There is a variety of historic
scenery tucked away in the attic at the Tabor Opera House in Leadville,
Colorado. When the building was renovated, the stage was enlarged, and all of
the original wings and shutters were carefully tucked away above the auditorium
ceiling. This attic space was also once home to a few hotel rooms, divided by a
central sky hall that allowed natural light for each room.
Over the decades, the walls dividing
each hotel room were removed and the third floor became home to abandoned artifacts,
including theatre scenery, drop rollers, and much more. By the way, it is quite
a climb to the attic, over 70 steps in all. This climb, combined with an
altitude of 10,000 feet, certainly separates the locals from the flatlanders, like
me.
On the attic wall adjacent to the stage and above the proscenium arch is a loft. Well, not quite a “loft,” as there are no floorboards, just joists. We threw down a few planks to walk on.
Loft in the attic of the Tabor Opera House, Leadville, CO.Loft in the attic of the Tabor Opera House, Leadville, CO.
In this space are some additional wings, rolls, and shutters placed high above. I started my second day in the attic loft. This involved climbing up a wooden ladder with my camera, balancing my way across a few boards, and contorting myself to photograph a few dust-encrusted wings and shutters.
In the meantime, the crew started to
clean and remove some of the wings from the attic wall above the proscenium
arch. Several flats had been cut down and nailed into the wall above the proscenium
arch; no idea why this happened at all. The careful removal of 10’ wings involved
detaching the ladder that led to the loft and grid, as it partially covered one
wing. A team of three then carefully
carried each wing down the winding staircase to the stage.
Ladder to the loft in the attic of the Tabor Opera House, Leadville, CO. Painted wings were cut down and nailed to the wall.Removing the painted wings for documentation purposes at the Tabor Opera House in Leadville, CO.
Meanwhile, plans for the lowering
all other stage scenery commenced in earnest. The majority of pieces range from
5’ x 16’ to 12’ x 16’ – sizes too large to carry down the staircase. These pieces were lowered directly from the
attic by way of about fifteen feet above the pin rail. By the end of the day,
seventeen scenic pieces were lowered with this method. Although there were a
few rough starts, some frightening moments, and a couple panicked cries, each piece
made it safely to the stage floor. By
the end of the day, we established a system, and everything worked like
clockwork.
Lowering one of the scenes from the attic to the stage floor.One of the seventeen scenes lowered to the stage floor tonight.
Tomorrow we will set up two of the
scenes before lowering more. Due to size, we are saving the shutters for last, focusing
on interior sets these first few days. Despite
the hard work, it was a wonderful experience and a fantastic group of people to
work with. My sincere thanks go out to Carl, Mary Ann, Tammy, Greg, Kan, Curt, Michael,
Jane, and Bruce; such an outstanding group of individuals.
The volunteer crew for Day 2 at the Tabor Opera House in Leadville, Colorado.
Today was my first day on site at the Tabor Opera House. I am in town to document the historic scenery collections in the attic; last spring I documented the scenery collections on the stage. This is such a very important collection, in both in the scope of American theatre history and world theatre history.
Some of the volunteers handling historic scenery in the Tabor Opera House attic. Leadville, Colorado.
We spent much of the day cleaning and organizing about 75 pieces; shutters, drops, borders and other set pieces were placed in storage when the Leadville Elks purchased and renovated the stage and auditorium in 1901-1902. New scenery was delivered to the opera house and old scenery carefully tucked away. Much of it is still there, albeit a little worse for wear and covered in a century’s worth of dust.
Some of the scenery piles in the attic of the Tabor Opera House, Leadville Colorado.
I knew what to expect when we climbed steep steps to the third floor today and had my game plan. But there was so, so, so much more scenery than I expected; much more than anyone expected to find today. We uncovered and shifted scenic pieces produced in 1879, 1888, and 1890. This is on top of the 100+ scenic pieces from 1902 currently housed on the Tabor Opera House stage.
Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.One shutter, leaning against an attic wall at the Tabor Opera House, Leadville, Colorado.Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.
By the end of the day, the scenery was divided into piles, organized by setting, and I am starting to compile an inventory. We were also able to clean and lower some pieces to the floor. There were many big surprises; surprises included shipping tags and scenic art signatures.
Signature by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.
It was a delightful, yet exhausting, day for me; one that ended with a Colorado public radio interview. I’ll write much more tomorrow, but too pooped to pen any more now.
I return to my “Travels of a Scenic Artist
and Scholar” storyline today. Tomorrow I leave for Leadville, Colorado, departing
in the wee morning hours and driving to Denver. I am stopping by Des Moines to
pick up Michael Powers, and we will arrive in Leadville, Colorado, on Sunday,
September 20. My week-long project is to document all of the scenery currently stored
in the attic of the Tabor Opera House.
Originally built in 1879, the
building was later purchased by the Leadville Elks and substantially renovated
in 1901-1902. The renovation included enlarging the auditorium and stage. Previously
used roll drops, wings and shutters were replaced with new fly scenery from the
Kansas City Scenic Co. and Sosman & Landis Scene Painting Studio; Sosman
& Landis was subcontracted by the Kansas City Scenic Co. for this project. Much
of the original scenery never left the building it was simply tucked away in
the attic.
In 1879, ten stage settings were delivered to the Tabor Opera House. This was a standard a stock scenery collection at the time. Keep in mind that larger theaters would order as many as 25 to 35 sets. The height of the Tabor Opera Houses’ original grooves purportedly measured 16’-0,” accommodating painted wings and shutters. The height of the original proscenium was listed in theatrical guides, varying from 17’-0” to 20’-0”.
By 1884, “Harry Miner’s American Dramatic Directory” noted there were 12 sets of scenes, increasing the original installation by two sets. This was also common, as new theaters continued to increase their stock over the years, even within the first decade. I have verified that some additional scenery was delivered in 1888, painted by T. Frank Cox on site. There was also a signed piece by Cox on site that has helped verify the dates on a few other pieces.
I first visited the Tabor Opera
House in June 2018, documenting some scenery on the stage and in the attic. My
49th birthday was spent carefully shifting scenery to get a sense of
what was in the attic. At the time, I
knew that this was a really special find, maybe one of the most significant
scenery collections in North America due to its scope. I returned this spring (February 2020) to document
all of the 1902 scenery on the stage. This was the first of two phases to
document all of the scenery on both the stage and in the attic. I have been hired to provide historical
analyses, conditions reports, replacement appraisals and final collections care
programs and management for the Tabor Opera House scenery. These documents will
help guide the future preservation and use of these remarkable artifacts.
In anticipation of this second-phase
project, I also painted historic replicas of some shutter scenes that are
stored in the attic. I referred to my 2018 images for color and some much older
slides (gifted from Ken Kurtz) for composition, creating small 8” x 10” acrylic
paintings. This step was solely to help convey was is currently stored in the Tabor
Opera House attic, hidden under a century’s worth of dust. It is difficult for
board members and the local community to understand these hidden treasures. I
am planning to paint many more scenes
after fully documenting the attic collection.
The interior of the 1879 Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a rocky pass setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a street setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a horizon setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.
My plan is to post scenes at the end
of each day, sharing many on site discoveries.
Keep your fingers crossed that all travel goes well, and we stay
healthy; the N95 masks are already packed!
Garden drop design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota, ca. 1905-1910.
Design by John Z. Wood for the Twin City Scenic Co.
This is part of the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.
Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co. Painted detail. Design by John Z. Wood for the Twin City Scenic Co.
In 1921 Thomas G. Moses was working in Dallas, Texas, at the
new Majestic Theatre. His wife Ella was able to accompany him on the nine-week southern
trip; there were ample opportunities for sighting seeing and sketching
trips. That spring, Moses wrote, “A
short trip to San Antonio was thoroughly enjoyed by both of us. It was a very interesting place, being so
close to Mexico. It has taken over many
ideas in buildings and costumes. One
place we enjoyed more than the others was the large Brackenridge Park, which
was built in a Stone Quarry. Made
several sketches.”
