In 1912, Thomas G. Moses wrote, “In May I went to Grand Rapids, Michigan, to paint an asbestos curtain from a scaffold – it was a bad job to do, but as usual, I got something out of it and it pleased the manager. I saw a number of old friends. One of the men that I knew in the orchestra thirty-five years ago, told me of one of my girl friends, Jennie Wilson, who was a clerk in a music store, selling sheet music when I knew her at the time. She was still there. I thought I would call on her. One evening I walked down to the store and was going in. I saw her back of the counter near the window, the same place, but what a change in her – stopped, almost white hair and wrinkled face, but the same black eyes. I didn’t have the nerve, so I turned and walked away. I felt afraid I might not be welcomed – what a ravisher of good looks is our old friend ‘Father Time.’ One that never deserts us – with us from start to finish.”
Some of Moses’ old stomping grounds were in Grand Rapids,
Michigan. Although promised to Susan “Ella” Robbins in Sterling, Illinois, he
certainly maintained a social life as he traveled about the country. At the age of 19 in
1875, Thomas G. Moses found himself “out of work and very little money on
hand.” He managed to secure a job as a
train boy, working the run from Grand Rapids, Michigan to St. Joseph. His work for
the railroad left him well traveled and well fed, but yearning for artistic
work and a better income. While waiting for his train to depart from Grand
Rapids one day, Moses strolled about town and wandered into Powers
Theatre. Of his visit to Powers Theatre,
he wrote, “I went in and found an artist at work on the paint frame. I called up for permission to go up. I found that I knew the artist – he was from
Chicago. He had an Odd Fellow Hall to
decorate and needed help. I agreed to
quit my job within a week and help him out.
I did the thing I thought was best and Christmas found me very busy on
all kinds of decoration.”
By the spring of 1876, Moses was known as a decorator of fine
homes in Grand Rapids, completing one project after another. In July he had even received the contract to
do the decoration on Pearl Street’s big arch.
While completing this project, Moses met a Frenchman named Wardus who
was decorating St. James Catholic Church. Wardus was in desperate need artist
and contracted Moses. The project also called for a good figure painter, and
the couple placed a newspaper advertisement. After receiving numerous
responses, they selected Tom Brown, an Englishman from New York. They also
hired an assistant, a young local by the name of John H. Young. Moses wrote, “We three, the same age, roomed
and chummed together and we had a fine time.
And, as I remember, we did some pretty good work.” Wardus began advertising
Moses, Brown and Young as the “Three young Roman Artists,” with Moses recalling,
“We didn’t look it – we were all quartered at a cheap hotel and we met a great
many young people.” It is likely during this time that Moses met Jennie Wilson,
the clerk at the music store who was still working there in 1912.
Abdallah Shrine Scenery article in “The Leavenworth Times,” May 14, 1922.
On May 14, 1922, “The Leavenworth Times” reported
that Universal Scenic Studio was creating new scenery for the Abdallah Shrine
in Leavenworth, Kansas; both a permanent set for the space and a touring
version when the Shrine visited other cities.
Here is the article in its entirety:
“’The Crescent is the official Shrine organ, published in
St. Paul, Minn. A story in the May number of the publication, which follows,
several of the special drops are described but the one that interests
Leavenworth people the most and the one with which all are familiar, has been overlooked.
This is the woods scene, taken from a photograph of Shrine Park, taken from the
lake, looking south toward the bog dam that was constructed by the Fair
organization. This scene is quickly recognized by all who have been inside the
temple.
Of the
other scenes, The Crescent, under the caption ‘Abdallah’s Stage Settings’ says:
It is safe
to say that no Shrine temple in North America will possess more magnificent
scenery for staging ceremonials that will Abdallah of Leavenworth, Kansas.
The
Crescent man has viewed the scenic sets in the making, and if the Abdallah
stage stuff is not
‘real
class’ then Mohammed was a bum showman.
It just
happens that the scenery is being made in St. Paul, where The Crescent mixes
with the other saints and that Noble Boyd P. Joy is the man who is making it at
Universal Scenic Studio, and those facts gave The man to take chance to see the
stage equipment.
We wanted
to say that before going ahead with this yarn, and to add that this story is
being written, not as a paid advertisement, but as an appreciation of what is
being done for Abdallah and her nobility to enjoy.
And that’s
that.
Out of
4,000 yards of canvas and 4,000 feet of lumber, coupled with the many gallons
of various colored paints, by artists who know their business, Noble Joy is
creating reproductions of Meccas, the palaces and the Caliphs, and other views
of equal importance to the story of the ritual.
Beginning
with the asbestos curtain, showing an asbestos scene, every figure life size,
and running through all the stages of the ritual scenes, are being made to fit
the enormous stage out n Leavenworth, wit its 58-foot opening, and to truly
present Arabic life on the desert as it is – or was when the Prophet was on
earth. The asbestos curtain is simply enormous – it weighs half a ton. The picture
runs through the entire width and height of the proscenium arch and shows the
arrival of the caravan at the oasis at the hour of evening prayer. Over on the
left is a low wall well and opposite it the followers of the Sheik appear to be
busy in the formation of a camp while the chieftain of the tribe is kneeling on
his prayer rug. In the distance appears the desert, with a glimpse of the
pyramids showing through the haze. It is a splendid picture, and he wanted it
without borders that usually are used to frame such a view – it stands out
boldly for just what it is, an Arabic camp.
One
cyclorama which must be all of 200 feet in length will encircle the stage,
except across the front, while another complete stage setting includes a view
of the sacred city from a minaret on the right. The tower has a balcony for the
use of Muezzin, and on the opposite side are set pieces representing buildings
along the street, with bazaars, etc.
The palace
scene is made with set pieces, the drop at the rear being made to carry sliding
doors. Through that opening the Potentate will make his entry.
The set
pieces include tents, sphinxes, pyramids, palm and date trees, throne, and a
whole mess of other things, and all so braced an arranged that they ‘stay put’
when required on stage, but can be quickly removed.
The
Abdallah stuff really includes two complete sets of scenery, one for permanent
use at the new Leavenworth mosque, and the other to be taken along when the
temple visits other cities in the jurisdiction.
The scenery
is to be loaded into a car and be delivered and place in the mosque not later
than May 15, and from the amount of labor-saving machinery being used on the
job, it will likely accomplish it.”
