scenic Co.)
Scene 2L Courtyard of the Wizard’s Palace (Painted by Walter Burridge)
This program and others are available online at the Chicago Public Library site. Here is the link: http://cdm16818.contentdm.oclc.org/…/Grand%20Ope…/mode/exact
Interestingly, images of a toy theatre model based on the 1903 production have recently posted online. Although it is not quite there stylistically, the compositions give you a sense of what Majestic audiences might have experienced. Here is the link: http://theozenthusiast.blogspot.com/
Burridge tragically died during a trip to Albuquerque, New Mexico ten years later, in 1913. He was visiting the area to make sketches for the upcoming 1915 Panama-Pacific Exposition. His funeral was at Grace Episcopal Church in Oak Park, Illinois. He is buried at the Forest Home Cemetery in a family plot that contains his wife Jane Anne (1860-1938) and son Walter C. (1886-1916). Jane Burridge lost both her husband and son in only three short years of each other.
To be continued…
