Mike Hume and I arrived in Buxton on the evening of August 4, 2024.
The fence surrounding Buxton’s Pavillion gardens with the Opera House, pictured far right.A map showing the location of the Buxton Opera House in England.
On the morning of August 5, we had a little time to wander about town, taking in a few sights.
Buxton, England.
Buxton is a spa town in the east Midlands region of England, built on the River Wye. With ancient origins, Buxton became known for the healing properties of its waters. In fact, the one of the first things we did upon our arrival was to fill our water bottles at St. Ann’s Well, a shrine since medieval times.
St. Ann’s Well in Buxton, England.
Buxton’s website explains that St. Ann’s Well was denoted one of seven ‘Wonders of the Peak’ by Thomas Hobbes in 1678: “this cures the palsied members of the old, and cherishes the nerves grown stiff and cold”. Warm water, from a geothermal spring, flows at a constant 28 degrees Celsius (82.4F). High in magnesium, the same spring water is bottled and sold asBuxton Water.
Victorian spa in Buxton, now part of the Buxton Tourism building. Note the flowerpot sculpture – like in Settle!
Mike had scheduled an appointment with Willow Hick, production coordinator at the Buxton Opera House. I am still a little amazed that anyone allowed us to visit during the International Gilbert & Sullivan Festival.
It was also a perfect opportunity to visit old friends. As Diana Walkden lived nearby, we invited her to join us on our excursion. It was a really good thing too, as her involvement with the current Matcham exhibit on display in the building likely expanded or tour options that day!
Wendy Waszut-Barrett and Diana Walkden at the Buxton Opera House, August 5, 2024.One of the framed panels for the exhibit at the Buxton Opera House.Detail showing the layout at the Buxton Opera House.
Buxton’s Opera House was designed by Frank Matcham (1854-1920). This architect has quite a following, although that wasn’t always the case. He has a really interesting past and his theatres are absolutely gorgeous. For more information about Matcham, visit the Frank Matcham Society.
Opening on June 1, 1903, the Buxton Opera House featured live performances until 1927. As was the case with many theatre at this time, silent films were introduced, thus shifting the direction of scheduled entertainments. Although live performances persisted over the years, the Buxton Opera House primarily served as a cinema, then gradually fell into a state of disrepair. Fortunately, it has returned to its former glory, reopening on July 30,1979, with a performance of Lucia di Lammermoor.
Here are some of my favorite photos from our visit:
The Buxton Opera House, England.Entrance to the Buxton Opera House.The lobby at the Buxton Opera House.Ceiling mural detail in the lobby of the Buxton Opera House.Floor detail in the lobby at the Buxton Opera House.The safety curtain in at the Buxton Opera House on August 5, 2024.The Buxton Opera House.Ceiling at the Buxton Opera House.Sunburner and ceiling murals at the Buxton Opera House.Ceiling mural detail at the Buxton Opera House.Mural detail of comedy and tragedy masks at the Buxton Opera House.Proscenium detail at the Buxton Opera House.Proscenium detail at the Buxton Opera House.Theatre Manager’s box at the Buxton Opera House.View of the orchestra pit from the boxes at the Buxton Opera House.Another view of the Buxton Opera House.Buxton Opera House.Last row at the Buxton Opera House.Buxton Opera House.Mike Hume in action at the Buxton Opera House during our visit on August 5, 2024.
As with all of our theatre visits this trip, Mike Hume’s Historic Theatre Photography will share more detailed information and photos for this and other venues.
Leaving the Buxton Opera House on August 5, 2024.Wendy Waszut-Barrett, Diana Walkden, and Mike Hume in front of the Buxton Opera House, England.
James M. Wood became associated with Sosman & Landis in the 1880s. Although he began his career as a decorative painter, he soon transitioned to architectural design and construction. Wood specialized in theatre buildings and even established a brief partnership with Joseph S. Sosman and Perry Landis known as Sosman, Landis & Wood. In 1887, the firm was mentioned in the early phases of a new opera house planned for Bloomington, Illinois. On March 29, 1887, the “Bloomington Daily Leader” announced, “New Opera House. A Chicago Firm Drawing the Plans for $60,000 Building – A Sensible Scheme for a Stock Company” (page 7).
The article continued, “The prospect of securing a first-class metropolitan opera house for the city is beginning to assume tangible shape, and if leading capitalists who have pledged themselves to take stock do not back out at the last moment, it will certainly be built. Mr. E. W. Tillotson was in Chicago and arranged with Sosman, Landis & Woods to draw the plans for a four or five-story building of elegant proportions to cost about $60,000. The first and second floors are to contain offices furnished with tile floors; the third and fourth stories are to be fitted up as flats. The whole building will be heated by steam and furnished with a passenger elevator. It will be similar in plan and dimensions to the Chicago Opera House, which is regarded at the model theatre of Chicago.
The theatre proper will hold 1,600 people and will be handsomely finished and furnished. The dimensions of the stage will be 45×84, with a 36-feet opening. The stage of Durley Theatre is 22×65, so it will be seen that this is over twice as large. The theatre is to be furnished with exits from all sides.
The plans are to be ready in about ten days. Messrs. Tillotson & Fell will then call a meeting of citizens to form a stock company. They propose to take the opera house for a tern of ten years as a yearly rental of 7 per cent of the entire cost of the building and land, and will give the company the basement rooms, the yearly rental of which is estimated will pay for repairs. Estimating the taxes and insurance at one per cent, this will leave the stockholders a net interest on their money of six per cent, which will be a very handsome investment, as money loans at the present time. The property will also continue to improve in value as the city grows. Mr. Tillotson says that over $30,000 has already been pledged, and thinks there is no doubt that the stock will be quickly taken. THE LEADER hopes that the plan will succeed, as Bloomington badly needs such a temple of amusement. It is expected to have the building ready for occupancy in September.”
Wood’s early career in the decorative painting industry and the theater are seldom mentioned when his later architectural endeavors are discussed. Here is what I have managed to locate about the life of Col. J. M. Wood.
J. M. Wood, 1907.
James Madison Wood was born in New York sometime during 1841. Although a few records suggest an earlier birthyear, I am pretty confident about this date. He was one of several children born to James E. Wood (1804-1861) and Jane Dunning (1806-1895). The two were married in New York City on Jan. 11, 1827, and remained in the area for the first few decades. Their children, those who survived to adulthood, include George W. Wood (b. 1838), Henry Clay Wood (b. 1846), James M. Wood (b. 1841) and Henrietta Wood (1844-1903).
The 1850 US Federal Census listed the Woods living in Ward 3 of New York City. The household included: James E. (45), Jane (44), George W. (18) James M. (11), Henrietta C. (7) and Henry C. (4). Five years later, the Wood household had expanded to include a servant and Ann E. Wood, James E. Wood’s younger sister. In 1855, they were living in Ward 16.
By 1860, the Wood family moved west, settling in Perry, Illinois. Perry is approximately 40 miles east of Quincy, Ill, and 120 miles north of St. Louis, Missouri. In Perry, the Wood household now included James E. (56), Jane (54) James (21), Henrietta (17) and Henry (14).
In 1861, the elder James Wood passed away at the relatively young age of 57 yrs. old. His obituary was published in the “New York Evening Post” on Aug. 29, 1861, noting “James E Wood, late of this city.” Wood was buried at Perry Cemetery in Perry, with his tombstone dating August 9, 1861. The same year that his father passed away, James M. was married to Isabelle Sarah Slaughter (1843-1925). It remains unclear if Wood fought in the Civil War, although in later years, he would go by Col. Wood. Interestingly, I have yet to locate any records that suggest a Col. Wood who fought for the Union, but a Col. Wood fought for the confederacy. There was a theatrical manager, Col. Joseph H. Wood (1821-1892), who opened Col. Wood’s Museum in Chicago in 1864 at the corner of Clark and Randolph Streets. However, this was an entirely different person.
Regardless of Wood’s military service, he relocated to Chicago by the early 1860s and secured work as a decorative painter. In 1863, James and Isabelle celebrated the birth of their first child, Benjamin Wood, on June 17. Five more children were born to the couple in Illinois: Ellen “Nellie” Wood (b. 1865), and Minnie Wood (b. 1869), Lulu Wood (b. 1871), Alta (b. 1872), and Edna Wood (b. 1877).
Many histories are quick to link Wood’s sporadic employment as a carpenter resulted in his later career as a contractor and architect. However, in 1870 Wood still listed his occupation as a painter and grainer in the US Federal Census. He was listed in the 1870 Chicago Directory as a paper hanger, living at 9 Vincennes Ave. His son Benjamin also entered the wall paper trade, a profession that he continued until his own passing in 1912.
In 1870, the Wood household as included James (30 yrs.), Isabelle (27 yrs.), Benjamin (8), Nellie (5 yrs.), and Minnie (3 yrs.). Isabelle’s younger brother, Robert Slaughter (20 yrs.), was also part of the household and listed as a painter too. In later years, Slaughter continued to work as a painter, moving from Chicago to Cincinnati by 1880. Interestingly, Slaughter’s son, Robert F. Slaughter Jr., later worked as a sign painter in California.
In 1872 Wood was still listed as a painter, but included a new service – “builder.” This would make sense, as Chicago began to rebuild after the 1871 fire. Wood’s directory listing continued to shift with the times and included the trade of painter, paper hanger, builder and contractor. Like many, his directory listing reflected ever-changing projects. In 1873, he was listed as builder, but in 1874 was again listed as a paper hanger, now working at 614 Cottage Grove, During this time, his private residence remained on Langley ave., although the house numbers would change from 8 to 72. In 1875 he was listed as a contractor, living at 72 Langley Ave. Wood also suffered some legal troubles around this time too. On Jan. 12, 1876, “The Inter Ocean” reported, “James M. Wood, of Chicago, – 3,054 – Involuntary petition files against James M. Wood, a contractor, of 72 Langley avenue by E. E. Cadwell, on a claim of $1,425; Wm. Stevens, $446.95; Carney & Haskell, $375. The debtor is charged with giving on Jan. 8 last to James Berry & Co., a judgment for $134.88, with a preferential intent, also with transferring certain moneys to his wife with a fraudulent intent. Ryule to show cause Jan. 22. Olney & Waters attys.” (page 3).
On May 8, 1877, the “Chicago Tribune” announced, “R. K. Jenkins was yesterday appointed Assignee of James M. Wood.” This is likely when Wood began to travel across the country for work, ever expanding the scope of his projects throughout the regions. The 1880 US Federal Census listed Wood as a decorator, now living with his family at 215 Johnson Place. His neighbors were primarily painters and paint suppliers. Their names included William Warner, Thomas Turner, William Edmour, and William Appleker.
Between 1880 and 1882, Wood increasingly worked as an architect. By 1882, Wood relocated his family from Illinois to Wisconsin. On March 28, 1882, the “Oshkosh Daily Northwestern” reported “The committee is much relieved of embarrassment on this point by the receipt of a letter from J. M. Wood, theatrical architect, who built the Rockford Opera House, accompanied by a pamphlet giving full information as to the building of the opera house at that place, its seating capacity, its status as a financial investment and its acceptability to both public and artists playing in it” (page 4).
By the end of 1882, Wood added a new title – theatre manager. He settled in Racine, Wisconsin and began managing Racine’s Blake Opera House.
