Month: June 2018

Making My Way to Salina, Kansas, on June 29

As I planned our return trip from Santa Fe, I wanted to visit the Scottish Rite theater in Salina, Kansas, to meet the new steward of the Masonic Center –Mary Landes, the founder of Salina Innovation Foundation. The organization intends to keep the Masonic Center ownership local, for use by the community to foster arts, education, culinary, and business in Salina.\

In 2010, I had the pleasure of evaluating the Salina scenery for the Salina Scottish Rite on one of my many trips to McAlester, Oklahoma, where I was restoring the Scottish Rite scenery there.

I wanted to see the scenery collection that was originally created for the McAlester Scottish Rite’s stage before their current 1929 home. The McAlester scenery was resold to Salina for their 1927 building. In 1922 the Salina Masons began planning a new Masonic complex that would be completed five years later.

McAlester sold the 1908 scenery to Salina when their third stage was constructed in 1929. Thomas G. Moses also listed both the 1908 and 1929 McAlester scenery in his resume as two of the installations under his supervision. In 1928, Moses created new designs and started painting the scenery for the 1929 McAlester Scottish Rite stage. An earlier scenery collection for McAlester was sold to the Santa Fe Scottish Rite in 1908 when the second Scottish Rite stage in McAlester was completed.

The 1908 McAlester stage replaced an earlier Masonic stage in a building called “The Tabernacle.” I photographed images of the Tabernacle stage scenery while restoring ye collection in McAlester. The Scottish Rite had several original photographs of the 1904 stage and scenery in a display case. At the time, I documented these precious photographs, as their placement in glass display cases subject to direct sunlight were taking their toll. Amazingly, I found the link between Santa Fe and McAlester while doing research for the Santa Fe Scottish Rite book. Here is a little historical context to explain the relationship between the Scottish Rite scenery collections in Santa Fe, New Mexico; McAlester, Oklahoma; and Salina, Kansas.

The Sovereign Grand Inspector General for Oklahoma until 1908 was Harper S. Cunningham. He had started out as Deputy for the Supreme Council of the Southern Jurisdiction in Indian Territory. In 1908, he transferred to Santa Fe, New Mexico. While advising on the planning and construction for the new 1912 Santa Fe Scottish Rite building, he encouraged the Santa Fe Scottish Rite to purchase the used scenery from McAlester. His reasoning was so that the members could practice the theatrical staging of degree productions during the construction phase of their 1912 theater. This is the same theater featured in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018).

In Moses’ scrapbook, he pasted a newspaper clipping about the used McAlester Scottish Rite scenery collection that was purchased by the Salina Scottish Rite in 1927. The article reported, ”The one hundred and seventeen drops of scenery that has been in use on the old stage for twenty-five years, has been sold to the Scottish Rite Bodies of Salina, Kansas, and it has been shipped to them. There was nearly a carload of it. Brother John T. Leibrand, 33°, Wise Master of South McAlester Chapter of Rose Croix, negotiated the sale to the Salina brethren who came to McAlester to inspect it. The scenery was painted by Brother Tom Moses under the direction of that great Scottish Rite Mason and student Bestor G. Brown, and was said to be the finest in the Southern Jurisdiction at the time. Brother Tom Moses is painting the scenery for our new stage settings. He is also building stage properties, and all will be the last thing in that line. The brother that does not see this great stage and these wonderful properties at our Fall Reunion will miss something. The Salina brethren are negotiating with Brother John G. Redpath, who had charge of the old stage for years, to superintend the hanging of the drops in their temple.” This used scenery collection was clearly marked with standard Sosman & Landis labeling in charcoal on both the stage right and stage left sides. The charcoal notations denote the degree; the size of 18 feet high by 36 feet wide; and the original venue as “So. McAlester.”

