Scenery by Sosman & Landis for the Elks Opera House (Tabor Opera House) in Leadville, Colorado, 1902. The Sosman & Landis Studio was subcontracted by the Kansas City Scenic Co. for the project.
Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902
For more scenes from the Tabor Opera House, visit www.drypigment.net and keyword search “Tabor Opera House.”
In 1923 Thomas G. Moses wrote, “Joe Bren’s work came in early this year, and we will try and give him a good job. It is not apt to be paid for very soon as usual.”
The Joe Bren Company was a Chicago-based theatrical production company that partnered with fraternities and civic groups to stage fundraising shows. Bren became a Sosman & Landis client in 1916 and continued to order scenery on an annual basis until the early 1920s. By 1922, however, the amount of scenery purchased by Bren from Sosman & Landis began to dwindle.
Bren Company representatives traveled from town to town, working with local talent to organize minstrel reviews, vaudeville frolics and “Jollies.” They were especially popular with the Kiwanis Club, Lions, American Legionnaires, United Commercial Travelers, Elks, and Shriners. The Bren Company provided sketches, jokes, and songs, even supplementing some of the local talent with professional acts. The Joe Bren Company not only provided instruction, but also all of the technical trappings, including scenery, lighting equipment and costumes.
By 1922, however, the Bren company began purchasing much of their scenery from another source – Service Studios, also known as the Scenic Service Studio of Chicago. On Dec. 10, 1922, the “Leader-Telegram” included a announcement about a Bren production reporting, “Scenery for the Bren company constructed and painted by the Scenic Service Studio of Chicago” (page 8). The Service Studios was completely composed of previous Sosman & Landis artists, so they new what Bren needed for his production. In 1920, a group left Sosman & Landis to form Scenic Studio. Service Studios rapidly made inroads in the theatre industry, winning projects from many competitors, including Sosman & Landis. Here is a past post about Service Studios: https://drypigment.net2020/05/05/tales-from-a-scenic-artist-and-scholar-part-981-john-hanny-and-the-chicago-service-studios-1918/
The primary Bren production for 1922 to 1923 was a musical revue in two acts and six scenes, under the direction of Ralph Hamilton and Alex Robb of the Joe Bren Production Co., Chicago. The production staff for the event included: Delos Owen (orchestrations and musical direction), Joe Bren (Dialogue and Lyrics), Geo. L. Ownes (staged musical numbers), Scenic Service Studios, Chicago (scenic design and execution), and New York Costume Co., Chicago (costumes).
In 1925, Scenic Services Studios was still producing scenery for Joe Bren, now the “Jollies of 1925” (Hamilton Evening Journal, 10 March 1925). This all changed in 1926 when Service Studios sold out to Art Oberbeck of ACME Studios. Interestingly, Oberbeck had also started out at Sosman & Landis scenic artist in 1904.
By the early 1920s, Bren hired Sosman & Landis for production elements, no longer the main design for the primary stage show. With Sosman & Landis struggling, clients may have hesitated, fearing the fir would closed before their scenery was delivered. In 1923, Sosman & Landis provided booths and lighting fixtures for a Bren-produced Shriner charity event; it did not end well.
On March 30, 1923, the “Chattanooga Daily Times” reported, “Booths and fixtures at the Shriner’s fun festival, now in progress at the Billy Sunday tabernacle, were attached yesterday through a chancery court action started by Sosman, Landis & Co., of Chicago, Ill., for the collection of $2,000 due by reason of an alleged breach of contract. The bill asserts that Joe Bren, named as defendant with the local Shriner’s organization and others, acting as purchasing agent for the fun festival management, contracted to buy certain supplies from the plaintiff. This contract, according to the bill, was breached to complaintant’s damage. The attachment was run merely to prevent the sale or removal of the fixtures attached and will not interfere with the operation of the show (page 4). Bren was branching out beyond his musical reviews and directing all kinds of events, including trade shows and circuses.
Jollies from 1923.
By the late 1920s, Bren Production company events began to dwindle, and by 1930 Bren became department head for the Music Corporation of America.
