Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, staff and local network of support for touring groups. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters,” however, there were other theatrical guides too, including: Harry Miner’s American Dramatic Directory; The Donaldson Guide; Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America; and Henry’s Official Western Theatrical Guide. Each provides a unique snapshot of theatrical activity and stage houses in North America. From small rural towns to large metropolitan areas during the 1880s through 1920s, one understands the scope of American theater construction, as well as the daily operation. These guides are a wonderful resource for historians, historic theatre enthusiasts and theatre technicians.
In 1884, the Howell Opera House was listed in “Harry Miner’s American Dramatic Directory.” Published by the Wolf & Palmer Dramatic Publishing Company, in New York, the publication was advertised as “a complete Directory of the Dramatic and Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls of America together with much other Information of Value to the Amusement Profession.”
The Howell Opera House entry listed a seating capacity of 825, with a stage measuring 26×44. Both Donaldson and Jeffrey confirm this size stage in their respective publications. It was only Harry’s Miner’s Directory that provided additional measurements and other technical specifications. The Howell’s proscenium opening was 19 feet high by 20 feet wide. This opening suggests that many of the roll drops were approximately that size, give or take a foot, depending on the painted side tormentors and other wings. The height from the stage to the top grooves measured 13 feet with 22 feet from the stage to the rigging loft. The groove height was to accommodate the painted side wings to mask the sides of the stage. The depth under the stage was 5 ½ feet with one trap in the stage floor. Traps allowed action to either emerge from, or disappear into, the stage floor, such as an apparition.
Harry Miner’s Directory also listed eight sets of scenery that were created by Sosman & Landis, with R. T. Holmes was listed as the stage carpenter. This was a standard delivery that would contain eight backdrops. The subject mater would range from landscapes, seascapes, woods and garden scenes to city scenes, fancy interiors, plain interiors and prisons. Each scene would utilize at least one pair of wings to conceal backstage activities. These wings were likely 4 to 6 feet wide by 13 feet high. It remains unclear how many sets of grooves were installed during the original installation of stage machinery and scenery. Additionally the original scenery installation would have included painted flats and profile pieces, such as garden balustrades, statuary, or rocks.
Some of the of the most exciting backstage elements that I noticed at the Howell were the extant border lights. A wooden base held the sockets; this same type of system was originally installed at the Scottish rite Theater in Guthrie, Oklahoma, only to be removed and replaced with a metal version less than a decade later. This was the first example that I have encountered since reading a description written by M. C. Lilley western sales manager, Bestor G. Brown.
Another exciting artifact was an original windlass, still positioned in the stage left wings, waiting to raise and lower the front curtain. There were so many other historically significant artifacts littering the old stage, that it blurred my focus; too much information to take in at once. I could have stayed for hours, but my guide had an impending dinner appointment.
From an administrative perspective, Harry Miner listed the Howell’s rental rates as $25 for one night and $50 for three nights. This number varies a bit from Jeffrey’s 1882 guide that reported rental rates were one night, $30; two nights, $50; three nights, $70, and one week, $125. Both publications noted that the preferred “to play on shares with good attractions.” The equivalent purchasing power of $100 in 1882 is around $2500 today. Between 1882 and 1884, the management of the venue went from Hunter & Holmes to just T. B. Hunter.
In addition to the above information, Miner’s noted the advertising protocol and local marketing expenses for touring production advertising. The local newspaper was the “Republican,” with advertising rates being $3 per column. Touring companies received a special rate at the hotels of $1.25.
Initially the Howell was illuminated by gas, with the gas jet holes for footlights, still being visible on the edge of the stage’s apron. As with many theaters during the turn of the twentieth century, gas jets were replaced with electrical fixtures. At the Howell, original gas fixtures were simply converted to electric. What is exciting about this aspect is that almost all of the original fixtures still exit, preserving the historical aesthetic throughout much if the building. The auditorium’s chandelier is a treasure to behold, instantaneously transporting any visitor to the 1880s.
During my tour of the Howell, my guide discussed many of the original artifacts that still exist. For example, poster bills and the signatures of famous personalities still grace the walls backstage. The amount of information contained in a relatively small area upstage of the proscenium wall, would cause any theatre historian’s heart to rapidly flutter. Each pasted piece of paper represents a production, providing a sneak peak into the performers and technical crews of the past. Most recently, piles of peanut shells were found under the balcony’s floorboards, left from patrons munching during a show over a century ago.
Although some physical alterations have occurred over the decades, most instigated by well-meaning architects and structural engineers, much remains preserved. For example, even though the original grand staircase that led from the street to the second floor theater was removed, the original front doors were carefully sets aside. One of two original box offices, located at the top of the grand staircase, also remains as a window into the past. Although some of the dressing rooms were walled off when I new backstage staircase was constructed, they were not gutted, just entombed for another generation.
This theater is silently waiting for the renovation to continue.
To be continued…