Before Salina purchased the 1908 collection from McAlester, they contracted Sosman & Landis to produced their original 1901 scenery. This installation was also listed on Moses’ resumé, but not recorded in his typed manuscript. I am hesitant to believe that Moses painted the 1901 Salina scenery, as he was quite busy with other projects and had left Sosman & Landis by 1901 to partner with Will Hamiton, forming Moses & Hamilton (1901-1904). The Moses & Hamilton studio offices and paint frames were all located in New York City. My research suggests that the original 1901 Salina Scottish Rite scenery was primarily painted by David Austin Strong, the Sosman & Landis artist who Moses referred to as the “Daddy of Masonic Design.” Strong was one of the original artists hired by Sosman when the studio opened and worked closely with Moses in the early years. Strong was also a Scottish Rite Mason in Chicago’s Oriental Consistory. In the context of theatre history, Strong was one of the original scenic artists for “The Black Crook” at Niblo’s Garden in 1866. Strong’s painting is still visible in scenery currently used at Scottish Rite theaters in Austin, Texas; Yankton, South Dakota; Pasadena, California; and Cheyenne, Wyoming.

But the current Scottish Rite scenery in Salina, Kansas, has another story connected to the venue; one that I discovered during the 2010 evaluation. On November 13^th 1923, the Secretary of the Salina Scottish Rite received a letter from the executive offices of the Sosman & Landis Company, with a stamp noting that their new offices were now located at 6751 Sheridan Road. The letterhead also contained the address of their previous office location at 417 South Clinton Street in Chicago. In 1923, a new scenic studio was leasing the old Sosman & Landis space at 417-419 Clinton Street; the company was Chicago Studios.

In retaliation for Chicago Studios pretending to be Sosman & Landis, Perry Landis contacted many of the Scottish Rite venues 1923. The Sosman & Landis letter said,

“Dear Sir:

It has recently come to our attention that a certain studio is advising our old customers that they have bought the Sosman & Landis Company and are now operating some, combining it with their original company. We wish to assure you that this is not fact and that our original organization is intact, but our studio has been moved to new and better quarters. Mr. Thomas G. Moses, our Art Director would like the opportunity of meeting with your scenery committee to submit our designs and specifications covering your requirements. You will perhaps recall that we were favored with your original scenery order, working through the M. C. Lilley Co., and therefore, it is not necessary for us to give you any reference as to our ability and quality of our workmanship.” They were referring to the scenery created for Salina’s first Scottish Rite stage and before the purchase of the used 1908 scenery from McAlester, Oklahoma.

To be continued…

Our last day in Santa Fe, June 28

We successfully sent my folks off on their return flight to Minneapolis and then decided to drive the Turquoise Trail one last time.

This is the road that I traveled daily during the Scottish Rite scenery evaluation during 2002. It passes through some lovey old mining towns that included Golden, Madrid and Cerrillos. The area is a popular place for film and television production with past shows including The Nine Lives of Effego Baca (1959); Bearcats (1971); Thomasine & Bushrod (1974); Convoy (1978); Outrageous Fortune (1987); Young Guns (1988); Sparks, The Price of Passion (1990); John Carpenter’s Vampires (1998); Hi Lo Country (1998); Three Wise Guys (2005); The Hitcher (2007); Beer for my Horses (2008); Seal Team Six: The Raid on Osama Bin Laden (2012); 2 Guns (2012); We’re the Millers (2012) and Edge (2014).

The Cerrillos Mining Museum and Petting Zoo has always one of our favorite spots. During 2002-2005, this was one of our daughter’s favorite stops to feed alpacas, goats and chickens. Today, our son was able to experience it for the first time and loved it just as much as Isabelle.

The owner of the mine, Todd Brown, transforms three types of local turquoise into jewelry – white, blue and the popular Cerrillos green. We have always left with some lovely stone that has been transformed into a earrings, a necklace, or money clip. Brown is also a Scottish Rite Mason who happened to be in the store today and not working in the mine; it was nice to catch up as we first met each other during the scenery restoration. His museum also has some very interesting Masonic artifacts that belonged to James Patrick McNulty (1847-1933), mine supervisor of the American Turquoise Company, once located five miles north of Cerrillos.

McNulty supervised up to fifteen men, six days a week on Turquoise Hill. In the early boom years, McNulty and the American Turquoise Company supplied most of the gem quality turquoise on the American market. Another place that that we enjoy to see is the Opera House, once used as a Masonic Lodge.