In 1922 Thomas G. Moses was painting scenery for the Tacoma Scottish Rite. During this time, he wrote, “I had a lot of extras on the job as well in the town. I did a complete set for the Elks club, and some window displays.” Everything was painted at the Tacoma Theatre.
By 1922, the Tacoma Elks Temple was six years old; time for some additional stage settings, as was common for many theaters. The building opened Feb. 19, 1916, to great fanfare and a very large membership (The Tacoma Times, page 1).
The Elks Temple was designed by Ecole des Beaux Arts graduate, É. Frère Champney, known for his world fair building designs at the Pan-American Exposition in Buffalo (1901), St. Louis Exposition (1904) and Lewis and Clark Exposition in Portland (1905). Before moving to Seattle in 1907, he was well-known for his work and connected to a firm in Buffalo, New York. Much has been written about the well-known architect and the Tacoma Elks, but very little has been written about the theater. To date, I have located no images of the 1916 stage, original stock scenery collection or 1922 scenery painted by Moses. Other than Moses’ own record, I have nothing to add about the technical theatre elements. I am continually surprised that after incredible effort and expense to construct these massive edifices so much was left undocumented. This is common for many theaters in the 1920s. Unlike their predecessors, many 1920s newspaper accounts fail to include extensive building descriptions that focus on theaters and stage details, as well as the contributing artisans.
The Tacoma Elks Temple, like many fraternal buildings, had healthy membership levels in the early twentieth century. Unfortunately, the peak membership numbers that so many groups experienced in the 1920s continued to decline throughout the remainder of the century. At one time Tacoma boasted the largest Elk membership in the country. Over time, however, the organization could not overcome a series of obstacles and eventually vacated the building.
The Tacoma Elks Temple building continued to deteriorate after the organization vacated the buildingThe Tacoma Elks Theatre became home to many vagrants
The Elks Temple made the news again in 2019 when the dilapidated building was purchased by Brian McMenamins, owner of McMenamins restaurant and hotel chain. By November 2019, the renovated entertainment complex and hotel was featured on several local television stations, recounting the renovation story. McMenamins invested approximately $30 million dollars to transform the structure into the McMenamin Elks Temple hotel, restaurant and event space.
When the renovation was complete, the Elks Temple Theatre again made news. Here is a link to one of the many television stories: https://www.q13fox.com/…/elks-temple-tells-the-story-of…The renovated Tacoma Elks Temple theaterThe renovated Tacoma Elks Temple theater
I have to wonder when the scenery painted by Moses was tossed out; if it was decades ago, or during the renovation. Although much has been written about McMenamins and the history of the Tacoma Elks, the history of the stage is nonexistent.
The Tabor Opera House pictured in the “Leadville Daily Herald,” 1 Jan 1881.
James H. Cragg was the manager for the Tabor Opera House in Leadville, Colorado, from 1882 until 1894. During his twelve years there, Cragg implemented a series of improvements throughout the building that included the stage area. He thoroughly understood the stage needs of touring productions, having previously managed companies before his move to Leadville. When the Tabor Opera House was purchased and remodeled by the Elks in 1902, the “Herald Democrat” recalled Cragg’s early changes to the theater, noting, “The old opera house was known as a ‘flat hall’ until Col. ‘Jim’ Cragg took charge of it in 1881. He had the seats raised and other more modern improvements made. Col. Cragg managed the house as long as it remained in the possession of Mr. Tabor.” Actually, Cragg was not hired as the Tabor Opera House manager until the spring of 1882, but he remained associated with the venue until 1894.
From the “Leadville Evening Chronicle,” 11 April 1893.
Cragg was a man of many talents, both as a performer and an artist. He received his earliest musical training at home in Louisville, Kentucky, and entered the music profession under the tutelage of his father, Thomas P. Cragg. The elder Cragg was a music merchant, dealing in musical instruments and other accessories. James was the middle child of three children born to Thomas (1805-1889) and Mary Jane Cragg (1818-1901). Although no exact date was recorded for his birthday, his birthyear was 1846. James affectionately referred to his older sister Margaret as “Maggie,” and the two remained close throughout the duration of their lives. After James moved west, Maggie frequently visited her younger brother in Colorado.