The
Abdallah Temple was chartered March 28, 1887. In 1910 the Abdallah Shrine
purchased the old Crawford Grand Opera House, originally erected in 1880. Located
at the corner of Shawnee Street, south side, between fifth and sixth streets,
it was extensively overhauled and became the well-known Shrine Temple until
1921. In 1921, a new Temple was erected on the lots just west of the original
one. At a cost of approximately $200,000, the stage was an integral feature to
the building with the new scenery from Universal Scenic Studio of St. Paul,
Minnesota.
Postcard depicting the Abdallah Temple in Leavenworth, Kansas.
The Shrine
was known as the playground of Freemasonry. After a Mason’s arduous study in
the Blue Lodge (first three degrees of Freemasonry), he continued his study of the
Craft in either the York Rite or Scottish Rite. This labor was a pre-requisite
to joining the Shrine, although not any more. However, even in 1921 there was an option if
men didn’t want to take the time or money to join the York or Scottish Rite
that culminated in the Shrine; they joined a the Grotto. For those Masons not
interested in the continued study in the Scottish Rite or York Rite, the Mystic
Order of the Veiled Prophets of the Enchanted Realm (M.O.V.P.E.R. Grotto) was
an option and considered the “poor man’s Shrine.” Back to Leavenworth and Abdallah
Temple.
1921,
Abdallah membership reached 4,500 with its jurisdiction extending over nineteen
counties in the northeastern part of Kansas. At this time, Abdallah Shrine maintained
a band and a patrol unit at Leavenworth, with ceremonials held several times
during the year; Abdallah events drew in large numbers of men from Leavenworth
and the surrounding districts. The Abdallah Shrine even owned the park southwest
of the city, formerly known as the Leavenworth County Fair Association Park.
The park included bathhouses, a dancing pavilion, racetrack and other places of
amusement, a perfect gathering location for Masons and their families.
After returning from the League of Historic Theatres’
national conference, I immediately was on the road again. I ventured east to Manitowoc, Wisconsin,
where I had the opportunity to visit a lovely theater in the midst of another
renovation. Manitowoc has a population of 33,000 people and is located just
south of Green Bay, Wisconsin on the shores of lake Michigan.
Originally constructed as Ascher’s Capitol Theatre, the
venue opened on June 16, 1921. It was a combination house, featuring both
vaudeville and film. Brothers Arthur and John George were responsible for the
endeavor, the two well known as owners of a local wholesale grocery store.
Ascher’s Capitol Theatre, 1922
On July 17, 1921, the “Herald News” reported, “You will gasp
with astonishment at what has been erected for your entertainment.” The article
continued, “You will hardly recognize that you are in Manitowoc. It will remind
you of big-city stuff. The lighting the effects, the music, the program, all
will combine to force the conviction that George Bros. have spared no expense
or effort to give Manitowoc and vicinity the most wonderful amusement palace in
the entire northwest.”
Interior of Ascher’s Capitol Theatre
The theater is now known as the Capitol Civic Theatre, or
Capitol Civic Center. I toured the
impressive building on August 2, 2019, with the executive director as my guide.
The auditorium is currently undergoing a 3.5 million dollar
restoration that includes the complete replacement of all theater seating,
slightly reducing the overall capacity to include larger seats. The space is
lovely, has a beautiful flow and ample room for patrons during pre-show and
intermission times. Renovation on this historic space began in earnest during
1987 after the Capitol Civic Center, Inc. was established in Manitowoc to focus
on the old theater. Ron Kaminski spearheaded the endeavor with support from
local individuals and groups, such as of members of the Masquers. The renovated
space opened on October 30, 1987, complete with a new Clancy rigging system.
Ascher’s Capitol TheatreAscher’s Capitol TheatreCurrent Clancy system at the Capitol Theatre
In addition to the original theater, there are many other
spaces that take up a substantial footprint on the downtown block. The Capitol
Civic Center, Inc. complex currently includes total seven individual buildings.
The website reports, “The West Auditorium (renovated in 2013 with campaign
support from The Manitowoc Company), is enhanced by the Capitol Grand Lobby
(the Mertens Family Lobby/Kadow Movie Museum and the Salutz Family Lobby just
off the Box Office). The annex houses the administrative offices, the technical
department, the green room, and loading dock facilities. Capitol Studios,
expansive storage, and a non-operational
historic pub and boarding house complete the properties.
Five full-time and five part-time employees, as well as over
170 volunteers staff Capitol Civic Centre, Inc. Now a successful enterprise, the
organization received the Chamber Manitowoc County’s Non-Profit of the Year
award in both 2007 and 2014. Now noted as an “anchor for activity in the heart
of downtown Manitowoc,” approximately 40,000 individuals attend performances
each year.
The renovated auditorium and new gathering areas are lovely,
each serving as a tribute to the past. So what about the material cultural and
history beyond the architecture and renovated spaces? The history of the stage appears sporadically
throughout the complex, such as the historic lighting board, now serving as a
decorative element in the new lounge and bar area. There area also a couple of
historic scenic pieces tucked away in storage areas.
Once used for stage lighting, it is now a decorative element in a lounge at the Capitol Theatre
Until recently, the original painted fire curtain completed
the architectural ornamentation of the auditorium. Citing the expense of
encapsulation to preserve this painted piece, the historic artifact was
disposed of and replaced with a non-descript and modern fire curtain. This was
the last painted element hanging above the stage. The executive director shared
images of the painting on his computer. Although it was not the most ornate
composition that I have encountered, it unified the auditorium space,
completing the fourth wall of the theater. I have encountered many similar
designs in the Performing Arts archives at the University of Minnesota
libraries and elsewhere over the years. 1920s asbestos curtains often continue
the auditorium’s color scheme and painted décor. Once this painted ornament is removed from
the auditorium, the entire dynamic of the space shifts.
An example of an Asbestos curtain design in the Performing Arts Archives, University of MinnesotaAn example of an Asbestos curtain design in the Performing Arts Archives, University of MinnesotaAn example of an Asbestos curtain design in the Performing Arts Archives, University of Minnesota
The executive director could not have been more
accommodating during my visit, taking time to share historic images of painted
scenes where once a prominent part of the stage house. We wandered into a
storage area, so I could examine an extant wing and a tri-fold set piece. The painted
wing composition was standard affair for a late 19th century
tormentor, complete with painted drapery, ornate column and pedestal. The other
set piece depicted a fancy interior with some lovely gold ornament. I was allowed to to photograph details of the
painting techniques. Examples that I will use in the upcoming professional
development work shop with Jenny Knott this month. We are again partnering to
teach a painting class at CITT/ICTS Rendez-Vous Annual Conference. This is the Canadian
Institute of Theatre Technology, similar to USITT. One week from today, I
journey to White Horse, a remote town in the Yukon where the conference is
being held this year.