After the Turquoise trail, we ventured east to Glorieta and Pecos.

It was at Glorieta Pass where a Civil War battle occurred 1862. Known as the “Gettysburg of the West,” Union forces stopped the Confederate strategy to seize the Southwest’s major supply base at Fort Union, with Colorado and California next in line if they were successful. The Texas vanguard captured Santa Fe on March 10, but after two days of battle at Glorieta Pass, US Troops and Colorado Volunteers burned poorly guarded Confederate supply wagons, causing the Rebels to retreat from New Mexico within two weeks. We knew about this scenic site as Andrew heard the story on his way to the reopening of Union Lodge near Wagon Mound. He was invited by Dan Irick last week. Irick is the President of the Santa Fe Scottish Rite Temple Building Foundation who handled many of the administrative duties for the book. He is also a Past Grand Master for the State of New Mexico and Dinky the Shrine clown. I believe that Dan’s retelling of the story may have been a bit more animated than my own account.

Sadly, the Pecos National Forest was also closed due to extreme fire warnings, limiting our ability to travel up into the mountains where the air was much cooler. Instead, we returned to Santa Fe, had a lovely dinner at a local New Mexican restaurant called Maria’s, and went to see a movie – “Jurassic World, Fallen Kingdom.” Dinner was better than the movie. Returning to the Scottish Rite, I signed forty more books for the Valley and started packing.

Long, long, long day. We depart early and head to the Scottish Rite in Salina, Kansas – now the property of the Salina Innovation Foundation.

To be continued…

 

My Folks, June 27

My parents have supported me over the years in every endeavor that I attempted to accomplish. Whether it was remodeling our first home or second one, they were there to hang sheetrock or build a stone wall. This is not to mention helping babysit their grandchildren while I completed a PhD and traveled all over the country for various restoration projects. Many times they accompanied me on so that I would not be separated from the kids for very long.

They were both very excited to join me in Santa Fe for the book signing last Sunday. Although travel has become increasing difficult over the past few years, they hopped on a plane and headed to New Mexico, arriving on June 21.

Unfortunately, the altitude was an extremely difficult adjustment for my mother, coming from an area 830 feet above sea level and trying to adjust to more than 7000 feet above sea level. My father-in-law, John Menzel, also found it difficult to manage high elevations about fifteen years ago. He had climbed mountains all of his life, visiting the highest point in every state after immigrating from French Switzerland. In his 80s, he was unable to handle the high altitudes. My own father, seemed to adjust to the higher elevations with only mild fatigue, so he was able to join his grandson on many of the scenic hikes.

For those who have never experienced altitude sickness, please keep in mind that the symptoms may include dizziness, headache, shortness of breath, chest pain, disorientation, confusion, nausea, extreme fatigue and sleeplessness. My mother did fair until after the book signing on June 24. Although we took my dad on one more excursion today, venturing to the Tsunkawi Ruins and Overlook Park in White Rock, we returned to find my mother in physical distress. The remainder of the day was spent preparing for an immediate return to Albuquerque’s lower elevation after a visit to urgent care. The difference in her wellbeing after dropping the 2000 feet to Albuquerque was immediately apparent. They both return to Minneapolis today, but it meant so much having them here.

To be continued…

A Day Off on June 26

This was the second day to relax on our trip. We went to Bandelier National Monument, Valle Calderas, Los Alamos, and White Rock during the morning. It was a blistering hot day and uncharacteristic of the typical Santa Fe weather. By late afternoon, I met up with Jo Whaley, the other Volume Editor (images) and the photographer of “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre.” We signed each other’s books for a few hours and then went out to dinner at a phenomenal Japanese restaurant – “Ten Thousand Waves” Izanami Restaurant. . The rest of the evening was spent recapping the events tat have occurred over the past four years and planning for future projects. The best part of the entire project has remained meeting and working with Jo.

To be continued…

A Day Off on June 25

The trip to Santa Fe has been delightful, but extremely exhausting. After the book release party, I needed a chance to recharge my batteries. We took some time on June 25 to appreciate the scenery in New Mexico. We are doing the same thing today.

