Copyright © 2020 by Wendy Waszut-Barrett
Manager W. S. Morse discussed Henry C. Tryon’s work for the Tabor Grand Opera House and Salt Lake Theatre with a “Salt Lake Herald” reporter in 1883. He was asked about his thoughts on the new Salt Lake Theatre and stock scenery. Morse noted similarities of the two houses and celebrated Tryon’s artistry. Here is the article in its entirety:
“A FINE STRUCTURE
What Denver Manager Thinks of the Salt Lake Theatre.
A Compliment for the Theatre and a Puff for Tryon.
W. S. Morse, Esq., manager of the Tabor Grand Opera House, of Denver, has been in Salt Lake for a couple of days on a visit, the object of which was rest and entertainment. Being a theatrical man himself, he naturally takes an interest in the Temple of Thespis wherever found and of whatever character. Consequently, he visited, among other places, the Salt Lake Theatre, which is now undergoing repairs. A HERALD commissioner ran across him there, and naturally put some questions to the gentleman, which may prove of interest to the public. Here is the result of a series of profound inquiries and equally erudite responses.
Reporter – Mr. Morse, what do you think of the Salt Lake Theatre anyhow?
Mr. Morse – When completed according to the plans of management it will be one of the finest theatres in the country.
Rep.- In what respect?
Mr. M. – The auditorium is elegantly proportioned, the acoustic properties are wonderful, while the lines of light are so well arranged that in no portion of the house does the audience fail to get a good view of the stage. All that the audience requires is to be richly and tastefully decorated and then, with the elegant proscenium opening, this part of the theatre will be superb. Judging from appearances, there has been a marvelous change in the entire arrangement of the stage mechanism. The depth of the stage is greater than that of the Tabor Opera House, while the width is about the same. We have about ten feet more height to our rigging loft, but there is ample height here for all theatrical purposes. The whole arrangement seems to have been modelled after that of the Tabor Grand Opera House; and that structure, having been built in accordance with the latest knowledge and experience that could be secured, it necessarily follows that practically everything which could be done to make a perfect place, is found in the Tabor Opera House. The similarity between the two houses (though it may seem immodest for me to make the comparison) is decidedly to the credit of this theatre. There are very few theatres as thoroughly stocked with characteristic and elegant scenery as I see yours is. The artist, Mr. H. C. Tryon, was with us in Denver for about eight months and during that time painted a large portion of our stock scenery. The first scene he did for us was a “Mining Camp in Colorado,” which was greeted with spontaneous and hearty applause. The good opinion of our patrons, so early won, was continued during his entire engagement, so much so that we parted with him with reluctance.
The artwork which I noticed he has already done here, is calculated to give the Theatre a really metropolitan aspect. The changes which have already been made and are now making – as I understand it – at his suggestion, will greatly enhance this impression; and when these alterations are completed, I will venture the assertion that nowhere in the country will there be a better sticked theatre for scenery, nor one which will enjoy a greater number of the modern theatrical appliances and conveniences. I would have you understand that we think a great deal of Tryon in our selection, where he enjoys as a great reputation for oil painting as he does for scene painting. He enjoys a reputation all over the country and has been employed by the best managers and in the best theatres in the country. In every place, even where the art taste is old, cultivated and generally developed, the same appreciation of his work is manifested as it is here and in Denver, Tryon’s success is due to the fact that he has made of scene painting art in the highest sense; besides there is freshness of idea, richness of color, and originality of design. All these things have combined to give Tryon the reputation he enjoys. My admiration for Tryon may lead me to say some very flattering things of him, but I am sure all that I can say in his favor will be borne out by artist generally and by those who have had the acquaintance of years with him. It was really a fortunate – not to say wise – movement on the part of the management of the Theatre to secure the services of so talented an artist. I am equally confident that the nerve displayed by the management of the Salt Lake Theatre in undertaking such a heavy expenditure in restocking the Theatre, in remodeling the stage, and in making the auditorium more attractive, will not only be rewarded by liberal patronage consequent upon the satisfactory presentation of all pieces so far as stage mounting and settings are concerned, but it will be a source of pride and satisfaction alike to them and the public, to known that they have as handsome, as attractive and as well-appointed a theatre as the largest American cities can boast.
Mr. Morse seemed relieved after he had delivered the concluding peroration, and the reporter decided that to worry that gentleman further would be cruelty and beat a hasty retreat” (Salt Lake Herald, 31 May 1883, page 10).
The “Deseret News” published gave a little background about the venue and its renovation in an earlier article entitled “Stage Transformation” (21 Feb. 1883, page 2). The article reported:
“The Salt Lake Theatre, built twenty years ago, when much that entered into its construction had to be transported across the plains with ox teams, will be, in 1883, up to the very latest date. To sum up, we are soon to have one of the few really grand and perfect theatres in the United States.” The article explained, “The tearing away of old timbers and the introduction of various improvements has made a new rigging loft fifteen feet higher than the old one. In fact, there is a compete stage transformation in progress in the ‘old Drury.’ The result will be that the scenery hereafter will, with the increased height of ‘drops’ and the immense ‘borders’ which traverse over the scenes, give all the grandeur of the very finest theatres.” The “ Deseret News” commented, “Now there is no rolling of drops, as they are simply raised or lowered directly by an ingenious and straight-forward arrangement” (26 May 1883, page 2).
Each piece of Tryon’s stock scenery was gradually unveiled to the public, selected to accompany a specific production at the Salt Lake Theatre. By the end of May 1883, the “Deseret News” reported “The forest scene, painted by Henry C. Tryon, introduced last night and this afternoon in ‘The Serf,’ is a masterpiece. The foliage borders transform the stage into the appearance of a dense wood with actual timber, over hanging and spreading branches and leaves. It is the nearest approach to nature in the department of scene painting we have ever seen” (May 26, 1883, page 5).
Lawrence Barret’s secured Tryon’s services while performing at the Salt Lake Theatre in 1883. Barrett specifically asked Tryon to produce special scenery after encountering his work at the Tabor Grand Opera House. The “Salt Lake Herald” reported, “Learning that Mr. Tryon was engaged here, Mr. Barrett was not a little delighted with the information, for the reason that it implied a presentation of his pieces, so far as scenic effects were concerned, on a scale of grandeur equal to anything he could have hoped for in the best equipped theatres of the country. It is but proper to state in justice to the artist that the first satisfactory exhibitions of his labors will be made during the coming engagement of Mr. Barrett. The commingling of the higher dramatic art, as represented by Mr. Barrett, and the perfection of scenic art, such as will be witnessed next week, will prove a treat of rare and unequalled excellence, and will enable the management of the Theatre to show fully and completely to the public the possibilities of the stage, since the completion of the extensive alterations instituted some time ago, and carried out at a cost far beyond original anticipations” (7 June 1883, page 8).
On June 14, 1883, the “Salt Lake City Herald” announced “Five Applause” (page 8). The article reported, “That all the HERALD promised is already realized in the two performance so far given, is beyond question, and to show how deeply Mr. Tryon’s labor is appreciated here, it is but needful to state that his scenes were five times applauded last night, the rise of the curtain in each act being a clue for applause by the audience; but the artist states that it is to-night he will take a little pride in the special work he has done, and referred to last nights as only of indifferent excellence. We shall see what he calls good when that is but indifferent.”
Other scenes credited to Tryon were described in local newspapers and included an ancient street, fancy chamber, winter scene and “quiet landscape.”
To be continued…