Painted detail of an extant set piece stored at the Capitol TheatrePainted detail from an extant wing at the Capitol Theatre
After looking at the painted flats, I was guided up a long
flight of stairs to see a historic drop. In a previous phone conversation, I
was told that one rolled-up backdrop had survived and was neatly tucked away in
an upper lever. I was not expecting to
unroll anything, but wanted to see the wooden battens and quality of fabric,
hoping to date the piece. In fact, there were three rolled up scenes, resting
on a series of metal bars above a long hallway at the top of the stairs. In
many ways, this is an ideal location for access to the drops, even though one
would stop traffic if they were removed from the building.
Three drops in storage in a building adjacent to the Capitol Theatre
The wooden battens and fabric of the pieces suggest that all
three pre-date the venue and were likely delivered to another theater. It is
possible that the scenes were refurbished and sold to the Capitol Theatre in
1921, but more likely the scenes were “adopted” over time, finding their way
over from a nearby opera house. Manitowoc
was home to several theaters over the years, including the Manitowoc Opera
House, located on the 400 block of North Eighth Street.
Unfortunately, I was unable to verify that any of the rolled
backdrops were those depicted in the historic photos. It was obvious that one
was a foliage composition, either a border or leg drop, as the piece was once
netted. In regard to the other two, it is impossible to identify any subject matter.
I would be curious to see the painted compositions and if
there are any studio markings to identify origin. However, these historic artifacts remain very
low on the theater’s list of priorities and I doubt they will be unrolled
anytime soon. At least they are safely tucked away where they may be forgotten,
inadvertently preserving this history.
On my return trip home from the League of Historic American
Theatres conference in Philadelphia, I stopped by the Egyptian Theatre in
DeKalb, Illinois. While examining the
old fire curtain, I spotted not only the Union stencil, but also a stencil with
“National Theatre Supply Company” above it. Over the years, National Theatre
Supply Co. has popped up on my radar, time and time again.
The Egyptian Theatre in DeKalb, IllinoisThe fire curtain for the Egyptian Theatre in DeKalb, Illinois, painted by William Lemle Co. and delivered by the national Theatre Supply Co.
As I peered at the faint type above “National Theatre Supply
Company” on the asbestos curtain, I first made out the word “Lemle,” and then
“Painted by William Lemle Co.” The Egyptian Theatre fire curtain is extremely
significant in the course of American Theatre history for this stencil alone,
as it links together two significant scenic studios in 1929.
Back of Egyptian Theatre fire curtain noting, “Painted by William Lemle Co. in Chicago for National Theatre Supply Co.”
I immediately thought of another project delivered by the
two studios the same year, a second Egyptian-themed theater that was built in
McAlester, Oklahoma. National Theatre Supply Co. and Wm. Lemle Co. delivered
one of the largest Scottish Rite scenery collections in the United States to
the Scottish rite Theater in McAlester, Oklahoma. In a newspaper article from
November 1929, Moses was noted as a representative for both the Lemle Co. and
the National Theatre Supply Co. in regard to the McAlester Scottish Rite
project. Moses designed and painted the entire collection, recording that the
stage settings were 40’-0” high by 60’-0” wide and the stage was 140’-0” deep.
While researching these two studios in 1929, I encountered a
letter sent to Moses at “Wm. Lemle Co., Chicago, Ill.” Penned by William H. Fuller,
Venerable Master of the Albert Pike Lodge of Perfection in McAlester, he
mentions that the scenery was damaged en route to the McAlester Scottish Rite
theater, and specifically requests for either the Lemle Co. or the National
Theatre Supply Co. to write a letter recording their grievance.
So what do we know about the National theatre Supply Co. and Moses’ involvement with the firm? Let’s start with the end of Sosman & Landis in 1923. That year the studio is liquidated, their space rented to another firm and the name sold. Moses partners with Fred Megan of the Kansas City Scenic Co. and they attempt to purchase the name of the company. Before they are able to legally use the name “Sosman & Landis,” they work under the studio name Moses & Megan. Hoyland and Lemle purchased the Sosman & Landis studio contents at that same time. Later William Lemle Inc. would use the old Sosman & Landis studio space.
Moses & Megan lease the Fabric Studio in Chicago, the
same company that delivers the Joplin Scottish Rite scenery. Moses & Megan
produce the 1926 Salt Lake Consistory scenery, as well as the 1927 Oakland
Scottish Rite scenery. Moses and Megan would continue working together until
1931, but Moses would also begin representing both the William Lemle Co. and
the National Theatre Supply Co.
Why is Moses so adamant to retain the studio name? Because
Moses has been a major player in Sosman & Landis scenery production since the
very beginning. The studio name is synonymous with quality and Moses is
integrally linked to the company. One could even surmise that Moses was the
face of the company, as his reputation was intertwined with their work since
1880. In 1904 after Moses returned to Chicago after a successful career in New
York City (Moses & Hamilton), he assumed all control over all Sosman &
Landis design, painting, construction and installation. He becomes the
vice-president and was even rewarded $5,000 in stocks in addition to control
over production. He later becomes company president after the death of studio
founder Joseph S. Sosman. Moses had an incentive to remain connected with the
studio name until quite late in his career. In later years, he is listed as the
artistic director of Sosman & Landis.
However, there are a few things to keep in mind as National
Theatrical Supply is established in the shadows of Sosman & Landis’s close.
In 1920, six Sosman & Landis scenic artists leave to form Service Studios.
Many of the black and white photographs in their sales books are exact replicas
of Sosman & Landis Masonic models. In other words, they are peddling the
same designs without the Sosman & Landis name. Service Studios is soon sold and becomes ACME
studio. The ACME studio also uses the Sosman & Landis designs in their
sales catalogues.
This all happens after a big upset at Sosman & Landis. Two
key figures responsible for the Scottish Rite connection pass away just before
WWI; founder Joseph S. Sosman and M. C. Lilley representative Bestor G. Brown.
Their passing causes the alliance between a major regalia company and a
significant scenic studio to cease, allowing another studio takes the reins of
Masonic degree production – Toomey & Volland. Under the leadership of Hugo
R. Volland, St. Louis Scottish Rite backstage director and president of Toomey
& Volland, this St. Louis-based scenic studio is awarded dozens of Masonic
contracts in the post-WWI years.