To be continued…

The Santa Fe Scottish Rite Book Release, June 24

The entire reason for my journey to Santa Fe, New Mexico, has been to participate in a special event: the book release for “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). We started the day with a technical rehearsal for that afternoon’s program. From the beginning, we wanted much more than four contributors signing books around a table. One of the things that I lobbied for was showing as many theatrical scenes as possible to those attending the event. We finalized the “scenic spectacle” portion of the program on the morning of the event with a series of six scenes that would be presented over the course of ten to fifteen minutes. Each scene included costumed participants, props, and organ music. We wanted to provide a unique experience for local residents who had never entered the Scottish Rite or witnessed the magic of historical scenery. Many of the people who showed up for the event had never been in the building before.

The event started with bagpipes at 4:00PM, organ music in the theater at 4:15PM, and the hour-long author presentation and scenic spectacle program from 4:30-5:30PM.

From 5:30-6:00PM was the first round of book-signing and hors d’oeuvres. The theater program began with Bert Dalton making a general housekeeping announcement and the Deputy of the Supreme Council for New Mexico, Wes Thorton, welcoming the audience.

Jo Whaley discussed the project and how the book came to be, this wonderful collaborative effort that came to be over the course of four years.

Then all of the contributors spoke about their chapters: Rick Hendricks about the arrival of Freemasonry to New Mexico; Khristaan Vilella about the Moorish-Revival style architecture; and me about the historic theatre, scenery lighting and costumes.

It was a family affair as both my husband and son worked backstage for the event. My husband also donned two costumes for the treasury scene and King Solomon’s apartments.

After the scenic spectacle, the program concluded with a piper emerging from the Solomon’s Temple Ruins scene and leading a procession into the ballroom where the book signing took place. F you didn’t know, bagpipes are a big thing at Masonic events.

The second program ran from 6:00-7:00PM with a book signing and hors d’oeuvres at 7:30PM. Over two hundred books were sold over the course of four hours. More than 100 had been sold before the actual event. Amazon stopped selling the book as their stock had run out a few days prior to the event. This first print run is only 2000.

The event could not have been more successful from a variety of standpoints. First and foremost, the Santa Fe Scottish Rite is once again very visible within the local community. Hopefully, this will lead to increased rentals and the subsequent income for the necessary maintenance of the building. Secondly, the Fraternity is collaborating with the local community. For any historic venue to survive, it must have the support of a local community; it has to be not only appreciated , but also recognized as a culturally significant landmark. To survive into the future, a Scottish Rite must become recognized as a community treasure, this will help the venue survive membership decline. With the book release, the Valley of Santa Fe may have just secured a safety net for their future. Granted, there is a lot of hard work yet to do, but they now have a book that showcases the internationally significant cultural aspects of their building.

This entire experience has been absolutely wonderful. I was fortunate to be selected as a contributor and as volume editor. Although the book is something that I am extremely proud of, the journey was worth far more than the final product. Working with Rick Hendricks, Khristaan Vilella, Jo Whaley, Dan Irick, George Watson, John Adams, and the rest of the crew will remain a highlight in my career as a scenic artist and scholar.

To be continued…

Preparing for the Book Release, June 23

We woke up early on the morning of June 23, left the Santa Fe Scottish Rite Temple, and joined my folks for breakfast. Heat, a higher altitude, and the need to relax prompted us to take a leisurely journey south along the Turquoise Trail, driving to Sandia Peak’s cool climate. We were hoping to enjoy the cooler temperatures from the observation deck atop the Mountain. On the winding drive, we enjoyed the rock formations and a variety of picturesque scenes, passing some of my favorite towns that included Cerrillos (http://www.cerrillosnewmexico.com/) and Madrid (http://www.visitmadridnm.com/). Madrid is situated in a narrow canyon of the Ortiz Mountains. It supports a thriving artistic community. Once an historic mining town, it is now is the home for about forty shops, several art galleries, and a mining museum. The contrast of burnt orange rocks against bright blue skies is always stunning and rejuvenating for the spirit. It is emotional soul food.