On Dec. 7, 1882, the ‘Racine Advocate” published a letter form James Wood (page 8):
“Card to the Public”
In announcing the opening date of the Blake Opera House Friday, Dec. 13, I have felt that it would not be out of place for me to say a few words to the people of Racine regarding the house, and the aid and cordial support which the Board of Directors have afforded me in my efforts to present, to you and Opera House which for completeness and refined elegance is without rival in the west. To produce these results has required an outlay far in excess of their original intention; but realizing that there was a future for Racine justifying it they have cheerfully furnished the means to erect a public building that will be a pride and source of pleasure in the years to come. In the management of this House it will be my aim to present only such attractions as shall tend to elevate the morals of the community or at least to divert the minds from the worrying cares and anxieties of active business which without some recreation makes man prematurely old. I would respectfully call your attention to the magnanimous manner in which sister cities of the west have shown their appreciation for such public work. The citizens of Peoria when called upon responded at the auction sale of seats for the opening to the tune of about $8,000. Kalamazoo, Mich., $4,400, and the little city of Lima, Ohio, nearly $3,000; and I might name many others, Trusting that the citizens of Racine desire not to be considered lacking in generous liberality and public spirit I would invite you all to assemble in the Opera House on Saturday evening, December 9, at 7:30 P.M., when you will be afforded an opportunity of tendering a benefit to the Opera House Association in the purchase of seats for the opening entertainment which will be disposed of by auction.
J. M. Wood, Manager.
For years our society people have been regretting the lack of a suitable place for entertainments and amusements. In the Blake Opera House such a place has been provided and it is to be hoped that our citizens will give it the patronage it deserves. Go to the Opera House next Saturday evening, pick out a good seat and pay for it. The seats will be sold at auction” (page 8).
Wood’s construction of the Blake Opera House and its management signifies a definitive link with both Thomas G. Moses and Sosman & Landis. Moses painted scenery for Racine’s Belle City Opera House and Blake Opera House in 1883. On March 14, 1883, “The Journal Times” of Racine, reported, “Thomas Moses, the scenic artist, who painted all the handsome scenes at the Blake Opera House, departed for Illinois to-day. During his stay here Mr. Moses has made many warm friends, who wish him every success, wherever he may go” (page 2). At the time, Moses was working with Lemuel L. Graham and John H. Young. Other projects completed by Graham & Moses between 1882 and 1883 included the Academy of Music in Kalamazoo, Michigan; Redmond’s Opera House in Grand Rapids, Michigan; the Opera House in Marengo, Illinois; and the Grand Opera House in Eau Claire, Wisconsin. Moses and Graham soon added John H. Young to their force, and they were able to work at multiple locations simultaneously.
Moses returned to Sosman & Landis shortly after painting scenery for the Blake Opera House in 1883, That spring he wrote, “I went to Oshkosh, Wisconsin, after a contract. I met Mr. Landis there. I got the contract. We rode to Chicago together and met Mr. Sosman on our arrival. We [Moses and Lemuel L. Graham] were offered $45.00 a week. I wired Graham at Burlington. He answered $50.00 and extras. We closed for that.”
This caused a bit of trouble in Oshkosh for all parties concerned. On April 4, 1883, the “Oshkosh Northwestern” published an article entitled, “The Opera House Scenery Contract.” It reported, “Graham & Moses who were awarded the contract for furnishing curtains, scenery and stage settings for the Opera House have notified that they withdrew their bid and decline the contract. On receipt of this also comes a notification from Sosman & Landis, also bids on the job to the effect that they have employed Graham & Moses in their establishment and asking that the contract be awarded them in accordance with their bid. It appears that there were only two bide in for the work, that of Graham & Moses and one from Sosman & Lands. The latter’s bid was about $700 larger than that of Graham & Moses, and, now it would seem the two firms have fixed it up so as to try and have the contract awarded at a greater amount. The directors are now talking of giving the contract to other parties entirely and not letting either of those firms get a finger in it” (page 4). Regardless, Moses completed the project in Oshkosh and headed back to the Sosman & Landis studio in Chicago. Of the transition from Graham & Moses to Sosman & Landis, he wrote, “I had Oshkosh to finish, which I did, and May 1st found Graham, Young and myself back on Clark Street at the Sosman and Landis Studio. I averaged $70.00 per week, as we had a lot of night work, mostly piece work. We had to do all the road work which I didn’t like.”
That same year, the 1883 Racine City Directory listed J. M. Wood as an architect. He was one of only three architects listed in the city. The other two listed in the city directory were J. G. Chandler of 315 6th and W. H. Phelps of 1013 Peral. Wood was just up the street from Chandler, working at 322 6th. It was also in 1883 that James M. Wood and his son Benjamin W. Wood founded J. M. Wood & Son. The firm’s business offices were located as Hotel Blake in Racine, on the corner of 6th and College Ave. Finally, it was also in Racine that Wood met his future busines partner, Sidney Lovell (1867-1938). At the time, Lovell was only 15 yrs. old. Some architectural historians purport that Lovell became Wood’s architectural assistant by 1883. Two years later, he was working as Wood’s draughtsman in Chicago.
There is a reason that Wood began working with Sosman & Landis in 1884; his opera house burned down. In 1884, J. M. Wood, was the architect for the Academy of Music in Saginaw, Michigan. Lovell followed his mentor, eventually transitioning from architectural assistant to a full-fledged architect. In 1885, the Chicago Directory listed Wood as an architect, with his employer’s address as 279 S. Clark Street. The directory listing noted that he was still living in Racine, Wisconsin. 279 S. Clark Street was the business offices and main studio for Sosman & Landis in 1885. Meanwhile, Lovell was also working in Chicago with Wood. He was listed as a draughtsman, boarding at the Brunswick Hotel. In 1885, Wood was credited with several opera houses, including those in Elgin, Illinois and Grand Rapids, Michigan. On July 11, 1885, Racine’s “Journal Times” reported, “Architect J. M. Wood was in the city yesterday and he is the busiest man in the country at present. He is building two opera houses in Michigan, two in Pennsylvania, one in Ohio, and is superintending the rebuilding of the Academy of Music in Milwaukee. Mr. Wood said that next winter, when he has plenty of leisure time, he proposed to work up an opera house company in Racine. It is hoped he will keep his promise and be successful in the scheme” (page 3).
Wood kept his word, and drew up plans for a new opera house by that fall. On October 20, 1885, the Milwaukee “Sentinel” reported, “J. M. Wood, the architect who remodeled the Academy, and who also built the Blake Opera House at Racine, recently destroyed by fire, and the Saginaw and Wausau opera house, has completed the plans for a new playhouse to be built at Racine. The building is to cost between $30,000 and $40,000, and will be owned by Bell City capitalist and Mr. Wood. It is to be located on a centrally located piece of real estate on Main Street.”
Wood improved upon the old Blake Opera House design. In an article written for Racine’s “Journal Times” on Nov. 11, 1885, Wood stated, “You had an opera house that you had reason to feel proud of, for it stood second to none in artistic effects, The mistake made in building it upstairs will neverbe repeated” (page 3). Wood’s proposal for a new opera house included a first floor-venue and larger stage. In short, he paid attention to backstage activities when managing the first Blake Opera House. Wood became a very successful theatre architect because he understood backstage activities and stage systems. More so, he knew what worked and drew touring productions to a venue.
It is not surprising that by 1887, Wood partnered with Sosman & Landis to establish Sosman, Landis & Wood. Although the firm was short-lived, the affiliation between Wood with the well-known Chicago scenic studio lasted for decades.
The 1880s was a turning point in both the life and career of Wood. Not only was his business thriving, but his children were leaving home and starting their own families. On Oct. 6, 1886, Wood’s daughter, Ellen “Nellie” Wood married Edward P. Clancy. The next year, Minnie Wood, married James H. Driver. On April 13, 1887, the “Racine Journal” announced the wedding, noting that Minnie’s parent, James and Isabelle Wood resided at No. 1136 College Ave.
In addition to working as an architect, Wood began to invest in other business ventures. On April 2, 1887, “The Irish Standard” in Minneapolis, Minnesota” reported, “The Hennepin Avenue Theatre Company was incorporated Wednesday by W./A. Barnes, Jacob E. Sackett, James M. Wood, Enoch W. Wigging, Frank P. Weadon, Carroll Gates and Burt P. Gates. The company has a capital stock of $100,000 divided into share of $50 each” (page 5). That same month, Wood also helped establish and opera house company in St. Paul.
On April 19, 1887, Article of Incorporation were filed for the Murray Opera House Co. An announcement in the St. Paul Globe noted the commencement of the corporation as 1 April 1887 with a capital stock of eighty thousand dollars, divided into sixteen hundred shares of fifty-dollars each. The names and places of the persons forming this association for incorporation were William P. Murray, residing at St. Paul, Minnesota; Jacob E. Sackett, residing at Chicago, State of Illinois; James M. Wood, residing at Chicago, Illinois; Enoch W. Wiggins, residing at Minneapolis, Minnesota, and Frank P. Weadon, residing at Minneapolis, Minnesota.” The announcement stated that “The general nature of the business shall be the building, erecting and operating a public hall or halls and opera house or opera houses within the limits of St. Paul.”
Wood also began casting his net much wider for projects throughout the country, and soon set his sights to the West. It is also around this time that he begins using the title Colonel, going by Col. J. M. Wood.
On Aug. 2, 1888, the “Morning Oregonian” of Portland reported, “The New Opera House – Col. J. M. Wood, the celebrated architect of Chicago arrived here on the O. & C. yesterday. He brought a sketch of the plans he is drawing for the new opera house on Marquam’s block. The house will be 70×133 – will have parquette, parquette circle, balcony and gallery, will seat 1600 people, will have six proscenium boxes and six large elegant parlors both for ladies and gentlemen. The theatre building will be separated from any other building and will have an alley or court eight feet in width around the entire theatre, which, as Col. Wood puts it, will make it the safest theater in America in case of a panic, as the house will have any number of exits, and is on the ground floor. The interior will be of East India Style in architecture and finish” (page 5).
On April 4, 1889, the “Lincoln Journal Star” in Lincoln, Nebraska reported, “The visit at this time of Col. J. M. Wood, whose name and fame as an architect and builder is widely known across the continent, is believed to indicate preliminary movements about to be made towards the erection of some elegant and expensive buildings in this city. On account of the distinguished gentleman’s intimate social and business relations with Mr. John Fitzgerald, it is but natural to conclude that our honored citizen has plans of the long talked of hotel and opera house project now nearly matured and seeks the valuable services of the noted builder with the object of soon commencing active operations…Col. Wood is now engaged in building the California Theatre and the Grand Hotel at San Francisco, for Mrs. John McDonough, erected at an expense of $100,000. Mr. McD. (deceased) is pleasantly remembered by all pioneer Californians as the enterprising person who built the first theatre in that city. The new building is located on the old site. Mr. Wood is also building the Burbank opera house at Los Angeles, Grand opera house at Portland, Oregon, and new opera house at Tacoma, W.T., and Broadway theatre at Denver. He has just completed the Bush street theatre at San Francisco, a magnificent structure for Mrs. Leavitt. He erected the Hennepin opera house at Minneapolis, the Murray at St. Paul, and ‘Wonderland Theatre,’ Grand Rapids, Michigan for J. E. Sackett of our new Lincoln Eden Musee…” (page 4).
On Aug. 29, 1889, “The Los Angeles Times” reported, “Col. J. M. Wood, the architect of the New California and the New Grand Opera-house in Portland, talks of building an opera-house where the stage will be run by electricity – two men being able to operate the most intricate spectacular production, one being able to handle the entire scenery of an ordinary drama” (page 2).