Japanese Garden in Brackenridge Park, 1921 postcard.
Brackenridge park made headlines that year, as American
newspapers focused on the success of San Antonio’s various beautification
projects and park system. The “Central New Jersey Home News” reported, “How
City Officials Beautified San Antonio by Unique Methods” (New Brunswick, NJ, 22
May 1921, page 11). The article noted, “Once in a thousand years you find a
person who possesses the gift of making much form little or nothing. Sometimes
it is a woman who can make a stylish dress from a piece of great grandmother’s
shawl and a yard of ribbon, in San Antonio it was Ray Lambert who made
Breckenridge [sic.] Park blossom like the rose – the whole rose bush, indeed –
and did it so economically that people still ask – ‘how did he do it?’”
The “Dearborn Independent” also included an article on the
park entitled, “Texan’s Magic Has Brought Beauty to City” (Dearborn, Michigan,
April 16, 1921, page 6). It provided a little more information about the man
behind the mission – J. R. Lambert. Here is an interesting section from the article,
as it gives some history:
“San Antonio was a wide-open town and J. R. Lambert on of
the best known bar keeps. Situated within 150 miles of the Mexican border,
within easy access of vast stretches of plains and prairies where wandered
countless herds of Texas long and shorthorns, San Antonio drew to her bosom the
sons of wild and wild stretches. Here they came to take a chance at faro or the
cards and drink whisky straight. In the midst of this oasis was J. R. Lambert’s
saloon and he stood behind the baar and served the spirit-loving throngs.
“Before he became a barkeep Lambert was a stone mason. He
saved his money and finally accumulated enough cash to buy the saloon. Like
many of his kind in those days Lambert also became interested in politics.
Politics and the saloon were bed-mates before the Eighteenth Amendment went
into effect. His power became felt in local election. He was a man to be
reckoned with in any local issue that was decided at the polls. His saloon grew
more and more prominent as Lambert extended his political power.
“There came a mayoralty campaign in San Antonio. It was a
biter contest and after the votes were counted Lambert’s candidate was a
declared the winner. And then Lambert, who had exacted no political reward
before, demanded one, He insisted on being appointed commissioner of parks and
plazas of the city of San Antonio. Since the mayor was morally bound to give
Lambert any political appointment he demanded, because of his services at the
polls, he had to comply. This he did reluctantly. There was much protesting,
much agitation, much denouncing. Giving a job like commissioner of parks and
plazas to a saloonkeeper was preposterous. Much in the way of political graft
had probably been attempted in San Antonio, but this was too bold, too brazen,
too horrid. The public wrath grew, the flame of public indignation swelled and
the mayo was denounced along with Lambert. But the mayor was firm and Lambert
kept his peace. The tumult subsided as such tumults always do. Lambert sold his
saloon and settled himself in a downstairs corner of the city hall and went to
work.
“Today J. Raymond Lambert, or Ray Lambert, is the biggest
man, as far as could be learned in one month’s time, in San Antonio. Forty-six
parks and plazas within the city limits testify to his greatness. In the opinion
of the writer he is the most efficient city official in the country today.
Lambert has been commissioner of parks and plazas of San
Antonio for a number of years and he will probably be able to continue as
commissioner just as long as he cares to. During all this time he has worked
within his power, regardless of time, energy, personal hardships and
self-denials and to save as much money for the public as possible. In both he
has been brilliantly successful.
San Antonio has her Missions and her Alamo, ‘the cradle of
Texas liberty.’ San Antonio has her old churches, a wonderful country club and
beautiful residential sections, but if you ask the average San Antonian what
point he considers of most importance and interest he will answer immediately,
‘Brackenridge Park. Have you seen the Japanese Gardens there?”