Before Cragg entered the music profession, he fought in the Civil War as a corporal for the Confederacy. He was captured and imprisoned at Camp Douglas, Fort Donelson, in Illinois, and then sent to Cairo as part of a prisoner exchange on September 3, 1862. At the time, he was sixteen years old.
After the War, James followed in his father’s footsteps, working in Louisville at a music store. He began as a salesman, working at D. P. Fauld’s firm for several years. He was eventually listed as a clerk and eventually established his own music store the following decade. By 1868. Cragg was also the guitarist for a group of young musicians called the Owl Club. The group was originally organized in 1866 “for the pleasure of its members,” composed of young gentlemen who were “highly accomplished in their specialties” (Courier-Journal, Louisville, Kentucky, 11 Aug. 1868, page 4).
Marriage certificate for James and Annie Cragg, 1875
On Nov. 10, 1875, Cragg married Annie W. Parmele (b. 1853) in Louisville. She was the daughter of Amos G. Parmele (1818-1895) and Melina Dorcas Williams (1819-1910). Some records list her father as Alexandre Parmell, or A. G. Parmeal. In all cases, he was a merchant married to Melina. By 1878, Cragg was running his own music store on Walnut Street, just five doors down from his previous employer D. P. Faulds. Cragg remained in Louisville until 1880 when he headed west to Colorado. The 1880 US Federal Census Report listed Cragg and Ana living with his extended family; at the time, Cragg was thirty-four yrs. old and his wife twenty-six yrs. old.
It remains unclear as to how Cragg met Tabor or exactly when he arrived in Leadville. Early in 1882, Cragg was still the manager for Nick Robert’s Humpty-Dumpty company, touring across the country with the production. On Jan. 12, 1882, the “Knoxville Daily Chronicle” reported “Mr. J. H. Cragg, the genial and clever manager of Nick Robert’s Humpty-Dumpty, honored us with a call last night. We find him a gentleman in every sense of the word, and he is well pleased with their reception here.”
The touring production managed by James H. Cragg before accepting employment as manager of the Tabor Opera House in Leadville, Colorado in 1882.
Less than four months later Colorado newspapers announced H. A. W. Tabor’s hiring of Cragg for the Tabor Opera House:
“A Leadville special says the appointment of J. W. Rowell general agent of Governor Tabor has resulted in a change of management of the Tabor Opera House. J. H. Cragg is the new manager.” (“By Way of Denver,” Silver Cliff Weekly Herald, May 4, 1882).
In 1882 Cragg was also listed in Leadville City Directory as manager of the Opera House, with business offices at 124 West 3rd Street. Later that year, Nick Robert’s “Humpty-Dumpty” played in Leadville from November 6 to 8. A week later, “Oliver Twist” played at the venue. On Nov 15, 1882, the “Leadville Daily Herald,” reported, “Manager Cragg, of the opera house, had a wide grin open his face as he came out from the stage entrance and stepped down into the auditorium at the conclusion of the fifth act in Oliver Twist . Manager Cragg was evidently highly amused about something and appeared almost on the point of taking the audience into his confidence when, happening to look towards the centre of the house, he observed that the majority of those present had risen en masse and were making towards the entrance as fast as they could . Then did the genial manager’s smile extend into a broad grin of laughter as be whispered into the ear of a hurrying friend “what’s your hurry, there’s another act yet.” “Another,” exclaimed the gentleman, then I’d better sit down.” Plump be dropped into the nearest vacant seat and gazed not alone at the curtain, but upon the silent rows of vacant seats before, behind and around him. It was too true; the majority of the audience had formed a conclusion of its own and decided that “Oliver Twist” had come to an end while yet the most pathetic incident of the drama was wanting. “On mete! O more!” sighed Manager Cragg.”
From Leadville’s “Herald Democrat,” 11 July 1899.