In 1889, Moses and Wood were brought to Tacoma. On 6 Jan 1922, “The Tacoma Ledger” published an article on the return of Thomas Moses after 33 years. (page 18). The article reported, “Mr. Moses has been closely identified with Tacoma for many years. It was he who, 33 years ago, was brought to Tacoma with Col. J. M. Wood in connection with the construction of the Tacoma Theater, one to do the scenery and the other to build the structure. That both performed their appointed tasks well is attested by the fact that the Tacoma Theater is still Tacoma’s leading playhouse and that some of the scenery painted by Mr. Moses 33 years ago is still in excellent condition.”
On Sept. 3, 1889, “The News Tribune” of Tacoma, Washington, reported, “The New Theater Architect. Col. J. M. Wood, the noted Chicago architect of theaters, and daughter, are at the Tacoma hotel. Col. Wood designed the new Tacoma Theater. He came out to see how work was progressing on it. He expected to find more progress was made. Manager Hanna said this morning that he expected to be doing business in the theater by Thanksgiving at the very latest” (page 4).
Father and daughter then headed down the coast to California. On Dec 27, 1889, “The Daily Courier” of San Bernardino credited Wood as the architect for the Riverside Opera House. The 100-set Loring Opera House was one of the first built in southern California. The newspaper article mentioned “J. M. Wood, the architect of Chicago, considered the finest theatrical architect in the country.” The article also reported, “the scenery has been painted by Thomas G. Moses of Chicago, one of the best scenic artists in the United States” (page 3). Sadly, Wood’s trip to California with Lulu ended in tragedy. On March 26, 1890, “The San Francisco Examiner” announced Lulu’s death. The obituary announcement reported, “WOOD – In this city, March 23, Lulu, beloved daughter of James M. and Isabelle S. Wood, a native of Chicago, Ill., aged 18 years I month and 7 days. The funeral services will be held tomorrow (Thursday) at 3 o’clock P.M, at the undertaking parlors of Halstead & Co., 746 Mission street. Friends are respectfully invited to attend. Remains will be taken to Chicago for Interment.” At the time, her father had just completed 1,000-seat Loring Opera House in Riverside, California. I have yet to locate her cause of death.
It was around this time, that Wood’s assistant Lovell was added as a full-fledged partner to the architectural firm, establishing Wood & Lovell. Lovell had garnered quite a reputation of his own by this time, having continually assisted Wood since their early work together in Racine. On Feb. 25, 1890, the “Journal Times” of Racine, Wisconsin, reported that Lovell was “one of the finest draughtsman in the western country” (Page 3). Wood & Lovell established regional offices in San Francisco and completed a remarkable amount of work together by 1892. Projects included: Grand Opera House, Los Angeles; Loring Office Building and Opera House, Riverside, California; California Theatre, San Francisco; Columbia Theatre, San Francisco; and the Burbank Theatre, Los Angeles; Tacoma Theatre, Washington; and Marquam Grand Theatre, Portland, Oregon. They also remained associated with Chicago during this time.
It is in the California voting registry that we get a little more information about Wood’s appearance. On Oct. 2, 1892, his physical description was listed as 5’-8”, light complexion, grey eyes and grey hair. That year Wood was noted as “an enthusiast in this branch of his profession, and has devoted a great deal of time and study to the comfort, convenience, acoustic qualities and effect in the design and arrangements of opera houses, theaters and concert halls” (“The Bay of San Francisco,” Volume 1, 1892).
In 1893, Wood & Lovell’s business offices in Chicago were located in the new Ellsworth Building, at 537 S. Dearborn Street. Their list of accomplishments continued to grow throughout the duration of the decade.
On Dec. 2, 1894, “The Commercial Gazette” of Memphis, Tennessee, included an article on the new Lyceum Theater in that city (page 2). Architect Wood & Lovell.
“Col. James M. Wood.
Col. James M. Wood, the architect of the New Lyceum, is one of three American architects who make a specialty of theater building. He has been in the building business since he was 24 years old. As a practical contractor he has been engaged in several important lines connected to the building trade. He began the construction of theaters sixteen years ago, and among his notable structures are the California Theater, San Francisco; the New Broadway, Denver; the Marquam Grand, Portland, Ore.; the Grand Los Angeles; the Hennepin Avenue, Minneapolis; the Yosemite, Stockton, Cal.; the New Empire, Quincy, Ill.; Academy of Music, Kalamazoo; Black Opera House, Racine, and his own theater, Wood’s of Bay City, Mich. The characteristics of his work is the progressive spirit manifest in all of it, originality in arrangement and rigid adherence to the orders of architecture. He is the senior member of the firm Wood & Lovell of Chicago. Lovell has been associated with him for many years, giving his attention to the office work. The two men are in close artistic sympathy. Mr. Lovell’s talent as a designer, accounting for the perfection of their work. Mr. Wood is the inventor of the peculiar system of stage machinery in use at the new Lyceum. This theater is absolutely his own conception. It does not resemble any other theater in America, and will stand as a model…The stage is 68 feet in width and 40 feet in depth, and it is 60 feet to the gridiron, making the stage large enough for any requisition. The stage machinery will be the same as that delivered by Col. Wood for the new Broadway Theater in Denver, and similar to that adopted by the directors of the Chicago Auditorium, who sent one of the best American Stage carpenters to Europe to examine the most approved machinery in use abroad. The entire machinery is operated form the stage floor by a system of endless wire and cables counterweighted, thus avoiding the confusion incident to stage hands being crowded in the fly galleries, There are all the usual mechanical appointments. The scenery has been painted by some of the best American artists. No wood appears on the stage, apart from the flooring. The fly galleries and rigging loft are entirely of steel. An asbestos curtain running in iron grooves has been provided, and also an automatic skylight ventilator, which will open upon a rise of temperature. Automatic fire sprinklers have also been placed, so that every appliance has been rendered to use the stage safe and fire proof” (page 2).
Wood was also the theatre architect when Lyceum Theatre scaffolding in Memphis collapsed with seven men plummeting to the stage floor (“The Commercial Appeal,” 4 Dec 1894 page 3). This was another project supervised by Moses. It resulted in a death and a subsequent court case. Those who were working on the scaffolding when it collapsed were scenic artists Al Morris (Chicago), Charles Wallace (Des Moines), John Vorhees (Chicago); stage carpenter Joseph Wykupt; and assistants Horace Posey, A Ewell, and John Wiley.
On Dec. 2, 1898, the “Detroit Free Press” reported on the ongoing collapse of the Wonderland Theatre roof collapse. “Col. Wood testified that in the first interview with John Scott, the latter told him that his firm would insist on having control of the construction of the building and would consult with him regarding the arrangements of the theater. The witness had a book showing a record of all the material used in all the theaters he had built of the fire-proof type, and he was able, without any hesitation, to answer any question regarding them. His answers were all so direct and positive that there was no chance to quibble with him. He asserted that he was employed to look after the stage, the seating, acoustic conditions, line of vision, boxes and other matters pertaining strictly to the Wonderland Theater, while with the architectural and steel construction he had nothing to do; and paid no attention to it. Regarding to the fact that he had loaned John Scott & Co. a set of plans of the Detroit Opera house, he said that he did it simply as an act of courtesy, to a brother member of the profession, thinking that it might give him some idea of theatrical construction. He denied that he told Arthur Scott to follow those plans, saying that he had no authority to order him and he had not been asked to have anything to do with the construction of the building.” Woods connection to the Wonderland Theatre project was later described: “Col. Woods then narrated how he became connected with the Wonderland work, stating that in early April Mr. Wiggins called on him at the Russell House and referred to building a new theater. Mr. Wiggins told him he had contracted for the upper floors of the Barbour building for the museum, which made it necessary to employ the same architect. ‘He asked me,’ said Col. Wood, ‘to act in conjunction with John Scott & Co., and I said that I would, providing it was perfectly satisfactory to them, and Mr. Wiggins told me that they had already agreed. In talking to John Scott, he said the Scotts would expect to control the construction of the building and act with me as the designer of the theatrical arrangements in the building.”
Meanwhile, Wood continued to work throughout the region. On October 6, 1898, the “Lake Geneva Weekly News” of Lake Geneva, WI, reported, “Kansas City – The Auditorium destroyed by fire last winter, is to be rebuilt at an early day and run as a popular price house. Col, J. M. Wood of Chicago has arrived with plans for the new building.” (page 2).
In 1899, Wood was working out of Detroit. He was also assisting the architect William J. Brockett for a new theater to be built on the same site as the Cook Opera House in Rochester, NY. On May 9, 1899, the “Democrat and Chronicle” of Rochester reported, “The intention of the owners of the property was submitted to Mr. Brockett about a month ago, and he has been devoting his entire time to the plans since that time. Colonel James M. Wood, of Detroit, will be associated with Mr. Brockett as a consulting architect, after the actual work of construction is begun” (page 7). On August 18, 1900, “The New York Times” reported, “ Detroit, Aug. 17. – Col. James M. Wood of this city is preparing plans for a new vaudeville theatre to cost $300,000 to be begun this autumn in Sixth Street, Pittsburg. The theatre is to be built by Eirick & La Marche, proprietors of the Empire Theatre, Cleveland. Col. Wood said that Wiggins & Moore, proprietors of the Wonderland, the vaudeville theatre in this city, would probably also be interested. The new building is to be called the Empire and will probably be finished this winter” (page 7). On August 18, 1900, the “Detroit Free Press” reported, “Col. James M. Wood, the architect of this city, is preparing plans for a splendid new theater which is to be erected this fall on Sixth street, in Pittsburg, and in which the proprietors of the Wonderland will in all probability be interested. Col. Wood said last night that the theater, when completed, would be the finest vaudeville theater in the country” (page 5).
During the fall of 1899, Wood’s youngest daughter was married. On Oct. 19, 1899, the “Chicago Tribune” reported, “The marriage of Miss Edna Wood, daughter of Mr. and Mrs. James W. Wood, 4212 Greenwood Ave., to Mr. Burt C. Hardenbrook took place last night at the residence of the bride’s parents” (page 7).
Business was booming at the dawn of the twentieth century. The 1900 US Federal Census listed the Wood home as located at 4200 Greenwood Avenue, Chicago. He an Isabelle had been married 37 years, and enjoying life as grandparents, yet James was not slowing down yet. At the age of 59 yrs. old, he had designed dozens of very well-known theaters and was running architectural firms in Chicago, Detroit and New York. For the next decade, Wood worked on dozens of theater projects. Here are a few newspaper articles describing several projects:
On Sept. 2, 1900, the “Democrat and Chronicle” announced, “Manager J. H. Moore, of the Cook Opera house of this city, and the Detroit Theater has just perfected arrangements for the building of a new vaudeville house in Pittsburg, Pa. Colonel James M. Wood, the well-known architect, has completed the plans for the structure” (page 16).
On Feb 1, 1901, “The Buffalo Enquirer” reported, “New Theater’s Iron Delayed.” (page 8). “Col. J. M. Wood who has charge of the erection of the new Academy of Music, on Washington Street, arrived in Buffalo yesterday. It was expected that the work of putting up the iron of the stage would be begun this week, but the mills were unable to turn out the material on time…”
On April 13, 1901, “The Ottawa Citizen” of Ottawa, Ontario, Canada, announced, “Theater to be Rebuilt. Manager Small Announces That the Restoration Will be Effected Under the Supervision of Col. Wood of New York” (page 1). He was referred to as “Col. J. M. Wood, the theatrical artist of New York” and later “Col. J. M. Wood, the eminent theatrical architect of New York, Chicago and Detroit.”