Unfortunately, due to the extremely high risk for forest fires, many of the New Mexico state and national parks have closed; their picnic sites, trails, and facilities roped off. Sadly, Sandia Peak was no exception. Fortunately, the tram that runs from Albuquerque to the observation deck atop Sandia Peak was still running, so we ventured to the other side of the mountain. By 10AM we had hopped aboard the tram and ascended to a cooler climate.

I returned to the Scottish Rite to meet with the book-release program team for the event tomorrow. We finalized the authors’ presentation, power point projections, and stage settings that would be part of the program. It was fun working with Jo Whaley again in the Scottish Rite theatre as we set scenery and lights for the program. This was all preliminary work for the technical rehearsal tomorrow morning.

There is something about stepping on a historic stage that touches my soul. It could be the simple connection to the past, or the sheer beauty of the scenery and stage machinery. My mother was a history teacher and my father could build anything. In Santa Fe, the intensity of my enthusiasm for Masonic stages doubled, even more so than at the Minneapolis Scottish Rite. At one time, the Minneapolis Scottish Rite provided a safe foundation for my soul – much had to do the close friendship and support of the backstage director, Larry Wigfield.

For me, it always feels like I am coming home when I step upon a Masonic stage; I find immediate happiness and peace, regardless of the scenery collection’s condition. I have to wonder why, as I did not grow up on stage, or in a home full of Freemasons.

There was a close family friend, an adopted Uncle Don, who was a director at Hennepin Community College, but it was never stressed that I contemplate participating in any theatrical production or considering theatre as a career. It was only in college that I encountered scenic art and stage design. I had the perfect instructor, mentor, guidance counselor, and friend – Lance Brockman. But he did not create my immediate connection to theatre, he provided access to historic techniques and an appreciation of past theatrical productions.

Instead, it was the diary of Thomas Gibbs Moses that has continued to guide my journey. I felt an immediate inclination to protect and document everything that he had accomplished; there is no reasonable explanation. I have always fought for the underdog, made friends with those who had none, and took care of old people and antiquated things. With historical scenic art and scenery collections it was different, however, as I felt “nudged” to understand the theatrical career, scenic art, life and times of Thomas G. Moses.

Today, June 24, 2018, is the culmination of many things for me. I am coming full circle with the journey that I began at the Scottish Rite in Santa Fe sixteen years ago. There is the immediate affirmation that I am still in love with the Santa Fe area and the community. For all of the trials and tribulations that I encountered in Minnesota, I have overcome what appeared to be an insurmountable obstacle two years ago. The CEO of the Minnesota Masonic Heritage Center did not stop me on June 24, 2016. The experience just made me stronger, giving me determination and focus for my future. Many women have overcome similar obstacles in similar circumstances; we are too strong to be slowed down or stopped. We shall overcome.

To be continued…

Reflections on the Tabor Opera House, Henry Burcky and Henry C. Tryon, June 21

We left Taos before 8am and headed to the Rio Grand Gorge just west of the city.

We also briefly stopped by the colony of earth ships on our way to the Santa Fe Scottish Rite.

After a beautiful drive, we arrived at the Scottish Rite just in time for a quick meeting before I headed to the Albuquerque airport to pick up my folks. There is something wonderful about being greeted with a “Welcome Home” when I entered the building. The building and area are very near and dear to my heart.

On my drive to the airport in Albuquerque, I could not stop thinking about the Tabor Opera House in Leadville and the scenic artist for the 1879 roll drops, borders, wings and shutters. Harry Miner’s American Dramatic Directory for the season of 1884-1885 listed Burkey as the scenic artist for their stock sets. This was Henry E. Burcky of Chicago.

In 1876, Henry Burcky was listed as a scenic artist at 83 S. Halsted in Chicago’s Lakeside Directory. He was still listed as a scenic artist in Chicago directories by 1881. During his time as a scenic artist in Chicago, Burcky traveled west and painted the scenery for the Tabor Opera House in Leadville and the Tabor Grand in Denver. As with most scenic artists of the time, many of the stage settings were painted on site. By spring of 1881, Burcky also worked as a scenic artist at Hooley’s Theatre in Chicago, painting settings for “The Danites” (March 20, 1881) and the scenery for “Mulligan’s Silver Wedding” (June 13, 1881).