Now back to the another firm delivering Scottish Rite
scenery in the 1920s – the National Theatre Supply Co. Founded in 1926, the
National Theatre Supply Company advertised as the “largest theatre equipment
and supply service organization,” with “31 well managed, well stocked branch
store in operation throughout the country, doing a volume of business
considerably in excess of what was transacted when the field was being served
by individual dealers. And, too, more dependable and satisfactory service is in
evidence on every hand.”
Their advertisements explain, “chain store operation in
other American industries is one of increased efficiency in service and
pronounced economy in merchandising, reacting directly and favorably to the advantage
of those who buy. This condition is being exemplified in the operation of the
National Theatre Supply Company.” This paragraph is hard to read without
thinking of the massive theatrical complexes targeted by this new company and
not think, “Super-size me.”
In 1927, the National Theatre Supply Company noted that a
new scenery and drape department was formed under its direct supervision. The new department was paced under the
direction of Mr. P. L. Landis, “a specialist in stage technique with headquarters
in the general offices of the Company in Chicago.” Landis was credited with
being “well known to the trade, having been a member of the original Sosman
& Landis Company in Chicago. With 12 years of experience in all braches of
scenery production and stagecraft, he is particularly fitted to head the new
department.” When Moses was elected
Sosman & Landis Co. president in 1915, Arthur Sosman was elected vice-president
and Perry Landis treasurer.
National Theatre Supply Co. advertisements note the following:
“The National Theatre Supply Company manufacturers nothing,
nor has it any direct control over factory costs or factory list prices of any
article it sells. It is strictly a sales organization and service
representative of a majority of manufacturers of theatre equipment and
supplies. It is therefore obvious that the establishment of selling process is
not within its power, except insofar as quantity purchasing and increased
consumption are concerned. Quantity production and distribution governs the price
of everyday commodity or service, regardless of its nature. The same conditions
apply to the theatre supply industry and any readjustment of prices must
necessarily result from the patronage and support. And when manufacturers are
given a suitable volume of business, their products serviced promptly and
reliably and their bills paid in accordance with terms there s very little
likelihood of an increase in price of these products.”
The same National Theatre Supply catalogue included a
photograph with the caption, “Spacious scenic studio of William Lemle Inc. of
Chicago, the entire output of which will be distributed through national
service.” The problem is that the photograph actually depicted the Sosman &
Landis studio prior to WWI, complete with Joseph Sosman in the center and Moses
painting one of the drops. The Lemle company was simply using an old photograph
of the space.
Image brought to my attention by Bob Foreman, courtesy of Rick Zimmerman
In 1911, Thomas G. Moses
wrote, “I did a good ‘Mme. Butterfly’ set for Joe Sheehan.”
Joe Sheehan pictured in the “Lansing State Journal,” 14 March 1914 page 11
Joe Sheehan was the star of the Sheehan Opera Company of
Chicago, also known as the Sheehan English Opera Company. While I was looking
for information pertaining to the company and show, I happened upon an
interesting blog by Mary Lois – “Finding Myself in Hoboken.” Unbelievably, one
entry included a gentleman’s reminiscences about his wife’s grandfather, Joe
Sheehan. Posted on May 29, 2008, it provides some basic information about
Sheehan from an interesting and familial perspective. Slezak had been sent Lois
a series of emails since he discovered her blog. Lois commented, “He likes to
remember what Hoboken was like in the late 1940’s and through the 1950’s, and
he describes it vividly” (https://myselfinhoboken.blogspot.com/2008/05/).
She included the following sample:
“My wife’s dad – what a nice guy he was…played with the big bands during
the war. (His dad was an opera singer from Dublin who toured Europe with the
Carl Rosa opera company..he came to America in 1900…and started his own opera
company, Joseph Sheehan Opera Company …you can look him up on the computer.
In them days he was the greatest tenor English opera singer in the world. After
he retired from that he worked for RKO Radio studios in NYC…and later it
became NBC studios…he lived on Garden Street just across the street from me)
My wife’s both grandmothers lived across the street from me when I was a kid. I
have a picture of me and my wife in the same picture – she was 5. I was 9, not
knowing I would marry her some day and spend the rest of my life with her. I
got lucky and always had good luck…with every thing I did in life.”
In advertisements, Sheehan was billed as America’s Greatest
Tenor and Famous Opera Star” (The Akron Beacon, 5 April 1913, page 8). He
toured the company, starring in a series of operas that appeared in not only
large metropolitan areas, but also many small towns.
As I was examining the various performance venues where Sheehan appeared, one jumped out – the Wieting Theatre in Toledo, Iowa. His performance is mentioned on their current website (https://wieting.tamatoledo.com/theOpening). The history page noted, “The new curtains of the Wieting Opera House parted for the first time at 8 o’ clock on the evening of Sept. 12, 1912. A capacity “house,” all dressed for the gala occasion (especially those in the box seats), had paid $1.50, $2.00 or $2.50 per ticket to see the Sheehan English Opera Company’s presentation of “Il Trovatore.” The show featured Joseph F. Sheehan, “America’s Greatest Tenor” and a supporting cast of more than one hundred.”
Until two years ago, I was unaware of Toledo, Iowa. A
scenery evaluation brought me to the small town during the spring on 2017 to
examine their front curtain and present some information about the painted
aesthetic for early-twentieth-century stages.
At the time the Wieting Theatre was well ino the process of renovating
their entire stage area. I stayed at the home of the executive director and learned
quite a bit about how the history of the Wieting theatre, and its two sister
theaters in Syracuse and Worcester, New York.
These three memorial theaters have an intereting history in their own
right.
The front curtain by Twin City Scenic Co. at the Weiting Theatre in Toledo, Iowa.Painted detail of the front curtain at the Weiting Theatre in Toledo, Iowa.Painted detail of the front curtain at the Weiting Theatre in Toledo, Iowa.
The theaters are connected to Dr. P. G. Wieting and Helen “Ella”
Wilder. The couple was married on December 5th 1866, and initially lived in Worcester,
New York. Only staying in the area a short while, heir second homes was located
in Toledo Iowa by 1867. Dr. Wieting was successful dentist in Toledo, but also was
involved in many other business ventures. In 1878 Dr. Wieting and Helen’s father
started the Toledo City Bank. Though the Wietings eventually returned to the
East Dr. Wieting continued to be involved with the Toledo bank until
his passing in 1906.