On April 20, 1902, Detroit’s “Free Press” noted “Grand Rapids, Mich., April 198 – (Special) – Col J. M. Wood, of Detroit, the well-known theater architect, has leased what was formerly Powers’ Opera house, and it will be known hereafter as the Campo Square theater. The new opera house will be remodeled, and put in excellent condition and only first-class attractions will be booked for the next season” (page 23).
On Nov. 6, 1903, “Huntington Weekly Herald” of Huntington, Indiana, reported, “Col. J. M. Wood, of Grand Rapids, a noted architect whose specialty is opera house work, is in the city today in consultation with the opera house company regarding the structure to be erected in this city. The Colonel is the architect of most of the theater buildings in Michigan, including the fine play hoses of Detroit and Grand Rapids” (page 5). (page 5).
On June 25, 1904, the “Daily News-Democrat” of Huntington, Indiana, reported, “At the Opera House. Rapidly the brick is being laid on the new opera house. On an average the walls have reached fifteen feet in height. Pressed brick is being put on the front. Two round columns at the entrance extend to the floor of the second story. Carpenter work is also being hurried along on this building. Timbers for the balcony and gallery are in place and the other carpenter work is kept ahead of the brick masons. Col. J. M. Wood of Chicago, architect for the building, is in the city most of the time overseeing the construction. The opera house is to be a most complete modern and commodious structure, a distinct credit to the city” (page 13).
On April 1, 1904, the “Fort Wayne Sentinel” reported, “Col. J. M. Wood of New York City who has been in Fort Wayne for over the past two days to look over the ground for a number of New York Capitalists who contemplate the erection of a combined theater and office building in this city, returned to the last night, and will report favorably on the proposition to his principals…Colonel Wood is one of the most noted architects in the east and has made plans for more than fifty theaters in the larger cities of the country…he was a guest of E. Gregg Davis” (page 1).
On March 18, 1905, “The South Bend Tribune” reported, “Goshen, Ind. March 18. – The Sanders, Hay & Niedeg company of this city, has contracted with Col. J. M. Wood of Chicago for plans and specifications for a three story business block and theater…”
Wood’s reputation continued to grow over the years. On Oct. 24, 1905, “The Indianapolis News” reported, “Builder of Ninety-Eight Theaters. (Special to the Indianapolis News.] GOSHEN, Ind., October 24. – Col J. M. Wood, supervising architect of Goshen’s new theater, the Jefferson, to be opened November 6 by Richard Mansfield, with a dedicatory address by Governor Hanly, has closed a contract to build a $150,000 fireproof theater at Cincinnati. It is to be owned by the Schubert independent theatrical organization, and the site will be cleared this winter for early spring construction work. Colonel Wood had built ninety-eight theaters, some of them the finest in the country. He will also build one at Toledo and another at Garrett, next spring” (page 2).
J. M. Wood was still listed in the Architects section of the Chicago City Directory in 1907, working at 1708, 9 Jackson Boulevard H586. On April 16, 1907, Col. J. M. Wood was pictured in “The Indianapolis Star” on page 4. Beneath his picture, the caption stated, “Col. J. M. Wood of Cincinnati, the well-known architect who has drawn the plans for the new Grand Opera House and who has arrived here to superintend the building of the new theater, formerly lived in New York and knew Stanford White, who was murdered by Harry Thaw, the Pittsburg millionaire. Col. Ward was a personal friend of White, as both were prominent as architects. In discussing some of the great architectural feats the country has known Col. Wood last night spoke of the work of Stanford White. He declared the murdered architect did not deserve the reputation that has been given him in the thaw trial. ‘Stanford White is dead,’ said Col. Wood, ‘he has no defense, but the genius of the man and the refinement of the work he has produced ought to have some weight with the public. The unprejudiced mind ought to discriminate between one who is not here to defend himself and the character of his detractors. There is little doubt in my mind that the view of the entire jury in the Thaw case might have been radically changed if the efforts of the learned district attorney had been successful in bringing all the facts to light.”
By 1909 Col. James M. Wood was living in Indianapolis, Indiana, and working on a project in Rushville, Indiana. On Sept. 21, 1909, “The Daily Republican” noted that Will H. Ogan of Tipton and Col. James M. Wood of Indianapolis are directing the movement to get new factories, etc., into Rushville. Four hundred and fifty lofts were platted in the Posey farm at the northern city limits…articles of incorporation for the Young Men’s Commercial Club of Rushville” (page 4). He remained in Indiana for another decade, but the stream of work projects began to slow down. Most information about Wood’s life and career is found in census reports from this time.
In 1910, the US Federal Census listed that James and Isabelle Wood were living in Turkey Creek, Kosciusko, Indiana. Although still listed as an architect, he was living with his son Benjamin on a farm. At the age of 71, the household included Benjamin W. Wood (47) and daughter-in-law Nina Wood (39). At the time, Benjamin was working as a laborer in the Papering industry.
The 1920 US Federal Census listed J. M. Wood as an 80-yrs.-old grandfather. He and Isabelle were living with their grandson in New York. The household included Russell E. Driver (26 yrs.), Minnie Driver (51 yrs.), and Arthur E. Schneider (30, boarder). Their home was listed as 2910 Hilldale Ave in New York. Russell was an accountant.
Sometime between 1920 and 1923, James and Isabelle Wood moved to Washington, D.C., where they both passed. I have yet to locate any information about why they moved at this time. However, I was able to locate one article about Wood just prior to his passing.
On July 29, 1923, the “Washington Evening Star” reported that Wood was a guest at a gathering of old Civil War soldiers. The article detailed, “Entertains Party. Mr. and Mrs. William G. Good entertained at a dinner at Mountain View, their home in Rappahannock county, in honor of Maj. William F. Anderson, a former resident of that county who now lives in Covington. Maj. Anderson, who is eighty-three years old, is a Confederate veteran and the other guests were his old comrades-in-arms. J. M. Wood, eighty-two, Andrew T. Botts, eighty-one; Robert E. Miller, eighty, and Col. Patrick Henry O’Bannon, seventy-five” (page 11). I have yet to locate any James Woods with the rank of a Col. in the Union Army, although there were plenty of men named James Wood who fought in the war on both sides. However, in the 1878 publication “Georgia: A Guide to its Cities, Towns, Scenery and Resources,” there is mention of “the gallant Col. Wood” in the section entitled, “Confederate Military History.” This mention and the 1923 article may suggest that James M. Wood fought for the south. After all, he was living in southern Illinois when the Civil War broke out in 1861.
On October 3, 1923, the “Washington Evening Star” included Wood’s name in the “Deaths Reported” section (page 9). He passed away at 3224 Park Place. Two years later, Isabelle followed, also at the same address. On March 16, 1925, the “Racine Journal News” announced, “Mrs. James M. Wood, widow of the late James Wood, and a former resident of this city. She is survived by two daughters. Mrs. Minnie Driver and Mrs. B. C. Hardenbrook. The body will be brought to Racine Wednesday morning and funeral services will be held Wednesday afternoon 2 o’clock at the Thorson Funeral home. The Rev. N. K. Tully will officiate and burial will be in Mound cemetery” (page 4).
Wood was buried at Mound Cemetery, Racine, Racine County, Wisconsin. Although there is no marker, his grave is located in Block 11, Lot 109, grave 2.
H. C. Barrows was a scenic artist, salesman and architect. He worked for the Sosman & Landis Company from 1883-1886. Projects that Barrows completed for Sosman & Landis included Scheurman’s Opera House in Griffin, Georgia; the Taylor Opera House in Jefferson,Texas; Ghio’s Opera Hall in Texarkana, Texas; the Capital Opera House in Little Rock, Arkansas; Pine Bluff Opera House in Pine Bluff, Arkansas; the Fort Smith Academy of Music in Fort Smith Amrkansas; the Van Buren Theater in Arkansas, a School Hall stage in Salem, Illinois; a City Hall stage in Frederick, Maryland; Springer Opera House in Columbus, Georgia and the Opera House in Vicksburg, Mississippi.
I have located precious little information about Barrow beyond newspaper notifications that announced his arrival in town and stage work. Fortunately, one article provided a first name – Henry. Unfortunately, there were quite a few Henry C. Barrows over the course of a century.
The H. C. Barrow that I am tracking often cited his permanent residence as Chicago, yet he is not listed in the city directories. This is puzzling for me, as I am frequently able to find scenic artists and architects in at least one directory. I also found it interesting that by 1884, Burrows becomes identified as a “scenic agent.” This is the first time I have encountered the term “scenic agent,” although it makes sense for someone selling stage scenery. It was not a common nineteenth-century term.
The earliest mention of Burrows in any newspaper that I have located is from 1881. This is before he began representing Sosman & Landis in 1883. On Dec. 2, 1881, H. C. Barrow was working with J. G. Reynolds at the Opera House in Americus, Georgia. The “Americus Weekly Sumter Republican” reported, “Work is progressing rapidly in this edifice. The ceiling overhead is being raised some ten to fifteen feet so as to perfect acoustics. Messrs. J. G. Reynolds and H. C. Barrow of Chicago, have the job for painting the scenery, curtains, &c., and are now in the city and at work. Mr. Reynolds, the artist, uses his brushes and pencils with ease and rapidly and is producing some splendid work. He painted the scenery for De Give’s Atlanta, and many other Opera houses, and has the reputation of being the best scenic painter in the country. When his work is finished it will be a treat for the lovers of good pictures to look at it” (page 3). This phrasing of this article is common for the time when crediting a scenic artist and his assistant. In this case, Barrow is the assistant to Reynolds. By 1882, Barrows was on his own and credited as a scenic artist with experience.
On July 8, 1882, “The Times” in Thomasville, Georgia, reported, “We are to have a respectable stage, fixtures, scenery &c. in the City Hall. Mr. H. C. Barrows a scenic artist of large experience in matters of this kind, has been given the contract by the council. This will be most welcome news to every citizen in the town” (Page 5).
On October 11, 1882, The Atlanta Constitution announced, “Mr. H. C. Barrows, representing Sosman & Landis, scenic artists of Chicago, put in Scheurman’s opera house a new and beautiful advertising drop curtain. The work on this curtain is nicely executed and presents a fine appearance. In the centre is a very handsome southern landscape scene, and around the border is decorated with 14 nicely arranged business cards representing different firms in the city. This curtain does not interfere with the regular drop curtain, but can be used as a change at intervals during entertainment. Its cost is about one hundred and fifty or seventy-five dollars and may be classed strictly as both useful and ornamental” (p. 2).
By 1883 Barrow represented the firm of Sosman & Landis, This was the same year that Harry J. Buhler was also working as a scenic artist in the studio. By the end of the year, Moses returned and brought Lemuel L. Graham with him.