By 1885, Cragg was doing much more for H. A. W. Tabor than managing his Leadville opera house. Soon Cragg assumed responsibilities as manager of the Telephone Company, also located in the Tabor Opera House. On June 20, 1885, the “Carbonate Chronicle” included an article about “The New Hotel. The article reported, “Mr. J. H Cragg will probably be the new manager and Chauncery Nichols head clerk.” Cragg did secure the managerial position was soon listed in advertisements for the Tabor Grand Hotel on Harrison Ave in Leadville; J. C. Hutchinson was the first proprietor (The Chaffee County Times, Sept 10, 1885). Cragg would remain as the hotel manager even after Mrs. Geo. Bittinger was became the new proprietor (The Chaffee County Times, Dec. 10, 1885). In addition to managing a variety or firms, Cragg also dabbled in mining interests with a substantial return. He partnered with Charles Eldridge on the Hazel Kirke and Natalie mines (Carbonate Chronicle, April 18, 1885). In 1887 the “Detroit Free Press” described Cragg as “one of the richest mining men in Colorado” mentioned (Feb. 10, page 8). The article added, “J. H. Cragg has named his latest mine “Billy Florence,” in honor of the actor.”
From 1886 to 1894, Cragg remained the manager of the Tabor Opera House until it changed hands and became the Weston Opera House. Prior to his departure, Cragg instigated a series of improvements to the building and stage. On March 22, 1886, the “Carbonate Chronicle,” included and article entitled, “Improvements in the Opera House.” The article reported, “Manager J. H. Cragg, with his usual interest for the benefit of his patrons, has secured the services of Mr. W. B. Bell, the carpenter, to tear out the old boxes, enlarge them and fit them up in first-class order; in fact, as fine as any in the country. For the care and taste Mr. Cragg is taking in beautifying our opera bouse, we hope when they are finished to see one or two box parties at every performance. Of other repairs which he is making we will mention a part at present, but when finished we hope to give a detailed account. The old ungainly looking wooden posts under the gallery have been removed and, in their place, a neat iron column, the walls and ceiling under the gallery have been papered with the finest gilt paper. As soon as it is found that the new roof does not leak, the main celling will be finely papered or frescoed. The painting will all be in fine white and gilt. It is unfortunate that the boxes cannot be finished in time for Miss Jeffreys Lewis’ engagement to-morrow evening, as her engagement here will be an event in theatrical circles” (page 8).
After the project was completed, Cragg had cause to celebrate and enjoy life. The Cragg’s celebrated the fall with extended family from Louisville. On Sept 12, 1886, the “Herald Democrat,” reported “Mr. and Mrs. J. H. Cragg, accompanied by their father, Mr. A. G. G. Parmile of Louisville, and Mr. Al Boudmant, of Red Cliff, will spend today at Twin Lakes.” The Craggs’ fortunes soon took a turn for the worse.
Anna passed away the following spring. On March 6, 1887, the “Courier-Journal” in Louisville reported, “CRAGG – At Leadville, Col. March 1, Annie W., wife of J. H. Cragg.” On Oct. 3, 1887 the “Leadville Evening Chronicle” announced, “Mr. J. H. Cragg returned Friday evening form a three week’s trip in the east. He returned much improved in health, which will be gratifying news of his many friends in this city.” A lovely memoriam was published in the newspaper, written by a childhood friend of Cragg’s; here is the link: https://drypigment.net2020/12/13/travels-of-a-scenic-artist-and-scholar-james-and-annie-cragg-of-leadville-colorado/
In the midst of grieving, Cragg threw himself back into work, falling into the previous pattern of managing the Telephone Company, the Tabor Opera House and the mines. It was around this time, that Cragg hired T. Frank Cox to painted additional scenes for the Tabor Opera House. On January 8, 1888, the “Herald Democrat” reported, “Manager J. H. Cragg has been adding new scenery to the properties at the Tabor Opera House” (page 4). Other articles described the various scenes painted by Cox and immediately used by touring companies. Later that spring Cragg also began managing his own touring production. On May 2, 1888, the “Aspen Daily Times “ included an advertisement for “A Ribbon” and the Ribbon Comedy Company under the management of J. H. Cragg. This was H. B. Iszard’s Musical Comedy show, comedy interspersed with catchy musical selections from Braham, Bristow, Graham, Lyons, Bolasco, Sullivan, McGuiness, King and Rooney.