To honor her husband after his death, Mrs. Wieting donated
theatres to the communities of Worcester, New York, and Toledo, Iowa. These
theatres were intended to carry on the name of her late husband while enriching
the communities. The Wietings were also
responsible for the construction of a previous Wieting Opera House in Syracuse,
New York. Although there had been a series of Weiting Opera Houses in Syracuse since
1852, Mrs. Wieting was responsible for the third and final building. The first
Wieting Opera House was donated to Syracuse by 19th century
physician and medical lecturer John M. Wieting, M.D. (1817-1888).
Attached are a few images of the front curtain from Toledo, Iowa.
Gilmore’s
Auditorium constructed at 807 Walnut Street in Philadelphia, just one in a
series of popular nineteenth-century theaters located at the same address.
Welch’s National Amphitheatre and Circus, the Continental Theatre, the American
Variety Theatre, Fox’s New American Theatre, the Grand Central Theatre, and
Gilmore’s Auditorium. The tale of four fires is presented in an interesting post
by Harry Kyyriakodis about about the various entertainment venues at this
address. Here is the link: https://hiddencityphila.org/2013/05/blazing-ballerinas-and-a-rampaging-elephant-at-807-walnut-street/
Photograph of Gilmore’s Auditorium, Philadelphia, from the “Official Building Directory and Architectural Handbook of Philadelphia,” 1899, p 257.
The theater’s proprietor, William J. Gilmore, had made a
career in theater management by the time Gilmore’s Auditorium was
constructed. He had successfully managed
several Philadelphia theaters as well as others across the country.
“The Times” included an article on Gilmore’s Auditorium
rising from the site of the burned Central theatre on June 4, 1893 (page 15).
The article reported, “From the ruins of the New Central Theatre is rapidly
rising a new building that will be, when completed, one of the finest
playhouses in America. The new theatre will be known as ‘Gilmore’s Auditorium,’
and built in the Moorish style of architecture, from brownstone, terra cotta
and light buff brick, beautifully embellished with colored glass and new
electric lights. Architect John D. Allen, under whose direct supervision the
house is being erected, has provided every device known to modern science that
contributes to the safety and comfort and convenience of the prospective
patrons, resulting in a building that is practically fireproof. One of the
chief factors contributing to this end of the building is the proscenium wall,
having no opening between the stage and auditorium except the arch, which is
protected by a heavy asbestos curtain, while the stage roof is fitted with an
automatic ventilator, so adjusted that a rise of a few degrees in temperature
will at once open it and form an excellent flue by means of which any flames
that might possibly break out in the stage or among the scenery, would be
diverted from the building proper. The system of heating and ventilating
adopted has been proved absolutely effective, thus insuring a cool house in
summer and a warm one in winter. The colors selected for all interior
decorations are such that everything harmonizes in the manner, forming a
perfect rest for the eyes, which is not destroyed even when the full glare of
the innumerable electric lights is turned on. So rapidly has the work of
construction progressed that although the ground was broken only on February 8
last, it is expected to throw open the building for inspection early in August.
Taking into consideration that only thirty-two clear working days were
available since the beginning of the work the progress has been wonderfully
rapid, although everything has been done in the most careful and workmanlike
manner.”
Image of Gilmore’s Auditorium during construction from “The Times,” (Philadelphia) 4 June 1893, page 15
Gilmore’s Auditorium was illuminated by electricity and
boasted a seating capacity of 3,076. John R. Wilkins was listed as the scenic
artist in Julius Chan’s Official Theatrical Guide, 1896. With the theatre on
the ground floor, the proscenium measured 33 feet wide by 34 feet high, with
the distance from the footlights to the back wall being 30 ½ feet. The distance between the side walls was 75 ½
feet and the distance between the girders measured 42 feet. It was 60 feet from
the stage to the rigging loft, with the depth under the stage measuring 9 feet.
There were three traps and one bridge along the back wall. By 1905, Gilmore’s
Auditorium became the Casino Theatre, soon gaining a reputation as a popular
burlesque venue.
The Gilmore’s Auditorium asbestos curtain was mentioned
in “Well-known Drop Curtains in Philadelphia Theatres,” published in “The
Philadelphia Inquirer on Dec. 18, 1894. Instead of listing the scenic artist,
the article highlighted the stage carpenter for his innovative stage machinery-
hydraulic engine was used to lift the
asbestos curtain.
“The asbestos curtain in Gilmore’s Auditorium is a model
of its kind. The curtain is thirty-four feet wide by thirty-six feet high, and
is lifted and lowered by means of a one-half inch steel wire cable over a drain
in the flies. The curtain, which is nearly one-half an inch thick, is not
rolled up, but lifted bodily, away up in the flies by a small hydraulic engine.
It is painted a creamy buff in harmony with the other decorations, but is
devoid of any ornament save the single word “Asbestos” painted in the center.
All of the act and scene “drops” in this popular amusement temple, like the
asbestos drop, are made to lift bodily, the system, which is new, being devised
and put in by Mr. Gilmore’s stage carpenter, H. J. Overpeck.”
. The only information that I have uncovered pertaining
to anyone named Overpeck in the theatrical profession is an A. J. Overpeck who
was listed as a stage machinist with Baitley Campbell’s Siberia in Harry
Miner’s Professional Directory (1884). By 1896, Julius Cahn’s Official
Theatrical Guide would list Harry Spillman as the stage carpenter and
electrician.
Of asbestos curtains, however, an interesting article was
published the same year in the “Boston Globe” (23 Feb. 1894, page 8).
“Asbestos Curtain at the Boston.
It is the duty of every theatrical manager to provide his
patrons with the best protection possible against fire. No means has yet been
discovered equal to a fireproof curtain, and such a one as the Boston Theater
has just been put in place is the best of its kind. The curtain is 52 by 50
feet and is made entirely of asbestos. It is hung by wire rope which runs
through iron chives [sheaves] fastened into the brick wall over the proscenium,
and as all the battens are of iron piping, there is not a bit of woodwork or
anything combustible about the entire construction.
The curtain was put in place by Mr. W. P. Prescott, the
theater’s machinist, who also made all of the machinery. Last week a test was
made before the insurance commissioner, and he pronounced it a splendid piece
of mechanism and an ample protection.
By pulling a small wire rope at the prompt stand the
curtain can be lowered in three seconds, so that in case of fire not an instant
will be lost in shutting off the auditorium from the stage by an asbestos wall
through which no flames could penetrate.”
Furthermore, an article in the “Democrat and Chronicle”
(Rochester, New York) on Dec. 6, 1894, was entitled “Theater Fires” (page 6).