On March 6, 1883, the “Tri-Weekly Herald” in Marshall, Texas, reported, “Mr. H. C. Barrow with Sosman & Landis’s scenic studio, of Chicago, Ill., is here and will soon refit our opera house with a full set of scenery and a new drop curtain with the advertisements of our leading business firms painted thereon” (page 3). Two months later, the work was completed by Barrows and the town was thrilled with the quality of the scenery. On May 1, 1883, the “Tri-Weekly Herald” in Marshall, Texas, reported “Mr. H. C. Barrow, scenic artist from Chicago, has just completed for the Taylor Opera House, in Jefferson, one of the handsomest stages and stage scenery to be found in Texas. There are fifteen fitted scenes in all, embracing two beautiful curtains, ten regular scenes, and a garden wall, balustrades, &c. Mr. B. has also done some beautiful frescoing on the Proscenium front. In company with a number of Jefferson gentlemen we visited the Taylor hall yesterday morning, all of whom were delighted with the work. It cannot be excelled in artistic finish, completeness, and excellence of prospective, equaling the best scenery in the large cities. Mr. Barrow has just completed Ghio’s Opera Hall, at Texarkana, and is likely to capture every place he goes to where stage scenery is required. We repeat: there has been nothing like it in Texas before Mr. B’s advent” (page 2). It was reprinted in the Marshall Messenger on May 1.
By Aug. 12, 1883, Little Rock’s “Daily Arkansas Gazette” reported, “The Capital Opera House is to have a new drop curtain immediately. The scene represented upon it is that grand old conception of the Roman chariot race, and when completed will be one of the finest in the state. H. C. Barrow, representing Sosman & Landis, of Chicago, at whose studio the work is being done, is in the city, and states that he also has orders for the curtain for the Pine Bluff Opera House, the Fort Smith Academy of Music, the Van Buren theater and Ghio’s at Texarkana.” For context, Hyde’s Capital Opera House in Little Rock began as Torrey’s Opera House, changing its name that May. The building underwent renovation throughout the month of June and opened in July, hence the need for new scenery.
By 1880, Barrow transitioned from solely working as a scenic artist and installer to scenic agent and architect.
On May 19, 1884, the “Fort Worth Daily Gazette” reported, “Messrs. Henry C. Barrow, opera house architect and contractor, of Dallas and B. A. Aldrich, stage agent of the Rock Island Plow company, of the same city, were in the Fort last night and paid the GAZETTE a pleasant visit” (page 8). On June 3, 1884, the “Galveston Daily News” announced, “H. C. Barrow, scenic agent of Chicago, is in the city, and gave THE NEWS a call yesterday. He comes to put in a bid for refitting the opera house.” On August 20, 1884, the “Dallas Herald” announced, “Henry C. Barrow, scenic agent and opera-house architect and contractor, is in the city” (page 4).
Barrows was still representing Sosman & Landis, but possibly as a regional affiliate with his own studio. In 1884, Lem L. Graham became the regional representative in Kansas City, Missouri and another regional branch was opened in New York. Having a third regional branch would have been brilliant.
On July 10, 1884, “The Vicksburg Herald” in Mississippi, reported, “Mr. Henry C. Barrow, scenic artist, representing the big scenery house of Sosman & Landis, of Cincinnati, arrived here yesterday, to contract with Messrs. Piazza & Botto, proprietors of the opera-house, for a new set of scenery for that building. That year the Dallas City Directory listed Barrow as a scenic agent, residing at 845 San Jacinto cor Leonard. On Dec. 11, 1885, the “Salem Herald-Advocate” reported, “H. C. Barrow, with Sosman & Landis, scenic artist, Chicago, was in our city Tuesday and Wednesday, looking at School Hall stage and making plans for improvements…The Chicago House will send a man here to put up the scenery up, and it will be completed by Jan. 1st. the scenery bought is very elegant, costing $300.00”
By 1886, Barrows was back in Chicago. This was the last years, that I would find anything about Barrows in the newspaper. On Aug. 11, 1886, “The News” of Frederick, Maryland, reported, “Aldermanic – Mr. H. C. Barrows of Chicago, scenic artist, will arrive in this city this evening to confer with Aldermanic committee on scenery and building in reference to the contemplated improvements at City Hall.” (page 3). Barrow stayed at the Carlin House while in town (The News, Frederick, Maryland, Aug. 11, 1886).
As I narrowed my research and looked at the various Henry C. Barrows. One caught my attention. Born in 1849, he was working as an architect in 1910. Although his parents were born in Maryland, Barrow was born in England. His return to England may explain his sudden disappearance form US newspapers.
In 1924 Thomas G. Moses wrote, “July 30th, I started south to Memphis, where I had to go over into Arkansas to make a sketch in a dismal swamp. Architect Awsumb went with me. I believe everything in the line of insects and reptiles lived in that swamp and had been waiting for us. I made a sketch as quickly as possible and got all other data necessary.”
ArchitectGeorge Awsumb (1880-1959)
Moses was accompanied by the well-known architect George Awsumb (1880-1959). The two worked together on the Memphis Municipal Auditorium that year. I find their trip to an Arkansas swamp fascinating, as they were going on site to gather source material, likely for one of the exterior stage settings at the auditorium. Moses came from a generation of artists who gathered primary source work for both their stage settings and easel art.
Much has been written about Awsumb and his architectural endeavors, but here is a brief synopsis.
George Awsumb was born in Skien, Norway, on July 20, 1880. He emigrated to the United States with his parents in 1883 when he was three years old. The Awsumbs settled in Whitewater, Wisconsin, where George graduated from the high school in 1898. The family later moved to Eau Claire. He started college studies as an engineering student at the University of Wisconsin in Madison in 1901. His interest and studies changed, and he began studying architecture at the University of Illinois in Champaign. After completing a Bachelors in Science by 1906, he began working as a draftsman in Chicago at various architectural offices. By 1913, he founded his own architectural firm and became a member of the Chicago Architectural Club. He won the Club’s traveling scholarship and later became the president in 1919. That same year, he entered a competition with Charles O. Pfeil for the design of the Memphis Municipal Auditorium. On October 26, 1924, the “Leader-Telegram” reported, the designer and architect of the building was George Awsumb, son of Mr. and Mrs. S. J. Awsumb of this city. Mrs. Awsumb is at present visiting her son in Memphis. Mr. Awsumb was also the architect who designed both the city hall here and also the city auditorium.”
Pfeil & Awsumb operated until 1929, when Awsumb broke away and founded another firm under his own name. Eventually, his firm became Awsumn & Sons. Here is the link to the Awsumb Architectural Collection in the Digital Archive of the Memphis Public Libraries: https://memphislibrary.contentdm.oclc.org/digital/collection/p13039coll1/id/220/rec/1
In 1923, Thomas G. Moses wrote, “Left El Dorado for Tulsa, Oklahoma, spent a day with Barnard and saw the city. Enjoyed it immensely.” The next year Moses wrote, “I spent several days with my old friend Herbert Barnard. We had quite a good showing at his studio.” Moses was talking about fellow scenic artist, Herbert Barnard (1880-1949).
Herbert Barnard in 1923
By 1923, Barnard had gained quite a reputation throughout the south. On July 22, 1923, the “Tulsa Tribune” reported, “As director and designer of outdoor festivals with their floats and other spectacular trappings. Barnard stands almost unrivaled in America. Despite the number of years that he has been engaged in scenic decoration, his work displays ever-increasing ingenuity and originality. He builds the floats in keeping with the spirit and nature of the event for which they are designed, and in some of his former connections has produced carnivals and festivals of bewildering lavishness and startling originality.”
Herbert Barnard was born on August 20, 1880 in Chicago, Illinois. He changed his last name from Bernard to Barnard by 1918 when he registered for the draft in San Antonio. His draft registration listed his physical appearance as medium height and medium build, with dark hair and brown eyes. Herbert’s extended family was quite large. His grandparents, Martin and Elizabeth Bernhard, emigrated from Germany two years apart; Elizabeth arriving in 1849 with the first of their two children. The couple settled in Chicago, where their family expanded to thirteen children. They eventually moved to New Canada, Minnesota, after all but four children became adults. When Martin passed away in 1886, Elizabeth moved back to Chicago and began living with her children. In 1900, she was living with Phillip – Herbert’s father; the census, however, listed her as “head” of the family.
In regard to Philip Bernhard, he dropped the “h,” going Phillip Bernard. Herbert would further alter the name to Barnard (replacing the “e” with and “a”). In Chicago, Phillip Bernhard worked as designer, although I have to locate any firm or specifics. Regardless, Phillip encouraged his son’s artistic abilities, with Herbert entering the scenic art trade.
It is very likely that Herbert first met Thomas Moses in Chicago at the Sosman & Landis shops, staying with the firm until he moved south. By 1911, Herbert moved to San Antonio Texas, with his young wife Katherine. In 1913, the couple was boarding at 418 S. Press with Herbert’s brother Jacob. The City Directory listed Herbert as working at a studio located on Soledad St. Jacob was working for the architectural firm of Harvey L. Page Co. In 1918, he was still listed as an artist, now running his own business, and living at 610 St. Mary’s in San Antonio, Texas. The couple moved around in San Antonio during the 1920s, going from 310 W. Grammency Place in 1924, to rooming at 1508 Main Ave. in 1926, and finally settling on W. Woodlawn in 1927.
By 1929, the San Antonio City Directory listed Barnard as an art director at Walter J. Daly Studios. Walter J. Studios was responsible for the stage scenery and equipment for a reinforced concrete and stone open-air theater in the Lone Star Garden in San Antonio. I have not found out much more about that scenic studio yet.
The 1930 US Federal Census lists Barnard as an artist and decorator, living with his wife Katherine (42 yrs. old) and son Phillip (19 yrs. old). I have uncovered very little about his work in the 1930s to date. Barnard’s WWII Draft registration card listed a new employer – the WPA Engineering Department, specifically, “Mr. Steinfeldt at Randolph Field in San Antonio, 2036 Addison, Houston, Texas”.
On May 12, 1949, the “Abilene Reporter-News” reported “Texas Artist Dies. Houston, May 11 – Herbert Bernard, 68, San Antonio, died of a heart attack Tuesday night as the home of his son here.” (page 11).
The “Lubbock Morning Avalanche” published a longer obituary, noting “He came to Texas from Chicago in 1911, and since had been associated with the major festivals and parades in the Southwest, including the Battle of Flowers in San Antonio, the Tulsa Oil exposition, and the Mardi Gras celebration in Galveston. He exhibited many paintings of the Texas state flower, the Bluebonnet, and designed and decorated floats for numerous parades throughout the state.”
In 1921, Thomas G. Moses traveled to Tacoma, Washington, to secure a project. While in the area, he met with other clients about potential work. Moses wrote, “Ran over to Seattle and was pleased to see friend Davis and was surprised to see George Purvis.” This was the well-known architect and builder George B. Purvis, credited with theaters in the Pacific Northwest, Alaska and British Columbia, Canada. When I first read Moses’ 1921 diary entry about Purvis, I intended to do a quick search about his theaters and then a small biographical outline. Not in a million years, did I expect to connect a few missing links for his descendants, nor uncover a story that not everyone wanted to know.
1921 Panorama of Seattle, Washington
Many writings about Purvis are quick to point out his theaters in Cordova, Fairbanks, and Anchorage, Alaska, as well as theaters in Bellingham, Tacoma, Seattle, Olympia, Everett, Walla Walla, Washington. Better known venues included the Imperial Theatre and Avenue Theatre in Vancouver, BC (1912), Mack Theatre in Port Angeles, WA (1922); Columbia Theatre in Longview, WA (1924); Montlake Theatre (1924) and Arabian Theatre (1925) in Seattle, WA; Liberty Theatre in Olympia, WA (1924); and the Vitaphone Theatre in Wenatchee, WA (1930). Purvis is always cited as a prolific American architect.
