Copyright © 2020 by Wendy Waszut-Barrett
Today, I examine the life and career of Henry E. Burcky. Burcky was credited as the scenic artist for the Tabor Opera House in “Harry Miner’s American Dramatic Directory” for the 1884-1885 season. As I noted yesterday, theatrical guides are tricky. There is no distinction between the scenic artist who worked at a theater and the scenic artist who simply produced stock scenery for a venue. By 1879, Burcky was a well-known scenic artist living in Chicago, traveling across the country for work. I believe that Burcky delivered painted scenery for the Tabor, but did not work at the venue, creating roll drops, borders, wings and shutters on site.
Like many scenic artists of his day, Burcky travelled across the country, following an ever-expanding theatrical network that steadily spread from east to west. Traveling with cotton sheeting, dry colors, glue, and brushes, Burky arrived on site. Once situated and after the paint frame was built, he painted the entire stock scenery collection for the Tabor Opera House. The railway had not reached Leadville in 1879; so all materials were brought to town by coach. Keep in mind that the Tabor Opera House was just one of many theaters that Burcky provided scenery for in 1879. He is quite a fascinating individual.
Henry Burcky was born in 1852, one of three sons born to German immigrants. Yes, the German contribution to American theatre again! His father, Frederick Burcky (1814-1902), was a widower and baker; advertising in the 1862 Chicago city directory as running a bakery at 86 Wells. Eight years later, Baker Burcky worked as a confectioner in downtown Chicago. He never remarried and always lived with at least one of his sons.
Henry E. Burcky was the middle child; William was three years older and Charles was nine years younger. The 1870 US Census listed all the three boys attending school in Chicago; Burcky was eighteen years old at the time, an advanced age for public schools. It is possible he was attending art school, or another form of advanced education, the education institution remains unknown at this time.
By 1875, the US Census Records lists Henry as an “artist” and his younger brother Charles as a “printer,” all three sons are still living with their father. The oldest son, William works at a restaurant. All three boys were still living at home with their father, who was now working as a baker and renting a unit at 173 Randolph Street. In 1876, Chicago’s Lakeside Directory listed Burcky as a scenic artist working at 83 S. Halsted. By 1878, Burcky painted the new scenery for “Our Bachelors” at Hooley’s Theatre in Chicago. The program from January 28, 1878 noted, “Entire New Scenery for this Piece. Painted by H. E. Burcky.” His stage settings included a Breakfast Room at Mrs. Mouser’s, Terrace at Central park, Drawing Room and Conservatory, and Bangle’s Bower on the Hudson.” In 1879, Burcky was still painting scenery for Hooley’s Theatre when he was also credited wit the new scenery for the Tabor Opera House in Leadville, Colorado. On May 26, 1879, Hooley’s production of “Adirondacks” also listed H. E. Burcky as their “scenic artist.” Burcky continued to be listed as the scenic artist at Hooleys until 1881, painting settings for “The Danites” that summer (March 20, 1881) and the scenery for “Mulligan’s Silver Wedding” (June 13, 1881). Later that summer, J. W. Ritter was listed as the new scenic artist for the venue, as Burcky began a new partnership.
In many cases, large painting projects required more than one scenic artist on site. Scenic artists would partner up, sharing experience and contacts. In 1881, “The Cincinnati Enquirer” credited H. E. Burcky and Henry C. Tryon as providing the scenery for the city’s Opera festival (15 Feb 1881, page 4). The article reported. “The scenery is nearly completed for every opera. Messrs. H. E. Burcky and Henry Tynor [sic. Tryon], the young and talented artists who came here from Chicago to assist in painting the scenery, have been doing excellent work. They are bright, intelligent and rapid workers, and by for their assistance it would have been difficult to have scenery ready by the Monday next. Mr. Burcky is scenic artist at Hooley’s Theatre in Chicago, and Mr. Tryon at McVickers. They express themselves as amazed at the extent and magnitude of the affair.” Messrs. Burcky & Tryon of Chicago were especially credited with the sixth scene of the production, noted as a “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). Tyron worked all over the country, including in the Sosman & Landis studio in Chicago.
By 1885, the “Chicago Inter Ocean” reported that H. E. Burcky provided new settings for Dion Boucicault’s Irish Drama “The Colleen Bawn,” at the Olympic Theatre. (9 Aug. 1885, page 13). The article reported, “New sets of scenery, showing the Lakes of Kiliarney, the cave by the sea, and other beautiful bits of scenery incidental to the play have been painted for the occasion by H. E. Burcky, the scenic artist.” That same year, the “Chicago Tribune,” advertised “Realistic stage effects and the great battle scene by H. E. Burcky” for the production of “Custer” at the Olympic Theatre. The advertisement listed “Custer” as the great drama by Alfred Trumball that starred Wm. J. Fleming and company.
By 1887, roles had reversed for parent and child, as Burcky’s father began boarding with his son at 254 Ogden Ave in Chicago, an address that would remain constant until the younger Burcky married and moved to Cincinnati. On June 26, 1888, Henry Burcky married his second wife Lizzie Smith, a native of New Orleans, in Hamilton, Ohio. The “Cincinnati Enquirer reported, “Henry Burcky and Lizzie Smith were married yesterday by Squire Hauser” (27 June 1888, page 6). I have been unable to find any information about his first wife. By 1888, Henry and Lizzie were living at 6611 Halsted Englewood in Lake City, Illinois, although Burcky was still listed at 254 Ogden Ave in the Chicago Directory that year. His son Charles was listed as a painter, residing at 3636 Dashiel. By 1889, the Chicago Business Directory listed Henry E. at the Same address, still working as a scenic artist.
By 1893 and 1894, Burcky was listed as the scenic artist for the Walnut Street Theatre in Cincinnati, residing in nearby Newport. Burcky remained in the area, and in 1897, Burky was living with his two sons, George and Thomas, at 330 E. 5th Street, Both were paperhangers.
By 1900 the US Census listed Henry and Lizzie the couple living with six adult children: Charles (b. 1871), George (b. 1875), Thomas (b. 1880?), Charlene (b. 1880), and Milton (1882). All of the sons were involved in the decorative arts with Henry and his youngest son Milton working as scenic artists. Charlie worked as a carpenter, with both George and Thomas making their living as paperhangers. In 1900 the Burcky family was living at 716 Kenyon in 17 Precinct of Cincinnati with his second wife Lizzie, five children and a daughter-in-law. However, the new century brought new opportunities, as Burcky followed many other artists east to the coast where another building boom was occurring.
In 1905, Burcky was listed as a “scenic painter” residing at 232 Ambler, in the Camden City Directory (New Jersey). And that’s where Burcky’s trail has ended so far.
To be continued…