It reported, “Statistic of theater fires from 1751 to the present year have
been compiled by the Scientific American, and the figures show a total of 460
theaters destroyed in all countries during the period covered. There were 31 of
these disasters in London, 29 in Paris and 29 in New York. The number of
victims was great, but as separate lists of the killed and wounded are not
given, no accurate statement of the loss of life can be made. It was, however,
appalling.” The article later commented, “We believe that most of the modern
theaters in this country afford fair protection of their patrons, by means of
asbestos curtains, which can be lowered quickly, separating the stage from the
auditorium, and by reasonably ample facilities for exit.”
Finally, as
asbestos curtains gained prominence by the end of the 19th century,
a funny article came out that reminded me of the plain asbestos curtain hanging
at Gilmore’s Auditorium. It was published in the “Philadelphia Inquirer” on
Feb. 7, 1897, page 20: “I has an afternoon off this week,” said a well-known
comedian to me last evening, “and as I had nothing else to do I wandered into a
theatre where a matinee was being given. Directly in front of me sat two
stylishly-gowned girls, and they wore hats that were veritable flower gardens.
Of course, I could se very little of the stage, but I was repaid by the
charming conversation I was forced to overhear. It was just previous to the
opening overture and the fair maids were discussing the asbestos curtain.
“That
curtain is not half as pretty as the one they used to have here,” said one.
“No indeed
it is not, chimed in the other.
“By the
way, Marie, who was Asbestos?”
“Asbestos?”
queried her friend.
“Why Asbestos
was a Roman general, wasn’t he?”
“Was he?”
“No. Laura;
let me think – Oh, I remember now; he was a mythological character.”
Part 730: Drop Curtains in Philadelphia, 1894 – William M. Voegtlin, the Standard and Lyceum Theatres
Two sections in the article “Well-known Drop Curtains in Philadelphia Theatres” focused on William M. Voegtlin’s scenic art at the Standard Theatre and Lyceum Theatre. The article was published in “The Philadelphia Inquirer on Dec. 18, 1894, page 45.
“Another very pretty curtain is the asbestos drop at the Standard Theatre, the classic design and artistic finish of which is equal to the more pretentious curtains in the other playhouses. It was painted in 1890 by William M. Voegtlin, who died last year. The subject of the scene is called “Cupid in Captivity,” and represents two beautiful women in classic attire standing by a fence in a meadow rich with flowers and surrounded by a number of winged cupids. The scene itself, with its exquisite coloring and artistic finish of detail, forms only a small disc in the centre of the curtain. It is a copy form an original painting of that name, copies of which, in the art stores and on calendars have made it famous on two continents. The remainder of the curtain as originally painted, represented a mass of crimson drapery in imitation of satin and silk, but when, two years later, the house was redecorated, the crimson drapery was changed by Daniel F. Crème to yellow and black, to correspond with the other color effects as they now appear.”
Illustration of asbestos curtain painted for the Standard Theatre by William Voegtlin.
Voegtlin also painted a drop curtain for the Lyceum that was later described in the article:
“The very attractive drop curtain at the Lyceum represents a Venetian scene, in which a goodly company of ladies and gentlemen in rich Florentine costumes are standing on a well-shaded terrace overlooking the greenish blue waters of a placid lake. The scene was painted by William M. Voegtlin in 1890, and occupies a small circle in the centre of a curtain about which is painted a richly carved Viennese frame. This curtain has been much admired by many patrons of this most popular theatre.”
Illustration of asbestos curtain painted by William Voegtlin for the Lyceum Theatre
The Voegtlins were a famous family of scenic artists. The patriarch, William Voegtlin was born in Basle, Switzerland in 1835. He immigrated to the United States at the age of 15, settling in New Orleans where he began painting first scenery. Voegtlin quickly ascended to the top of his profession. By 1879 he was listed as one of the “very best of living scenic artists,” listed alongside Russell Smith, R. Martin, and W. Seavey (The Philadelphia Inquirer, 15 Nov, 1879, page 5). In the 1892 article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” Voegtlin was remembered for his talent (Dec. 18, 1892). Of Voegtlin, the he article reported, “One of the great giants of the scenic world was William Voegtlin, the greatest deceiver of transformation effects that ever walked the paint bridge. He had a style peculiarly his own and seemed to incorporate the stunning effects of all schools, but was not without artistic weakness and peculiarities. In some respects his drawing had the weakness of Morgan, but his color was wonderfully vivid, and he was a grand master with foil. In this latter respect he was only rivaled by Thomas Noxon of St. Louis, a remarkable artist in spectacle. Voegtlin often ate and slept on the paint frame for weeks at a time during the rush of a great production. Then followed a period of dissipation, when his painting was very “red.”
Of his productivity, Voegtlin was remembered as “an extremely rapid painter.” In 1892, “The Star-Gazette” reported that “when he made the scenery for an elaborate production of Faust, the Brocken scene, the magnificence of which has been extensively advertised, was scarcely more than half finished when the curtain rose for the first act. But it was finished by the time it was wanted, though it was till wet” (Star-Gazette, Elmira, NY, 3 June 1892, page 4).
William Voegtlin married his first wife Berth Fleichman in Peru, Illinois, in 1857. The couple had a total of nine children, but only two survived to adulthood – Emil (b. 1858) and Arthur (b. 1862). They followed their father in the scenic art line. The family settled in New York, where Voegtlin continued to work as a scenic artist. Like many scenic artists, he frequently traveled for work, and later took along his young sons as assistants. After extended absences and twenty-six years of marriage, Bertha ran away with a close family friend, Carl Voegel, of Voegel & Co. At the time, Voegel was also married and it caused quite a scandal.
Although Bertha returned a few times, the couple remained separated, but never officially divorced, causing even greater problems. Voegtlin eventually moved to the West Coast, painting at the Bush-street Theater in San Francisco. Ironically, his first wife was living with Voegel; cohabitating in Oakland. In California, Voegtlin met his second wife, Lizzie M. Ritchie, a dressmaker of Los Angeles. They married during May1884, and his tale of bigamy appeared in newspaper across the country (Chicago Tribune, 5 Jan 1885, page 2).
Ironically, both his first and second wife threatened to cause his arrest for bigamy unless he paid them money. Bertha held his possible imprisonment in San Quentin over his head, unless he paid her the sum of $1,360. Other stories, explained that he was told to turn his entire salary over to Bertha, which he reportedly did for some time until he tired of agreement and his arrest followed. There is quite a bit more to the story, but this is the condensed version. His tale of bigamy appeared in newspapers all across the country and is quite an interesting story (Chicago Tribune, 5 Jan 1885, page 2). When his case went to trial, however, Voegtlin was acquitted of his crimes and returned to work as a successful scenic artist.