When Moses encountered Purvis in Seattle, the architect was working on several projects, including the city’s 45th Street Theatre, now known as the Guild 45th Theatre. Purvis was also working on a project in Spokane that year. On January 12, 1921, the “Spokane Chronicle” announced, “Complete Plans for New Theater” (page 1). The article continued, “Architect’s Design All Ready – Purvis Will Have Charge of Work. Architect’s plans have been completed for the proposed $500,000 theater and office building to be erected at Howard and First by A. J. Lindsay and C. S. Crews, manager of the Hippodrome, according to an announcement made today by Mr. Lindsay. George Purvis, known throughout the west as a theater builder, will have charge of the construction project and will select all fittings and equipment. The plans provide a seating capacity of 2000. The building will be five stories high and 26 offices will be provided on each of the floors set aside for office space, which will be offered specially to doctors and dentists. The entire building will be constructed of materials from local markets if that is possible, said Mr. Lindsay today. ‘Only the nest brick, marble and other materials will be used, and the estimated cost will run approximately in the neighborhood of $500,000. The cost of the theater equipment will add probably another $100,000.’”
Purvis always lived life in the fast lane and his personal history is pretty fascinating.
George Blair Purvis was born on Nov. 5, 1866, in Leeds, England. Later in life, George B. Purvis would state that he was born in New York in 1869, listing this information in both the 1920 and 1930 census reports. Misrepresenting his birthplace and citizenship was common for the architect, causing an endless series of problems throughout his life. Even his death certificate lists New York as his official birthplace.
However, on Nov. 4, 1889, Purvis declared his intent to become a United States citizen in Portland, Multhoman County, Oregon State. He emigrated to the United States as a young boy of four yrs. old and was raised in Illinois. Naturalization records show that Purvis renounced all allegiance and fidelity to the Queen of Great Britain and Ireland during the process, verifying his English lineage. He would have been twenty-years old at the time when he first filed papers for naturalization. Interestingly, his petition did not go to court until May 6, 1908. His petition provides a definitive birthdate, Nov. 5, 1866, Leeds England. It notes that Purvis emigrated from West Hartlepool, England to the United States on the ship Averill. He arrived in Norfolk, Virginia on 19th of August 1873.
Other genealogical records purport that George Blair Purvis was the son of George and Hannah Purvis, again, still born on November 5, 1866, in Leeds, England. I believe these records to be accurate. His father was from Scotland and his mother from England. Purvis was one of eight children born to the couple that included Joseph, Hannah, Isabelle, Alice, Caroline, Robert and Agnes. The 1880 US Federal Census listed the Purvis family as living in Chicago, Illinois. It was likely in Chicago that George B. Purvis first entered the theatre industry. By the late 1880s, however, George had moved west and settled in Portland, Oregon, the birthplace of his future wife Ella Victoria Isaacson (1876-1951) in 1888. Isaacson was an actress. The two supposedly met while she was performing and soon ran away together. They may have been working on the same touring production. In 1891, Purvis was listed in the Portland City Directory as the calcium operator at the Marquam Grand, residing at 12 Market. Traveling with touring shows, the couple traveled the country, eventually settling in the east by the turn of the twentieth century. Their daughter, Edna Elizabeth, was born on September 18, 1901, in Philadelphia, PA.
By 1903,the small family was living in New York City. Purvis was listed in the City Directory as working for a Theatrical Construction Co, located as 112 E. 125th. By 1904, the George B. Purvis Theatrical Company was organized. They were not in New York for long, soon crossing the country to life in California. His constant moving will make sense in a few paragraphs.
Although Purvis began the naturalization process in 1889 while living in Portland, Oregon, he did not complete it until two decades later. Purvis was living in Arcadia when he completed the process for naturalization. In 1908, Purvis listed that he was an “inn keeper” in Arcadia, California. He worked as the proprietor of ‘White City,’ situated at Arcadia Racetrack. In the end, Purvis was denied his application for naturalization on November 5, 1908 (Los Angeles Times, 6 Nov. 1908, page 14).
Events surrounding the California judge’s denial of Purvis’ citizenship application answered a lot of questions for me. In 1908 Purvis testified before a judge as to his qualifications for becoming a US Citizen. Upon leaving the courtroom he was arrested for perjury. The problem was that Purvis listed Illinois as his birthplace when registering to vote during a city election on a few months prior. This meant that he registered to vote before securing his naturalization papers. Purvis explained, “Well, Mr. Baldwin the clerk, asked me where I was born, and I told him ‘on the other side,’ but that I was raised in Illinois. He said, ‘Put down Illinois then,’ and it was put down that way” (Los Angles Express, 16 Sept 1908, page 1). It is very probable that Purvis had been listing himself as a United States Citizen for quite some time. My rationale was that he continued to do it even after being denied citizenship. Purvis continued to list his birthplace as in the United States for both the 1920 and 1930 census. The only difference was that in later years he listed New York instead of Illinois.
The charge of perjury against Purvis was dismissed by Justice Stephens on recommendation of the district attorney. The “Los Angeles Herald,” reported, “To prosecute the case further, it is said, witnesses would have to be brought to Los Angeles from England, Purvis’ birthplace, and the dismissal was requested in order to save expense to the country” (10 October 1908, page 12). However, there was other information brought to light about Purvis during the next month. The new information confirmed what I suspected while tracing various Purvis family trees in the US and Canada. Historical records hinted at polygamy and marital desertion. As I traced Purvis’ genealogy there were two different family lines with George B. Purvis in the center. I even mentioned this aspect to my husband, explaining, “I think this guy had one family in the US and one family in Canada, hence why he kept crossing the border so much.” By 1908 Purvis had been married to Ella for fourteen years and their daughter was seven yrs. old. Life must have been miserable for both wife and daughter, as they were likely cast out of a few social circles.
After the dismissal of Purvis’ perjury case, Federal authorities and Chief Detective Brown of the District Attorney’s staff began digging into Purvis’ past. On Nov. 6, 1908 the “Los Angeles Times” announced, “Past Revealed” (page 14). The article reported, “In reply to questions by United States Attorney Carlos G. White, Purvis said that he married Ella V. Purvis in Washington, D. C., in 1894, and that his child Edna, was born in Philadelphia. He was asked whether he testified at a Coroner’s inquest in July 1905, that he was married to Mrs. Hanna Purvis, who was burned to death in a gasoline explosion at Willowbrook. He refused to answer on the ground that he might incriminate himself. He also refused to state whether he was ever married to Elizabeth Eastman, in British Columbia, in 1885, or whether he deserted her in Chicago in 1900, abandoning his three children at that time. He denied that he is a deserter from the English army or navy, or that he ever served time in Portland, Or., for forgery, but after admitted that he had been imprisoned there for three months on another charge. The department of criminal investigation of the District Attorney’s office has received a letter from Mrs. G. B. Purvis of Chicago, who says Purvis deserted her in 1900, and eloped with an actress.”
With all the modern research tools at my fingertips, it is easy to see how Purvis’ case spiraled out of control, and I have to wonder if someone in particular had it in for him. I agree that he was married to both Elizabeth Eastman and Ella Isaacson at the same time, fathering children to both women. However, his father’s name was also George; a George who was married to a Hannah. There were more than one George and Hannah Purvis marriage recorded in North America. Keep in mind that there were also many, many men named George Purvis who were living in the United States and Canada between 1870-1910.
It wasn’t long after the 1908 scandal that George, Ella and Edna left the country. Purvis began working as an architect in Canada, settling in Vancouver, B.C., and establishing a partnership there. This is purportedly where he constructed some of his earliest theater buildings. Between 1910 and 1911, Purvis partnered with Richard Thomas Perry (1884-1935), establishing Perry & Purvis.
The Purvis family did not return to the United States until 1913. By that time, his daughter was sixteen years old and they moved to Seattle, Washington. There are two events to consider while contemplating the Purvis family’s return to the United States. The first is the Balkan War, fought from October 8, 1912 to May 30, 1913. This event caused many to believe that a European war would soon occur. In the United State, Woodrow Wilson also became president at the beginning of 1913. He would later issue a statement of neutrality as Europe plunged into war. Purvis’ return to America, despite his previous scandal, may have seemed the safest option when examining the big picture.
By 1914, Purvis was listed as an architect, working at 607 Northern B & T building, and residing at 1909 Naomi Place in Seattle, Washington. In 1915, Purvis was still working in Seattle, but now running Purvis & Redmond. At this time the Purvis family moved to 325 ½ 8th Ave. He continued in this capacity until 1917, listing his position as an architect and working at 617 Northern B & T building.
About the same time that the United States declared war on Germany, Purvis relocated his practice to Anchorage, Alaska. In 1917 he designed a theatre complex with apartments in Anchorage. His work in Alaska included theaters in Cordova, Fairbanks and Anchorage. After the War ended, Purvis returned to the United States with his wife and daughter. By 1920, the Purvis family was again living in Seattle. Moses records meeting Purvis in Seattle during 1917. As the family had just returned to the country, this is what likely surprised Moses in seeing his old friend.
Purvis continued to work on a variety of theatre endeavors, including Alaska. By 1922, Purvis established the Alaska Motion Picture Association, owning a theatre chain throughout the state.
By 1925, Purvis was listed as the general manager of the Columbia Theatre Co. Inc, living at 210 Columbia Apartments. He remained in Seattle, living at 12039 Greenwood Avenue, until his passing on March 20, 1934. Both Moses and Purvis died in the same year, only a few months apart.
When the Tabor Opera House opened in 1879, the “Leadville Weekly Herald” included an article about the new structure entitled, “The Opera House. Description of Leadville’s New Place of Amusement” (November 15, 1879, page 3 ). In addition to an extensive description of the building and stage area, the article reported, “Mr. Lamphere, one of the finest scenic artists in the west, has charge of the scenes, their preparation and management, and he promises to produce as fine an effect as can be had in any of the largest theatres of the east, even including New York and Philadelphia, in both of which places he has at times been engaged. Mr. Barber is the stage carpenter and has always been considered first class in his line, and second to none in New York city, from which he has recently arrived…The drop curtain is a masterpiece from the brush of Mr. Lamphere, and represents a glorious mountain scene, at the base of which is a fine old castle, with a stream running at the foot; alongside of the water is a rugged road, which ends in the winding of canyon.” Two years later the building and stage were renovated. The scenery and stage machinery delivered by Lamphere and Barber was less than ideal.
The Tabor Opera House, c. 1879-1882. From the Denver Public Library digital archives.The Tabor Opera House, c. 1879-1882.Note the ceiling fabric above the proscenium arch. This indicates that this picture was likely taken after the original plaster was removed and replaced with canvas duck tacked to the ceiling in 1882.
Some recounts suggest that Lamphere was a well-known artist; very successful and from the east. Well, east is relative and can mean Denver or Omaha, as both are still geographically east. Lamphere moved from Omaha to Denver by 1872 and was still working as a decorative artist in 1879. He later marketed himself as a scenic artist, but was primarily a fresco painter when the Tabor Opera House was built.
James “Edgar” Lamphere was the son of Orrin Lamphere and Malinda Post. Born in 1839, J. E. Lamphere was the second of five sons born to the couple. His brothers were Milan “Milton” (b. 1840) George (b. 1842), William (b. 1864) and Alonzo Horace (b. 1848).The young boys moved with their parents from New York to Tompkins, Illinois, during the mid 1840s. Tragedy struck, and their mother passed away shortly thereafter, in 1850. Their father immediately remarried a woman called Harriet, and the couple celebrated the birth of a daughter in 1851. Harriet was almost twenty years his junior, and the couple added three daughters to the expanding family: Melissa (b. 1851), Alma (B. 1853) and Ida May (b. 1857). One by one, the sons from the first family moved out of the household, including James who soon married and began painting.