“Brackenridge Park is the palace ground of San Antonio’s 46
parks and plazas , and the sunken Japanese Garden the palace. Of the 592 acres
that are included in park and plaza allotments, Brackenridge Park is big and
complete, a remarkable city playground, but the Japanese Gardens lift it to
fame and the history of the gardens shows the creative genius of Lambert.
When Lambert became commissioner of parks and plazas,
Brackenridge Park was little more than a larger tract of waste land. It had few
possibilities. Many landscape gardeners would have passed it up. Some of the
experts said it would never do as a park. It contained an abandoned stone
quarry and a garbage incinerating plant, also abandoned. It presented a dismal
aspect. Not only was a large portion an eyesore, but most repulsive.
“Lambert gathered his laborers and got busy. He dismantled
the garbage plant and tore it down. He saved every part of it, stone and all.
After everything was piled up neatly, he sent his army of laborers into the
stone quarry and hauled out al the loose stone that remained. The quarry
cleared, he began building and after much hard work the Japanese Gardens were
created and the disgusting eyesore became a thing of unparalleled beauty in way
of landscape gardening.
In this garden are Japanese houses built of stone, lily
ponds and flower beds, rustic Japanese bridges and tropical foliage. There are
fishponds and shaded nooks. Stone steps wind down into the gardens and the
gardens are spotted with the same kind of steps and benches.
“The stone house, the large one, was built of the loose
stones picked up in the quarry. They also served for the steps and the benches.
“The stones, now fast, line the lily ponds, and the quaint
fishponds with their rare goldfish were made from the dilapidated vats found in
the incinerating plant. The roof of the bog house is made of thatched palm
leaves. There are many palm trees in San Antonio. You find them in all the
parks and plazas. Lambert had his men collect then and, instead of destroying
them, they were hauled to the Japanese Garden where they served for roofing. It
is said that the only expense of the garden, outside of labor, was for wire
used in attaching the palm fronds. And the quaint-looking steeple at one edge
of the garden, the one covered with vines and looking so artistic in the
distance? Why, that was the chimney of the incinerating plant, the only part of
the plant that Lambert left standing when he dismantled the building. At night
the gardens are lighted with thousands of globes and to view this spot from a
place that was once the edge of the
stone quarry, gives a sight that will be long remembered.”
There is a fantastic paper by Susanna R. Katz and Anna A.
Fox -“Archeological and Historical
Assessment of Brackenridge Park, San Antonio, Texas” (1979). The two identified
15 prehistoric site s and 27 historic sites and features within the boundaries
of Brackenridge Park. They noted the sites reflect a variety of activities
which have been carried out over a period of several thousand years; here is
the link: (http://www.car.utsa.edu/CARResearch/Publications/ASRFiles/1-100/ASR%20No.%2033.pdf)
Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. of Minneapolis, Minnesota.
Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.
This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries. The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections
In 1921 Thomas G. Moses wrote, “Made a side trip to Little
Rock to settle on the Scottish Rite Temple.
I hope to be able to close the contract very soon. I enjoyed the trip as I saw some very
interesting old buildings.” He later returned to Little Rock that summer,
writing, “I spent a week and closed the contract for $9,548.00.” This was a
verbal closure and all preliminary; the final contract would not be signed
until 1923.
Scottish Rite scenery projects were massive and sometimes
took years to land, and months to actually paint. Masonic stock scenery
collections were often more than twice the size of that delivered to a commercial
theater, ranging from 80 to 120 drops with dozens of set pieces. Masons did not
always understand what they were purchasing or receiving, so the numbers went
up and down as specific settings were added or removed during contract negotiations. I am beginning to realize that there were few
Scottish Rite Masons who understood the complexity of what was delivered or how
to effectively use it. During the early twentieth century, the company selling
the product often sent a representative to help stage and run the scenery during
the first Scottish Rite reunion. Masonic stagehands were instructed in the
appropriate handling of drops and the set up for stage effects.