Over his forty-year career, Voegtlin painted scenery for almost all of the principal theaters in the country. His projects included the scenery and curtain at Child’s Opera House in Los Angeles, as well as scenery for the Boston’s Grand Opera House, the Globe Theatre in Boston, Booth’s Theater, the Union Square Theatre, and the California Theatre. For a number of years, he was the chief scenic artist under Jarrett & Palmer’s management and was engaged by E. G. Gilmore at Niblo’s Garden Theatre in 1880. At Niblo’s he created scenery based on designs sent by the Kiralfy Brothers for their spectacles too (New York Daily, 13 July 1879, page 6). In 1881, the family was running a prosperous boarding house in New York.
By 1890, Voegtlin was working with two other well-known artists, Ernest Albert and Henry Hoyt, on productions for the Chicago Opera House such as “Cinderella” and “Bluebeard Jr.” In 1892 he and Joseph D. Claire and produced scenery for “Kajanka,” the pantomime (Altoona Evening Telegram, 3 May 1892, page 3). Voegtlin passed away at the age of 57 in 1892, after suffering for years inflammatory rheumatism. He was interred at Forest Hills cemetery (The Boston Globe, 1 June 1892, page 10). His pallbearers included many well-known scenic artists: Henry C. Tryon, Charles Witham, John A. Thompson, William Gill, Victor Lawson, Henry E. Dixey, William Dixon, and Mr. Brooker.
Sosman & Landis delivered stock scenery, an asbestos curtain and a drop curtain to the Temple Theatre in Rochester, New York, in 1909. The Temple Theater was located just across the street from the popular Lyceum Theatre on Clinton Street. This was the same year that they also delivered Masonic scenery to Scottish Rite theaters in Winona, Minnesota, Kansas City, Kansas, Dallas, Texas, Atlanta, Georgia, and Memphis, Tennessee.
Postcard of the Temple Theatre in Rochester, New York.
The Temple Theatre across from the Lyceum Theatre in Rochester, New York.
On September 22, 1909, and advertisement for the Cook Opera House was placed in the “Rochester Democrat and Chronicle,” noting that it was “to be succeeded in November by the Temple Theatre as Rochester’s Home of International Vaudeville” (page 16). As the Cook Theatre, it was the present home of “J. H. Moore Vaudeville” (Democrat and Chronical, 14 March 1909, page 24).
There were venues known as “Temple Theatres” across the country, many managed by the Knights of Pythias. There were many other Temple Theatres in 1909, including those in Alton, Illinois, Youngstown, Ohio, New Orleans, Louisiana, Palestine, Texas, and Detroit, Michigan, to name a few.
In regard to the new Temple Theatre in Rochester, he “Democrat and Chronicle” reported, “[the Temple Theatre] will have the most complete vaudeville house on the American continent” (25 October 1909, page 10). Architect Leon H. Lempert drew the plans and supervised the construction of the theater. Of the installation, the article continued,
“The stage scenery is from the studios of Sosman & Landis of Chicago, and a carload of scenery will arrive in the city next week, several other cars of scenery following rapidly. The asbestos, or fire curtain, will be the first to be placed so as to avoid wrinkling and the beautiful drop curtain will be the last thing.
This drop curtain will be a picture of Marie Antoinette receiving Louis XVI at Versailles. The scenic equipment itself is perhaps the most elaborately ever placed in a vaudeville theater in the world, and the subjects as well as the designs of the interior scenes were carefully selected at a conference of the artists, the owners and the architect. J. H. Moore gave carte blanche for this work. And the cost of the decorations and scenery alone is more than the cost of the average theatre.”
Of the other elaborate decorations in the new Temple Theater in Rochester included fresco work was completed by Charles S. Allen of New York. The article noted that he worked on the ceiling with “a dozen Italian artists” who were brought to this country to decorate the home of Charles M. Schwab, the steel magnate. Furthermore. The mural paintings on the soundboard above he proscenium arch were painted by Raphael Beck, an artist from Buffalo, New York. Beck had exhibited his work at the Pan-American Exposition.”
Program for the Temple Theatre in Rochester, New York.
Part 532: Thomas G. Moses and the Jefferson Theatre in Goshen, Indiana
The new Goshen opera house was named the Jefferson Theatre after the passing of Joseph Jefferson in 1905
In 1905, Thomas G. Moses worked on the stock scenery and asbestos curtain for the Jefferson Theater. Of the project, he wrote, “Goshen, Indiana, was a good contract.” The painted curtain by Moses, representing the Sosman & Landis firm, is partially visible in an early photograph. It depicts his signature composition, a babbling brook running through a heavily wooded area.
The asbestos curtain at the Jefferson Theatre in Goshen, Indiana
Detail of painting by Thomas G. Moses for the Jefferson Theatre in Goshen, Indiana
Listed as the New Jefferson Theatre in Julius Cahn’s Official Theatrical Guide, Sosman & Landis were listed as the scenic art firm that produced the stock scenery collection. The width of the proscenium measured 37 feet 6 inches wide by 32 feet high. The depth of the footlights to the back wall was 42 feet 6 inches, the distance between side walls was 64 feet, and the distance between the fly girders was 54 feet. The height to the rigging loft was 64 feet and the height to the fly gallery was 32 feet. One bridge connected the fly galleries. There were no grooves, just a “scenic rack” to store flats and interior box sets.
“The Indianapolis Star” reported, that the Goshen promoters named the new opera house for the deceased actor Jefferson (29, April 1905, page). The article noted, ““The Builders of the new theater in this city have decided to call the house the Jefferson Theatre. This will be the first city in the country to pay such tribute to the memory of the dead actor since he passed away. The owners had already decided to name the house the Goshen Opera House, but when the news of Jefferson’s death was received they changed this decision.” In May 1905, construction began on the theater. In July, a scaffold collapsed injuring three brick masons after they fell from the third floor to the first (Bristol Banner, 28 July 1905, page 1).
Joseph Jefferson passed away in 1905. Notice in the Boston Globe, 24 April 1905, Page 1
During construction, “A Twentieth Century History and Biographical Record of Elkhart Country, Indiana” was published. An article on the Goshen Opera House provides some details about the performance venue, located at 216 S. Main Street in Goshen. The book’s editor was Anthony Deahl of the Elkhart County Bar.
