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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…

Travels of a Scenic Artist and Scholar: Reflections on the Tabor Opera House and Royal Gorge, June 20

We left Leadville, Colorado, and headed to Taos, New Mexico, on the morning on June 20. My plan was to stop by the Salida Opera House on our way down. By the sixth day of our trip, I was just about burned out on historic scenery. Over the course of five days, I had documented over 200 backdrops, 18 painted borders, 60 set pieces and a dozen wings. I needed a day off before arriving at the Santa Fe Scottish Rite theatre.

Instead of the Salida Opera House, we opted to go to Royal Gorge. My incentive was not only the inspirational vista, but also Eveleyn E. Livingston Furman’s mention of Royal Gorge as a subject for one of the 1879 opera house settings. In “The Tabor Opera House: A Captivating History,” Livingston mentioned that one of the original settings for the Tabor Opera House depicted Royal Gorge; the expense for this sole scene was $1000.

The last time I visited Royal Gorge was on my way to USITT for the “Theatre of the Fraternity” touring exhibit and conference at Long Beach during 1998. I traveled part of the way with my father and my daughter Isabelle, who was less than a year old at the time. In Arizona, I picked up my husband from the Phoenix airport. This was the last time we were able to wind our way through the western United States. At the time, we only gazed at the gorge from the parking lot as I held my daughter in her baby carrier. This was my last glimpse of the old park, as it was destroyed during a fire in 2013. Since then, the entire site has been rebuilt; it is stunning and well laid out. It was well worth the side trip yesterday!

Now back to the scenery at the Tabor Opera House in Leadville. According to Furman, the original scenery for the 1879 Tabor Opera House was credited to J. B. Lamphere. Furman recorded that Lamphere provided ten sets of scenery, including a drop curtain, a forest scene, 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. She also noted that each scenes had three sets of wings.

I decided to track down this scenic artist and the technical specifications for the original 1879 venue. My first historical source was Harry Miner’s American Dramatic Directory for the season of 1884-1885. Miner’s provided a variety of details about the 1879 stage in Leadville. At this time, the town was listed as having 20,000 residents. The seating capacity for the theater was listed as 800. The stage measured 34×60; the size of the proscenium opening, 17×23; height from the stage to grooves, 16; the height from the stage to rigging loft, 19. The depth under the stage 4 1/2, traps, 3; number of scenery sets, 12. The space was illuminated with gas. In 1896-1899, however, Julius Cahn’s Official Theatrical Guide noted that the Tabor Opera House had five grooves.

Harry Miner’s American Dramatic Directory listed the scenic artist for the painted settings at the Tabor Opera House in Leadville as “Burkey, of Tabor Grand, Denver.” To clarify, these dramatic directories did not always list the scenic artists for a particular year, just those responsible for the painted settings at the venue. I noticed this aspect of the touring guides as I traced the venues that listed Thomas G. Moses, as well as Sosman & Landis, scenery and their names as the “scenic artist” for the venue. Dozens of theatres would list Moses as their scenic artist while he was working elsewhere in the country and years after he had painted the scenery. The designation of “scenic artist” in this context was to advertise who painted the stage scenery, not necessarily who was on staff.

So for the Tabor Opera House in Leadville Colorado, “Burckey” was credited as the creator of the painted scenery. Burckey is also noted in Harry Miner’s Directory as the scenic artist of the Tabor Grand in Denver. This credits Burckey with the scenery for both Tabor theatres, constructed within the space of a year.

I was curious to discover more about the scenic artist named Burckey. First of all, Burckey is also published as “Berkey” and “Burcky.” I have encountered this in the past with “Sosman & Landis” as “Sausman & Landes,”among many other variations. I believe that the scenic artist who created the scenery for the 1879 Tabor Opera House was Henry E. Burcky, also known as H. E. Burcky. Interestingly, the 1890 Ballenger & Richards annual of the Denver City Directory still listed Harry E. Burcky as the scenic artist for the Tabor Opera House. Again, they would still be using the stock scenery painted by Burcky.

More on Henry E. Burcky tomorrow!

