Tales from a Scenic Artist and Scholar. Part 338 – Thomas G. Moses and the Belle City Opera House in Racine, Wisconsin

Part 338: Thomas G. Moses and the Belle City Opera House in Racine, Wisconsin

In 1895, Thomas G. Moses recorded that he negotiated, “A good contract for Racine, Wisconsin, Opera House” and the project lasted a few weeks. He was referring to the renovated Belle City Opera House in Racine. Moses previously worked in Racine at the Belle City Opera House during 1883. He painted a second set of scenery for the same venue after it was renovated (see installment #184). While painting for the Belle City Opera House in 1883, Moses also painted scenery for the Blake Opera House, another venue in Racine. The Blake was located on 6^th Street and managed by W. C. Tiede.

The local newspaper commented about Moses’ work in 1883 for the Belle City Opera House, “The scenery at the Opera House is handsome in every particular, Mr. Moses, the gentlemen who designed and painted it deserves the highest commendation” (The Journal Times, 3 Feb 1883, page 2).

His work for the Blake Opera House was equally admired. The Journal Times (Racine, Wisconsin) reported that “Thomas Moses, the scenic artist, who painted all the handsome scenes at the Blake Opera House, departed for Illinois to-day. During his stay here Mr. Moses has made many warm friends, who wish him every success, wherever he may go” (14 March 1883, page 2). That message must have meant a lot to Moses. It also says a lot about his personality and character. To have such a warm farewell message published in a local newspaper after a relatively short stay it quite something. Time and time again, it appears as if the people genuinely liked Moses as an individual.

Unfortunately, the following year all of his painting was destroyed when the Blake Opera House burned to the ground in 1884, just two years after it was constructed. It was a very short life for the 1200-seat venue and is often overlooked by historians.

By 1895 when Moses returned to Racine, the Blake Opera House’s manager, W. C. Tiede, was managing the new Belle City Opera House. It must have been a pleasant reunion for Moses and Tiede when he arrived for work. As to the specifics of Moses’ scene painting for the Belle Opera House in 1895, it is unclear whether Moses painted stock scenery or supplemental pieces for a specific production.

As with almost all of the theaters that Moses provided stock scenery for in 1895 this venue was a theater located on the ground floor. The renovated Belle City Opera House, located at the intersection of State and Main Streets. It opened on February 11, 1890. The address was 211 Main Street. It original building was constructed in 1876. The 0pening was reported in the Racine Country Argus, “Racine people will always patronize a first-class entertainment, now that they have a good house to go to. The Belle City Hall, as remodeled, makes a fine little Opera House, only a few improvements being necessary to make it as good as any, and the people appreciate it” (January 6, 1876). This venue ceased operations by 1883.

The renovated opera house had a seating capacity of 1,200. At this time, Racine’s population was approximately 30,000. The theater was illuminated with a combination of both gas and electrical lights (volt 110). The proscenium opening was 30’-0” wide by 28’-0” high. The depth of the stage from the footlights to the back wall was 32’-0.” Distance between the sidewalls was 60 feet and the distance between the fly girders was 45 feet. The height of the grooves from the stage was 18’-0” and could be taken up flush with the fly gallery. The distance from the stage to the rigging loft was 50’-0.”

The Belle City Opera House was across the street from a more prominent theatre. The competitor was known by a variety of names, including the Bate Theatre, Orpheum Theatre, RKO Theatre, and Main Street Theatre). On August 16, 1906 the Belle City Opera House was also renamed to the Racine Theatre. It was rechristened again on May 14, 1914 as the Rex Theatre and became known as a vaudeville house. Eventually the entertainment turned toward cinema. By 1959, the building was transformed into a bowling alley. In 1978 it was demolished to connect State Street and Lake Avenue.

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. View all posts by waszut_barrett@me.com