Although I have yet to discover a definitive marriage date, by 1860, James was married and had a daughter. By 1868, James was working as a house and sign painter, listed in the Omaha directory. He had his own establishment, working with his younger brother Alonzo Horatio Lamphere. The two were listed in the Omaha directory, each living at 515 12th. The 1870 U. S. Federal Census still listed J. E. Lamphere as a painter in Omaha. His wife Delia was 28 years old, with his children Clara and George, ten yrs. old and two years old respectively. The family also had a live-in servant. His younger brother, listed as “A. H. Lamphere” was still working in Omaha, but now living with another painter at a boarding house – A. N. Dobbins. Both James and Alonzo remained in Omaha until 1872, when they headed west to Denver. It remains unclear if Lamphere left his family, or if they chose to stay. However, he did remarry by 1879.
As far as Alonzo, he occasionally worked as a scenic artist as he continued west, eventually settling in California by 1880. Interestingly, their brother George also became a house painter in Chicago.
In 1872 J. E. Lamphere was working in Colorado as an artist. He remained in the west for at least a decade before fading from historical records. The Digital Collections at the Denver Public library have three mentions of J. E. Lamphere, as recorded in the Western History Subject Index. The index only lists the name, profession, date and newspaper. So, there is no way of knowing the context, and Lamphere may have simply been listed in the business cards section of the paper. In 1872, 1879 and 1881, Lamphere was mentioned in the “Rocky Mountain News.” In 1872, he was listed as an artist (March 27, page 1, column 4). In 1879, he was noted as a fresco painter ( Feb 25, 1879, page 4, column 5). Finally, in 1881, Lamphere was listed as a scenic artist (Sept. 4, page 8, column 3).
In 1879, the Denver Directory lists James E. Lamphere as a fresco painter and grainer, not a scenic artist or connected to any theatre, instead working for C. A. Trea. Charles A. Treat ran a wallpaper and sign works company located at 306 15th St. in Denver (Western Magazine, Vol. 4, 1880, page 5). Treat had been a fixture in Denver’s decorative artist scene for some time, placing advertisements as early as 1872 in the ”Denver Daily Times” (9 Aug. 1872). By the time Lamphere was working for Treat in 1879, Lamphere was living at the West Lindell Hotel. By 1880, Lamphere had moved to Leadville, living with his second wife.
On January 1, 1881, the “Leadville Daily Herald” included James E. Lamphere and Mary S. Faxson (nee Ainsworth) as one of the couples married in Leadville during 1880 (page 5). Mrs. M. S. Faxon was listed in the 1880 Leadville City Directory as living at 314 W 8th. The couple’s marriage did not last long, as a notice of their divorce was published in the “Leadville Weekly Democrat” on Feb. 1, 1881: “Mary S. Lamphere vs Lamphere; judgement and decree of divorce for plaintiff at her costs.” Mary remained in Leadville, and remarried on June 5, 1881. Her next husband was Thomas J. Lanchan; they were also married in Leadville. I have yet to uncover any mention of Lamphere after that date.
In past writings, I proposed that James E. Lamphere solely functioned as the interior decorator for the Tabor Opera House; someone else painted the scenic art. My rationale was that there were plenty of well-known scenic artists working at theaters in Leadville by 1879; why hire a fresco painter from Denver who did not specialize in scenery? Furthermore, I suggested that as Tabor was ordering the best of everything, why skimp on the painted scenery. Well, I think that I found my reason: a lack of understanding pertaining to theatre production and the architectural construction of the Tabor Opera House auditorium and stage may have been the reason.
Significant funds were spent on the direct patron experience, such as the façade of the building, the entrance and theatre seats. The stage mechanism as a whole, or the necessary accommodations for productions would have taken a back seat to the opera boxes, fancy opera chairs and auditorium lighting on the main level. The balcony, scenic appointments, other areas vacated less by Tabor or affluent patrons may have been considered trivial. A lack of attention to detail in other areas beyond those that Tabor would have had direct contact may have taken a backseat, even the basic engineering of the building.
On November 15, 1879, the “Leadville Weekly Herald” described the new Tabor Opera House in detail, reporting “One of the greatest attractions on Harrison avenue is the newly erected Tabor Opera House next door to the Clarendon hotel. It is a three-story brick structure trimmed with Portland cement, and has a frontage on the avenue of sixty feet and extends back one hundred and twenty feet.” The article then described each area of the structure in detail, noting that 450 individuals could be comfortably accommodated on the first floor,
Less than a month later, a much larger venue opened in Leadville – the Grand Central Opera House. It was one particular article about this opera house that made me reevaluate my previous notions about the the Tabor.
The Grand Central Theatre opened on Dec. 12, 1879, located on the same spot as the previous the Theatre Comique and boasting 1,500 seats. The large size and shady location were a problem from the beginning, but the stage accommodations were much more complete than the small stage and ten settings at the Tabor. The proscenium opening measured 26’ w x 27’h and there were fifty-five sets of scenes. Tabor’s second theatre, the Tabor Grand, would also boast fifty settings in 1881.
An 1880 article in “The Leadville Daily Herald” made an interesting comment about the Tabor Opera House in relation to the Grand Central Theatre. On Dec. 9, 1880, the article reported “As the Tabor Opera House has no company, all stars and combinations are obliged to contract with the Grand Central, and [Billy] Nuttall is using his utmost endeavors to secure the best talent which is available. Having a stage possessing accommodation far superior to any other, and with a company which embraces all the dramatic talent in the state, together with the liberality of expenditure for which he has always been noted, even from his earliest connection with the camp, there is no reason why this theatre should not become a recognized resort for the most respectable people.” This really places the Tabor Opera House in perspective, especially when considering the scenic appointments for each stage.
Furthermore, money was spent on the exterior façade and not the structural integrity of the Tabor Opera House. Keep in mind that the Tabor Opera House was built in 102 days, with groundbreaking occurring Aug. 1, 1879. Of the Tabor Opera House’s construction article placed in the “Leadville Weekly Herald” reported Messrs. Roberts took the contract for erecting the building for $30,000. Some three weeks ago Mr. J. T. Roberts sold out his interest in the business, and Mr. L. E. Roberts continued, and has finished the building to the satisfaction of the gentlemen interested (15 Nov. 1879). It appears that corners were cut and details overlooked in the process. Furthermore, without a theatre company or extensive scenery collection, possibilities for booking productions were limited. Recognizing the deficiencies, the Tabor Opera House underwent a massive renovation to fix several problems by August 1882. The building was less than two years old at the time and there were significant areas of concern.
The improvements were described in detail under the heading “Improving the Tabor” (Leadville Daily Herald, August 23, 1882, page 4). On August 22, 1882, work commenced on the auditorium ceiling. The article reported, “All plastering and ceiling of the hall will be removed, and then eighty-six jack-screws will be put in and the building roof raised three inches. New iron plates and screws will be put into the roof, and instead of plastering there will be put the best quality of ducking canvas on the ceiling, which will be thoroughly calcimined. New and substantial columns of support will be placed throughout the building. The interior arrangements of the hall will be left at present as they are, with the exception of the gallery, which will be materially improved. Its ventilation, which has heretofore not been what it ought to be will be made as perfect as possible, and the seats arranged in such a manner that they will no longer be a source of trouble and annoyance. The guttering of the whole building throughout will be put in new, and much larger than heretofore, and the sewage of the lower floor will be materially improved.” Big changes for big problems.
This renovation extended to fixing other problems associated with the Tabor Opera House in the stage area. The “Leadville Daily Herald” reported, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague, who has had extensive experience in the east, and was in Leadville before, in the early days. All these improvements will take until about the first of September to execute. As soon as the house is in perfect order, say about the fourth of September, J. Rial’s Uncle Tom’s Cabin troupe will commence an engagement of three nights” (August 23, 1882).
Havens & Beman were contracted for the improvements, and the firm appointed J. T. Roberts as their superintendent. Remember that this is the half of the Roberts construction team that walked away mid-construction progress, leaving the project to L. E. Roberts.
By September 1, the “Leadville Daily Herald” described, “The ceiling has been elevated six inches in the center, thus giving it a slight arch. The plaster has all been removed there from and canvas will be substituted, both of which improvements will greatly improve the acoustic properties of the theatre. The roof has been raised three feet in the centre and materially strengthened with Howe trusses, while heavy timber braces and supports have been introduced in the stage which will make the house so secure that there can be no possibility of its ever taking a tumble unless it drops through the ground. The canvas ceiling is now being put in place and will be taken down and a few seats that remain on the stage will be put intact. Three new ventilators have been inserted in the ceiling and will aide very materially in keeping a large supply of air in the house at all times. While the work has been pushed in every particular and Mr. Roberts is to be thanked for the punctuality and correctness which he has displayed in the repairs. Had not Messrs. Havens & Beman known his ability and trustworthiness they would have never left such a responsible piece of work to his solo charge.”
The completed opera house improvements attracted a new class of production. The Abbott English Company performed “Chimes of Normandy” and “King for a Day” that fall. The September 26, the “Amusements” section announced. “For the first time in the history of the carbonate camp, there was presented at the Tabor opera house last evening, a perfect representation of grand opera, not only in so far as the mis en scene was concerned, but also in regard to the caliber of the artists appearing on the stage (Leadville Daily Herald, page 1). But Tabor’s troubled did not end with the repairs and eventually extended to the Tabor Grand Opera House in Denver. This was before long before Tabor fell on hard times financially.
On September 28, 1882, the “Fairplay Flume” reported, “Governor Tabor, while inspecting the improvements in the Tabor opera house, accidentally stepped through a trap on the stage, falling a distance of several feet. Happily, he was uninjured beyond a few slight bruises” (page 2). This is yet another indication of Tabor’s ignorance concerning the stage. It is understandable, as Tabor had no understanding of theatre beyond that of an audience member; he would not think to look down for open traps.
Structural issues carried over to his Denver venue. On February 24, 1883, newspapers reported “A rumor comes from Denver, Col., that the Tabor [Grand] Opera House is falling in. The bricks made in Denver are so porous that a nail can be readily driven into them. Hence, they are not suitable for buildings of the Tabor Opera House magnitude” (Lima Democrat, Lima, Ohio, 24 Feb 1883, page 5). To be continued…
A new opera house was built at the Boston & Lowell Station in Lawrence, Massachusetts, in 1881. In 1887 and 1892 Henry C. Tryon painted scenery for the venue.