In 1881, “The Cincinnati Enquirer” reported that H. E. Burcky, the scenic artist at Hooley’s Theatre in Chicago, was working with Tryon, the scenic artist at McVicker’s theatre in Chicago. The article reported these “two young and talented scenic artists” came from Chicago to paint on the scenery for the Opera Festival in Cincinnati (15 Feb 1881, page 4). The Chicago Inter Ocean reported that H. E. Bercky, the scenic artist, provided “new sets of scenery showing the Lakes of Kiliarney, the cave by the sea, and other beautiful bits of scenery incidental to the play “The Colleen Bawn,” Dion Boucicault’s standard Irish Drama at the Olympic Theatre. (9 Aug. 1885, page 13). Messrs. Burcky & Tryon of Chicago were credited with the sixth scene of the production: “Beautifully painted scene – massive rocks in the foreground appear so real as almost to deceive the eye. Rich masses of dark foliage relieve their barrenness while their golden-yellow color is projected boldly from the deep blue sky. Two transformation tableaux occur in this scene, the first the ordeal, by fire, remarkable for its brilliancy and warmth of color; the second, the ordeal by water, for its cool and delicious coloring, complete contraries delightfully portrayed” (Cincinnati Daily Enquirer, 23 February 1881, page 4). The other scenic artists for the Opera Festival included Charles Fox of Her Majesty’s Theatre in London and Rettig & Waugh.

The partnership between Burcky and Tryon was a surprise to me. This was Henry C. Tryon (b. 1847), another Chicago artist who started at Sosman and Landis during 1884. Tryon was Lemuel L. Graham’s replacement at the studio, after he left to found Kansas City Scenic Co. In 1884, Tryon also accompanied Thomas G. Moses and John H. Young on a sketching trip to West Virginia.

He studied at the Pennsylvania Academy of Design and was a pupil of Thomas Moran and William Hart. Tryon worked with Lou Malmsha at Wood’s Theatre in Cincinnati and later at McVicker’s Theatre in Chicago with him. After Malmsha’s passing in 1882, Tryon wrote a tender tribute that rendered homage to his friend and colleague: “Louis Malmsha. A Tribute to the Great Scenic Artist” (“Salt Lake City Herald,” October 22, 1882). See past installment #124, #198, and #199 for more information about Tryon.

Of Tryon, Moses wrote, “he enthused Young and I more than anyone ever had…and was very clever, but awfully eccentric.” It may have been that eccentricity that caused Burcky and Tryon to part ways. Shortly thereafter, Tryon created the Scottish Rite scenery for the Indiana Consistory. Tryon’s theatrical projects during 1882 and 1883 drew him to the Salt Lake City area; his projects there included the Scottish Rite. Shortly thereafter he joined Sosman & Landis. Newspapers at the time acknowledged Tryon as a scenic artist and stage machinist with a “national reputation.”

Back to Burkey. A decade later in 1892, “The Springfield Leader and Press” mentioned “the well-known scenic artist, Berkey,” crediting him as one of the artists for Keene’s Shakespearean productions that included “Richard III,” “Hamlet,” and “Othello” (4 Dec. 1892. Page 4).   “Artists in Ohio, 1787-1900: A Biographical Dictionary” list Henry E. Burcky as a scenic artist, employed at the Walnut Street Theatre in Cincinnati (Hamilton) in 1893-1894, while he was listed as a scenic artist and a resident of Newport Kentucky in the directory.

By 1901, Burcky was still listed as a scenic artist in Cincinnati at 716 Kenyon Avenue. This was the same year that the Kansas City Scenic Co. was contracted to produce the scenery for the new stage at the Tabor Opera House, now called the Elk’s Opera House in Leadville, Colorado.

To be continued…

I just realized that I missed posting June 19! Here it is!

A Repeat Visit to the Tabor Opera House in Leadville, Colorado on June 19, 2018

I woke up on the morning of my 49^th birthday and arrived at the Tabor Opera House by 8am. The auditorium manager, Mark Hanson, was there to meet me before his shift started so that we could dig through some of the older scenery.