By the time Scottish Rite Valleys purchased a second set of scenery,
often from the same firm, there was no longer training offered with the
installation. In some ways this is understandable; members were familiar with using
painted settings for degree work. However, as time passed much information became
lost in translation. It is like playing a game of telephone with a bunch of
older white men, some hard of hearing; important information gets dropped and
what made sense in the beginning becomes something entirely different. Even the origins of the scenery become a
little murky or completely lost.
Backstage at the Little Rock Scottish Rite, picture in a 1904 Reunion program.
Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.
Olio design by John Z. WoodPainted detail from olio design by John Z. WoodPainted detail from olio design by John Z. WoodPainted detail from olio design by John Z. WoodPainted detail from olio design by John Z. WoodSignature by John Z. Wood near damage at right.
In 1921, Thomas G. Moses wrote that he secured
a scenery contract with the Dallas Shrine. In addition to supervising Shrine
settings being built in Chicago, Moses was also negotiating a new scenery
installation for the Little Rock Scottish Rite Theater. Of the upcoming
projects, Moses wrote, “ “I have plenty to do on Masonic models and I am afraid
I will have to get some help.”
This Dallas project was for Hella Temple, Ancient Arabic
Order of the Nobles of the Mystic Shrine. Moses recorded that Sosman & Landis
“furnished a big set for the Shrine which was done in Chicago.” This means the
actual construction and painting for the setting was completed in Chicago; the
setting was shipped to Dallas that spring. In April, the Hella Shrine Temple hosted
the Shrine Director’s Association of North America annual convention. The
painted setting was possibly for use at that event.
Hella Temple Fez
On 27 March 1921, “Galveston Daily News” announced “Six
Hundred to Attend Dallas Shrine Meeting” (page 8). The article continued, “Dallas,
Tex., March 26.- Reports received by the arrangements and reception committee
for the convention of the Shrine Director’s Association of North America, which
meets in Dallas April 7 to 9, are to the effect that about 600 delegates will
attend. The directors are meeting in Dallas in the third annual convention for
the purpose of checking up of the curriculum of events encountered along the
desert sands over which the novices travel at each ceremonial given by the
Shrine Temples in North America. The meetings in Dallas will not be open to the
general membership of Hella Temple, but will be confined exclusively to the
directors and the committees in charge. Hella Temple will be host to the
convention and will entertain the visitors while in Dallas. James E. Forrest is
president of the association.”
On the last day of the convention, Frank H. Cromwell, of Ararat
Temple, Kansas City was chosen president of the association (Austin
America-Statesman, 9 April 1921, page 1)
Scenic design by Sosman & Landis Scene Painting Studio of Chicago, Illinois. This painted setting was designed for a Masonic clientele; the Masons used theatre as an instructional tool for members. Scottish Rite theaters were constructed to produced dramatic productions, teaching a specific lessons, similar to a morality play.
Cut drop design by Sosman & Landis Scene Painting Studio. Holak Collection, Performing Arts Archives, University of Minnesota Libraries.
Here is the link to the cut drop design on the scenery collections database: https://umedia.lib.umn.edu/item/p16022coll116:1585?facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections&page=2&q=masonic
Backdrop design by Sosman & Landis Scene Painting Studio. Holak Collection, Performing Arts Archives, University of Minnesota Libraries.
Here is the link to the backdrop design on the scenery collections database: https://umedia.lib.umn.edu/item/p16022coll116:2115?facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections&page=2&q=masonic
The backdrop and cut drop design are part of the Holak Collection, Performing Arts Archives, University of Minnesota Libraries. The Holak Collection, Twin City Scenic Co. Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections
I post a historic scene every day to my FB Group Dry Pigment and my FB Page Wendy Rae Waszut-Barrett.
Painted detail from cut drop design.Painted detail from cut drop design.Painted detail from cut drop design.Painted detail from backdrop design.Painted detail from backdrop design.Painted detail from backdrop design.