Plans for the new opera house in Goshen, Indiana, 1905. Image from “Twentieth Century History and Biographical Record of Elkhart Country, Indiana”
Here is Deahl’s entry for the new Goshen Opera House in 1905.
“The new business block and theatre building, in course of erection in the summer of 1905 by the Sanders, Hay and Neidig Company, gives Goshen another institution of distinctive character and one which the citizens may well feel proud. Erected at a cost of $75,000, with a frontage of 111 feet and depth of 162 feet, three stories high, material and buffed Bedford limestone and buffed mottled Roman brick, the entire building is of usually beautiful proportions and effective design. The theatre, 67 by 162 feet is on ground floor. Three sets of doors go from the street to the main vestibule, and two sets admit to the lobby. To the right as the lobby is entered is a private office of the theater manager. Adjoining it is the box office, with ticket window opening into the lobby as well as the gallery passageways. Next to the box office, and with an opening from the foyer, is a checkroom for hats, coats, etc. Two sets of doors open from the lobby into a 10-foot foyer, at the right and left of which are stairways, each 4 ½ feet wide, leading up to the balcony. The stairs are very easy, the rise being six inches and the tread 11 inches.
Col. J. M. Wood, the architect, has followed the classic style of the architecture in the interior of the theatre and tends somewhat toward the Ionic. The decorative effects will be subdued, dignified and very artistic. The scheme of coloring will be a harmony of delicate greens, blended with old ivory. All of the furnishings, including the draperies, carpets, etc., will be handsome and in keeping with the general character of the theater.
Over 1,100 people can be seated in the theatre. The main auditorium measures 64 feet wide and 66 feet long. The height is about 45 feet. The four proscenium boxes, two on either side, seat six persons each and two loges, one of either side, four persons each. The boxes are in the Ionic style, with huge pillars as the dividing line.
The balcony seats 325 people. The orchestra pit is 5 ½ feet wide with under stage entrance. The proscenium is 38 feet wide and 28 feet high. The arch itself is an ellipse, 20 feet deep ad 50 feet long, extending from the outer edges of the boxes. It will be done in relief plaster, with magnificent decorations and prove the attractive feature of the theatre. Built of steel and brick, the arch will, when the asbestos curtain is lowered and fire-proof doors closed, completely separate the stage form the auditorium, doing away with much of the danger of fire, as fires in theatres nearly always start on the stage.
The architect has been careful to comply with the state law in detail. A general heating plant in the basement will furnish heat for the whole block. Steam will be used. All the plumbing is of the attest kind. In all there are seven exits, the lower floor, balcony and gallery all having openings in to the alley on the south of the building. The law provides for 20 inches of exit space for every 100 people. Col. Wood’s plans provide 40 inches, just double the amount required by law. All apparatus for fire fighting will be placed in the theatre.
A wide stairway south of the double room will lead to the upper floors of the entire block, wide corridors being arranged. The offices will be furnished in the metropolitan style, steam heated, electric lighted and with toilet rooms. The woodwork will be in oak, with red beech floors. There are several suites. On the third floor, over the double room, will be a lodge room, with kitchen, buffet, billiard room, card room, reception parlor, etc.
Suspended from the building by means of heavy iron chains a wrought iron, highly ornamental, and prism glass canopy or porte cochere, will extend out over the full width of the sidewalk, affording shelter in front of the whole entrance to the playhouse.
The Sanders, Hay and Neidig Company, through whose enterprise this fine building has been erected in Goshen, was incorporated February 6, 1905, with the following well known business and financial men as its officers: George W. Hay, president; Daniel A. Sanders, vice-president; Harry M. Sanders, secretary; and David W. Neidig, treasurer.”
David W. Neidig. Image from “Twentieth Century History and Biographical Record of Elkhart Country, Indiana”
George W. Hays. Image from “Twentieth Century History and Biographical Record of Elkhart Country, Indiana”
Harry M. Sanding. Image from “Twentieth Century History and Biographical Record of Elkhart Country, Indiana”
The Jefferson Theatre was completed shortly before the first performance of “The Merchant of Venice,” on 6 Nov. 1905. Richard Mansfield, who played Shylock, dedicated the building on opening night. Sadly, the venue was destroyed by fire the next year, on December 18, 1906. The fire began in the next door basement of Stiver & Smith’s Furniture Store. Despite the best efforts of local fire departments, the flames consumed the block. The newspaper reported that the opera house building originally cost $85,000 to build, was insured for only $40,000 (Garrett Clipper, 27 Dec. 1906, page 8). Construction for a new opera house began immediately.
Postcard of the second Jefferson Theatre in Goshen, Indiana
The Chicago architectural firm of Patton & Miller designed a new Jefferson Theatre that opened in 1907.
A vintage photograph of the Paramount in Austin, Texas
The fire curtain at the Paramount Theatre in Austin, Texas. The League of Historic American Theatres conference held their closing party on the stage.
The fire curtain was produced by the St. Louis scenic studio – Toomey & Volland.
Looking up at the Paramount Theatre in Austin, Texas.
LHAT closing party at the Paramount
LHAT closing party at the Paramount
LHAT closing party at the Paramount
The last event for the League of Historic American Theatres (LHAT) was at the Paramount Theatre. We learned about the incredible history of this beautiful historic theater and its inspiring staff. Each of the staff gave brief presentations and insight into the running of their venue. We looked at funding, educational development, community outreach, and productions.
What struck many of us was the passion and dedication clearly apparent as individuals spoke about their role and mission. It is apparent that the employees feel appreciated. They are treated very well; this feeds into and supports their continued dedication. This is such a no brainer. In this venue, labor is not the enemy. Great healthcare, benefits, and support pay off in the long run.
The Paramount perspective: Investments in our greatest asset…our people.
The executive director of the facility took the time to explain their approach. The repeated over and over that they took the time to investment in their greatest asset…our people. This venue treats their patrons and staff equally well. They are an example of what all theaters, and businesses, should aspire too.
Only 20% of their revenue is dependent on grants, with the majority of their funding originating from private sources. They worked hard to achieve this level of success and continue to work hard at it.
The LHAT closing party was held on stage with a Texas barbeque theme, complete with picnic tables, bourbon samples, and sparking lights overhead. Despite everything else that is troubling in the world, we all needed this community event and positive message. The experience left me with a feeling of hope.
Painted detail at the Paramount Theatre in Austin, Texas
Painted detail at the Paramount Theatre in Austin, Texas