You see the Kansas City Scenic Co. backdrops were created for the renovated stage in 1901 after the Elks Lodge purchased the building. The Elks replaced the original stage, roll drops, shutters and wings with an enlarged stage, fly loft and new scenery. Almost all of the old scenery, was just tucked away and left undisturbed until my birthday. This was the best birthday present ever! Unfortunately, I cannot share images or details about my discoveries, but I will give you some history in regard to the Tabor Opera House from its original construction in 1879 to the Elks renovation in 1901.

Horace W. Tabor and his first wife Augusta arrived in Denver during 1858. The following year, they traveled into the mountains. In a nutshell, the Tabors were in the right place, at the right time and the couple made their fortune in mining. Their Matchless Mine is now a historic site in Leadville that we had the pleasure visiting on June 19. Tabor’s second wife, was Elizabeth McCourt Doe, who earned the nickname Baby Doe. Yes this is THE Baby Doe in the opera, “The Ballad of Baby Doe,” that was written by Douglas Moore and premiered at the nearby Central City Opera in 1956. The Tabor’s went bankrupt after silver prices fell, due to the government’s repeal of the Sherman Silver Purchase Act, causing the panic of 1893. In the end, Tabor died in 1899 and Baby Doe spent the remainder of her life mourning his passing until her death in 1935. In 1962, Gordon Langley presented a copy of his book “The Two Lives of Baby Doe” to Florence A. Hollister, then owner of the Tabor Opera House. We also toured the Baby Doe house where she spent the last lonely years of her life, penniless. Eveleyn E. Livingston Furman published a very detailed account of the Tabor’s mining activities and his life in “The Tabor Opera House: A Captivating History” (1984).

In the early years, Tabor’s rapid accumulation of wealth helped support a fire department, cavalry company, churches, schools and hospitals. He also built the opera house and helped build the Clarendon Hotel. This was all an attempt to help make Leadville a “first-class” city. In 1880 when he moved to Denver, he also built the Tabor Opera House there. It was in Denver that Tabor met Elizabeth McCourt Doe, who had recently divorced her first husband Harvey Doe. She was nicknamed “Baby Doe” while still married and living in Central City.

In the 1890s, the Tabor’s fortune dwindled and the opera house in Leadville became the last of his holdings, his prized possession. The building was dear to him as he has the second floor suite that overlooked Mountain Massive and the rest of the range.

At the turn of the century, the building changed hands and was purchased by the Elks Lodge of Leadville. It was at this time that a fly loft was added, and the stage and auditorium enlarged.

The original opera house was contracted for $30,000, but ended up costing more than $78,000. This did not include any of the furnishings, scenery, or other equipment. Many of the materials were not provided locally, and were shipped from Denver by stagecoach, as no railroad had arrived in Leadville yet. In the end, the building was constructed in only 100 days and opened on Nov. 20, 1879. The seating capacity for the venue was reported to be 800.

According to the book, the original scenery for the 1879 opera house was credited to J. B. Lamphere, who provided ten sets of scenery that consisted of roll drops, shutters and wings. The drop curtain featured a charming castle alongside a stream that snaked back into a winding canyon. Atop this composition was a portrait of Horace Tabor. Other settings depicted a forest, a mountain waterfall, a view of the Royal Gorge, a street scene, a formal garden scene, a Palace scene, a “Light Fancy,” a plain chamber scene, a new England kitchen scene and a Baronial Hall. The mountain waterfall setting was composed by placing two shutters together. At this time, I am unsure of which scenes were roll drops and which scenes were composed of two shutter hat slid together. The street scene was said to depict a view of Harrison Avenue in Leadville. Many of the interior painted setting were composed of double-sided flats.

The Elk’s Lodge continued to use some of the original settings when they took over the building and enlarged the space. They were identified as being shorter in size than those created by the Kansas City Scenic Company. The original drop curtain moved to the Tabor Opera House in Denver to be used during the film premiere of “Silver Dollar.” It’s current condition or whereabouts are unknown.

To be continued…