The Opera House in Lawrence, Massachusetts.The Opera House in Lawrence, Massachusetts
On May 27, 1881, a special dispatch from the “Boston Post” announced the opening of a new opera house in Lawrence, Massachusetts (page 2). The venue opened to the public with a performance of “Jane Eyre” by Maggie Mitchell and her company. The opera house was described in detail:
“The theatre is one of the largest and finest in New England outside Boston. It is located over the head house of the new passenger station at the terminus of the Lawrence branch of the Lowell Railroad, and ad the building was planned with reference to the theatre, as well as the station, there is nothing incongruous in the combination of the two. The front of the building on Essex Street, is one of the most ornamental in the city. Two broad staircases lead from the street entrances at either end of the street front to a roomy lobby, which extends around three sides of the auditorium. The latter is clearly oval in shape, 100×85 feet, and 60 feet in height with an oval dome, elegantly frescoed. There is one balcony, a handsome affair, and two private boxes on either side of the proscenium arch. All the woodwork is of polished ash, and the general tone of the decoration is high and cheerful. The seating capacity is something over 1,560, and such is the incline of the floors that every seat is a good one. The seats are folding chairs, which have unique contrivances for holding hats. The stage, which would be a credit to any metropolitan theatre, is 92×52 feet, with a curtain opening 38 feet wide. It is fitted with all the modern appliances and conveniences, and the dressing rooms are perfect little boudoirs. There is a fine stock of scenery, and the lighting is so arranged as to be easily controlled. Exits are numerous from both stage and auditorium and a panic would seem to be an impossibility. The architect, Mr. Chas. T. Emerson of Lawrence, may well be proud of his work. T. J. Cates was the mason, Gregg and Severance the carpenters, and Stillman and Nichol the plumbers and gas fitters, while the frescoing and tinting is the work of Mr. W. S. Brazier of Boston. The idea of constructing this opera house in connection with the station originated with the late Hon. Hocum Hosford, and it is deeply regrated that he did not live to see the finished work.”
Interestingly, there was no mention of the scenery or the scenic artist until 1887. This was uncommon for the period, as the scenery for the stage was highlighted at the opening, with special mention of the artist and his reputation.
Fire map showing the location of the opera house in relation to the train station in Lawrence, MassachusettsRailroad map showing the distance between Lawrence and Boston
On August 27, 1887, the “New York Clipper” announced:
“Lawrence. – The Opera-house opens the Fall and Winter Season Aug 22.…During the Summer the house has been thoroughly renovated, painted and new carpets added, while six new scenes have been painted by Henry C. Tryon of New York.”
Tryon returned to the venue two years later, again refurbishing some scenes and repainting other.
On July 23, 1892, the “New York Clipper” reported:
“Lawrence.-At the Opera House all is business with Manager Grant who intends to add some new features in connection with the stage and scenery. Henry C. Tryon, of the Bowdin [sic.] Square Theatre, Boston, is painting and retouching the scenes and flies, and everything will be in readiness for the opening Aug. 10, when “The Dazzler” will be the attraction” (July 23, 1892, page 312).
Four days after the article was published, Tryon passed away in relative obscurity on July 27, 1892. Newspapers announcements simple stated: “Scenic-Artist Henry C. Tryon died at Lawrence, Mass.” (Pittsfield Sun, 4 Aug. 1892, page 6).
Much information pertaining to the Lawrence Opera house has faded from history. The venue closed in 1928 and was sold less than a decade later. In 1937, the 105,000 sq. ft. parcel of land that formerly housed the old Lawrence Opera House and the old Boston and Lowell Railroad dept was sold for $250,000 to Louis M Eidam and Joseph Ganem and Bay Street Merchants National Bank (The Boston Globe, 20 October 1937, page 2).
Back to the life and career of Thomas G. Moses after getting
sidetracked by the Ackermans. I am beginning the year 1921. Thomas G. Moses
wrote, “The New Year was ushered in by a general clean-up of the studio, and a
pleasant call from Tom McCall.”
This is the first mention of a Tom McCall in Moses’ diary
and there is no additional context to help place this individual in a public or
private setting. It remains unclear whether McCall came by the Sosman &
Landis studio or to Moses’ home.
There were a few Thomas McCalls living in the Chicago area
at time, including the attorney Thomas H. McCall, the doctor Thomas E. McCall
and the architect Thomas C. McCall. I believe
it was the architect Thomas C. McCall (1856-1925) who called on Moses near the
beginning of 1921.
McCall was born on August 6, 1856, in Newburgh, Fife,
Scotland. He was the son of William McCall and Catherine Fotheringham, sailing
from Liverpool about April 15, 1883. He was naturalized in 1892, before the
Superior Court in Cook County. McCall married to Anna Delle Penney (1859-1903)
on April 6, 1892 in LaSalle, Illinois, and the couple celebrated the birth of two
daughters, Catherine (1897-1972) and Arvilla (Arville) P. (1899).
The first mention that I have encountered of Thomas McCall
as a Chicago architect was in 1892. At the time, he was primarily designing
hotels, such as the Holland Hotel for C. B. Waite (Inter Ocean, 7 Aug, 1892,
page 10). Other hotels that year included a four-story hotel for Mary J.
Reynolds and another for Mrs. George Krick. In 1892 he also designed a five-story clubhouse and
hotel being built by the Queen Isabelle Association at Sixty-first street and Oglesby
avenue (Inter Ocean, 9 Oct. 1892, page 10). In 1893, the “Chicago Tribune”
reported, McCall completed drawings for the Hotel Oceana erected by John F.
Thompson at Nos. 6331 and 6333 Drexel Ave in Chicago in early 1893 (12 Feb
1893, page 30).
The first listing of McCall in the Chicago Directory as an
architect is in the 1898 That year he was residing at 5344 Madison Avenue. McCall
was also listed in the “House Beautiful” architect directory for 1899. His
primary focus was “Specialty” and “Residences” (Vol. VI, No. 6, page xi). In
1900 McCall was working at 702, 167 Dearborn, and residing at 5344 Madison Ave.
Throughout 1903, McCall continued working at 710, 167 Dearborn. By 1905, however,
he was residing at 1710, 9 Jackson Boulevard.
By 1916, McCall was designing the plans for the Chicago
Picture Frame factory on Western Avenue and West Nineteenth Street, as well as
a three-story apartment house for John Coutts (Inter Ocean, 9 Dec. 1900, page
39). The next year he moved to Evanston, Illinois, where he continued to work
as an architect there. In 1917, McCall was listed as an architect in the
Evanston, Illinois, Directory, residing at 845 Ridge Ave.
A little more information about McCall surfaced in his
passport application. 1924, he applied for a passport, described as a
67-years-old man, 5’-7” with blue eyes and
gray hair. On their return trip, he and his daughter Catherine, were listed as
passengers, sailing on the S.S. Aquitania. They left on August 16th
and arrived in New York on August 24th.
McCall died on January 13, 1925 in Evanston, Illinois, and
is buried at Ottawa Avenue Cemetery in Ottawa, LaSalle
County, Illinois, USA His obituary in the “Chicago Tribune”
noted, “Thomas McCall, Noted Architect Dies at 58. Thomas McCall, well known
architect and prominent in fraternal circles died at his home yesterday, 843
Ridge Evanston, following an illness of a month. He was 58 years old and was
born at Edinburgh, Scotland, coming to Illinois forty years ago. Mr. McCall is
survived by two daughters, the Misses Catherine and Arvilla McCall. Funeral
services are to be held at 3 p.m. today as First Baptist church, Evanston.
Interment at Ottawa, Ill.” ( 15 Jan. 1925, page 12). By that summer, the
“Chicago Tribune” announced the engagement of Arvilla McCall to Albert Linne
Tholin of Dowers Grove, son of Mr. and Mrs. Andrew P. Tholin (16 August 1925,
page 71).
An example of Thomas McCall’s work is Ridge Boulevard Apartments, at the southeast corner of Ridge Avenue and Main Street in Evanston, Illinois, 1913.
In 1919 Thomas G. Moses wrote, “Adams
Theatre occupied much of my time during the month of February.” The Adams
Theatre opened in March 1919 and was located at 22 West Adams Avenue in
Detroit, Michigan.
The president and treasurer of
the Adams Theatre Company was John H. Kunsky. By the summer of 1919, Moses
wrote, “A number of drops and a large picture set for Kunsky of Detroit was
completed in June with success. This is
the first work that we have done for him.” If he hadn’t written, “this was the
first work we have done for him,” I might have thought it was a second delivery
to the Adams Theatre. It is also possible that Moses worked with another Adams
Theatre representative on the Adams Theatre project, just not Kunsky. However,
it was likely that successful delivery of scenery to the Adams Theatre caused
Kunsky to contact him directly for another job. Kunsky also owned the Madison Theatre
in Detroit, a venue that opened on March 7, 1917. Moses mention of drops and
large picture set delivered were possibly for that theater. The Madison Theatre
was a sizable house with a seating capacity of 1800. The top floors of the
building housed the Kunsky circuit’s main offices.
Kunsky was a mover and shaker in
Detroit by this time. Kunsky was integrally linked to the movie theatre
industry in the town, having brought a motion picture machine to Detroit in
1905 and opened the Royal theatre in 1908. The “Detroit Press” cited Kunsky’s
history in Detroit in relation the Royal Theatre. The article reported, “John
H. Kunsky started in business as Michigan’s first exhibitor in 1905, in the
Casino theater, in Monroe avenue, remodeled from a store, and having a seating
capacity of 125. Encouraged by the success of this venture, in company with
others he gained a lease on the property at Monroe avenue and Farmer street,
demolished the building and erected a new structure that was christened the
Royal theatre and contained 200 seats. At the time it was said to be the largest
and finest motion picture house west of New York, a statement that sounds
strange in these days when seating capacity is counted in thousands, and the
entire original equipment of the Royale would not inventory enough to give a
modern house a fair start in the matter of decorations. Nevertheless,
Detroiters marveled at so large a place devoted to a new-fangled idea that. It
was predicted, was only a fad, and not a few local wiseacres predicted speedy
failure for the enterprise. Mr. Kunsky had the true showman’s idea of giving
the public plenty for its money. He promptly installed and “orchestra”
consisting of a piano and drums. As an added attraction there was a singer who
warbled ballads to the accompaniment of colored lantern slides. Detroiters used
to go to the Royale to scoff and remain to marvel, for they not only found
lavish appointments, as those things were reckoned then, but pictures that were
worth watching. Gradually the business grew, and soon the house was firmly
established, with seats at a premium most of the time. The Royal was one of the
first, if not the first, picture houses to stage a longtime run. It screened
‘The Passion Play’ at an advanced price, admission being raised from 5 to 10
cents, and for eight weeks, with the aid of a special lecturer, it drew crowds.
This helped to make the Royals the talk of the town, and to put the theater on
a well-paying basis, even if its clientele came chiefly from the meek and
lowly, the upper classes remaining skeptical. After a while it overcame this
early prejudice, but it never was particularly conspicuous, because it was
shortly followed by other and larger houses. Nevertheless, its career was a
steady and profitable one, and from this modest little beginning on Monroe avenue
came the Kunsky Theatre Circuit embracing 14 houses, that finds its highest
expression in the magnificent new Capitol and the others circling Grand Circus
park, to say nothing of the thousands of private houses scattered about the
city and throughout the state, many of which drew their inspiration from the
tiny place that is so soon to pass from existence.”
In the fall of 1919, Kunsky he
announced plans for a new theatre on the northeast corner of Hamilton Boulevard
and Highland Avenue. On Nov. 9, 1919, the “Detroit Free Press” announced, “Work
is to be started almost at once on the erection of a handsome theatre on the
northeast corner of Hamilton boulevard and Highland avenue, for John H. Kunsky.
The building is designed by C. Howard Crane, architect, and Elmer Kiehler,
associate, who in the last few years have designed more than 2oo theaters in
the United States and Canada, their latest work having been Detroit’s new
Orchestra hall. The new theater will cost approximately $250,000, will have
capacity for 2,800 persons and will be the largest residential theatre in or
near Detroit. It is announced that it will also surpass any other local theater
in the attractiveness of its appointments. The front of the building, with
length of 180 feet, is renaissance. The furnishing and appointments will be
most luxurious, in many respects, its aid, surpassing those of Mr. Kunsky’s
downtown theaters, the Madison and the Adams” (page 85).