To be continued…

A Visit to the Tabor House in Leadville, Co. June 18, 2018

We left Denver at 7am and headed to Leadville, Colorado. I had a 10am appointment with the executive director of the Tabor Opera House. Normally a two-hour trip, we planned on an extra hour for sightseeing, stopping several times along the way for “scenic overlooks” and “points of interest.” As we left Denver, overcast skies turned into puffy clouds scattered across brilliant blue skies.

One of our stops was in the town of Frisco. The name rang a bell and I soon realized that it was because Thomas G. Moses mentioned the town during his 1884 sketching trip to Colorado. This was his trip with tree other scenic artists to see the mountains.

Frisco is situated on the shores of Lake Dillon, seventy miles west of Denver. Henry Recen founded the town after a mining boom in the 1870s and soon boasted two railroads, many businesses, hotels, and saloons. The town was the center of mining activity because of the railroads and a stagecoach stop, serving as the gateway to the towns and mines in Ten Mile Canyon. It later became the sleepy little town that Moses encountered during his 1884 sketching trip. Of Frisco, Moses wrote, “We soon came to a little cemetery. One rough head-board had the following epitaph, printed with black letters: ‘Here lies the body of John Sands. A Frisco miner, an honest man and an old timer.’ No dates nor age. Near by was the small town of Frisco, which at one time was a prosperous mining town of about three thousand inhabitants. The mines gave out, no one stayed, and homes and stores were left to the elements. As we struck the main street we looked about, but we couldn’t see a living thing, excepting a few chickens which convinced us, however, that someone must have stayed. The feeling we had among the deserted homes and stores was rater uncanny. The buildings had been hastily built; all very rough, and very few of them had been painted. The signboards were a hot, badly spelled and very typical of a frontier mining town; a regular mushroom town – it grew over night.”

After enjoying the bustling town, getting the contact for the city historian and walking about the marina, we headed to the Tabor Opera House in Leadville for our 10am meeting. I had asked Ziska Childs to join me on this particular adventure and we spent the morning looking at historic scenery produced by Kansas City Scenic Company. The drops are suspended by a hemp system – no counterweights or sand bags. As at the Brown Grand Opera House in Concordia, Kansas, the drops are raised and lowered by an individual pulling the full weight on the three ropes that are connected to the drop’s top batten. I was fortunate to help at one point and able to examine the pin rail and rigging. While assisting with one line, I was delighted to discover that the original paint frame that was still suspended from one of the lines. No, we didn’t lower it. I was told that it takes three men to handle the lines when either raising or lowering it!

The four historic scenes at the Tabor Opera House include a drop curtain, a garden drop, a landscape and a street scene by Kansas City Scenic.

There are other historic scenery pieces along the back wall tat were too buried to uncovered. There area also older roll drops, wings, and profile pieces are stored in the attic for both this stage and the previous stage before the Elks altered the building in 1901. Unrolling a few backdrops will be part of my morning adventures today. The Executive director explained that the scenery has been rolled up for over a century. I am curious to see what the original 1879 scenery in the attic looks like from the original stage.

The existing fly drops above the Tabor Opera House stage were produced by Kansas City Scenic. Lemuel L. Graham (1845-1914), a previous employee of Sosman & Landis, as well as one-time business partner of Thomas G. Moses founded this studio. Moses left the Sosman & Landis studio during May 1882 to partner with Graham. That year Moses recorded that while they were working on the Redmond Opera House project in Grand Rapids, Michigan, Graham boarded at a hotel and fell in love with the head waitress, eventually marrying her. Moses wrote, “she proved to be a good wife and good mother.” Moses wrote that Graham “was a regular Shylock, a good fellow and a hard worker, but altogether too close to please me.”

The partnership of Moses & Graham only lasted a little over a year. In 1883 they returned to the Sosman & Landis studio. After Moses and Landis encountered each other while bidding on the same job, they rode the train back together for Chicago. Sosman met them at the station and the three discussed a possible return. Sosman & Landis wanted Moses and Graham back, they were each offered $45.00 a week. Moses wired Graham their proposal, but Graham was not so eager to accept and countered “$50.00 and extras.” The studio agreed and on May 1, 1883, Moses and Graham were both painting in the Sosman & Landis studios again. It lasted less than a year for Graham, however, and in 1884, he left Sosman & Landis to form Kansas City Scenic Co.

To be continued…