From the “Aspen Daily Times,” 2 May 1888.
Cragg also became increasingly active in social and fraternal activities, joining both the Benevolent Protective Opera of Elks and the Knights of Pythias. On July 9, 1888, the “Leadville Evening Chronicle” interviewed Cragg in an article entitled, “The Knights Will Drill.” Cragg stated, “We have one hundred members of the Uniform Rank, Knights of Pythias,” said Mr. J. H. Cragg, “and have selected twenty-four of the best drilled to take part in the Grand Lodge meeting, which is to take place in Colorado Springs on Sept. 12.”
On July 25, 1888, the “Leadville Evening Chronicle” published a notice, giving some indication to the backstage goings on at the Tabor. The article was entitled, “A Manager’s Warning’ and explained, “Mr. J. H. Cragg has the following notice nailed on the o.p. side of the stage at the opera house.
NO KICKING! There is only one way to get along pleasantly on this stage and that is to be pleasant. When it comes to kicking, we will be right there.
No strangers allowed behind the scenes except by permission of the manager. No loud talking, swearing or noise of any kind will be allowed.
We will do all we can to please anyone, but of course some people come here who think they have played in larger and finer houses. It is a great mistake. It is an easy thing for us, at a moment’s notice, to move any dressing room, furnish all with grand pianos, electric lights, hot and cold water, easy chairs, etc. People who were never used to anything in their lives always kick the most. They are what I call common people. J. H. Cragg.
Mr. Cragg says obstreperous people of different companies read the above notice and take warning accordingly.” Cragg’s patience was growing increasingly thin with some of the performers that visited the Tabor Opera House stage.
For the next two years, Cragg traveled back and forth between Leadville and Louisville, visiting quite often with family. He must have also channeled some of his grief into art. Cragg was an accomplished artist in his own right, as was his sister Maggie. The first mention of Cragg’s painting skills were noted in Leadville during 1889. On October 2, 1889, the “Leadville Evening Chronicle” mentioned Cragg in the section entitled “Palette Paragraphs,” reporting “Mr. J. H. Cragg’s rooms are profusely adorned with paintings from his very own brush.” I wonder if he was heading for a change of pace after the passing of his wife, finally finding it in 1891. That year the Denver Directory, listed J. H. Cragg as the assistant manager for the Silver Theatrical Circuit, with business offices at 14-18 Opera House Blk in Denver. Cragg’s private residence was listed as 32 Ghost Bldg.
Cragg’s sister was also an accomplished artist in her own right. On June 8, 1893, the “Herald Democrat” included an article about Cragg’s sister Maggie, also an accomplished artist in Kentucky. The article was entitled, “Her Artistic Success” and announced, “Manager J . H . Cragg , of the Opera house, has good cause to feel somewhat proud and elated at the triumph of a sister of his, Mrs. Maggie Cragg Ball of Louisville , Kentucky . This talented lady is an accomplished artist and has made a life study of painting on china. Her talent and genius had won for her quite a reputation at home, and she was requested to contribute a work of art for the Kentucky building at the world’s fair.” By Dec. 9, 1894, the “Herald Democrat” announced, “Mr. J. H. Cragg, for many years the efficient and popular manager of the Tabor (now Weston) Opera House in this city has severed his connections with that place of amusement to accept a more responsible position in connection with the management of the Mid-winter fair at New Orleans. His many friends here regret his departure, but confidently hope for his success in the new enterprise he has undertaken.” He did not leave Leadville for long and was back in the city directory the following year.
Cragg was listed in the 1895 Leadville City Directory as a clerk at the Hotel Vendome. By 1898 he had worked his way up to chief clerk and by 1899, advertisements for the Hotel Vendome published listed J. H. Cragg as asst. manager. His time at the Hotel Vendome ended on Jan. 1, 1901, when an article in “Herald Democrat “ announced the retirement of both Messrs. Brisbane and Cragg.” That year Mr. Chase took over all management responsibilities.
Cragg continued to remain very active with the Elks, however, and it was this relationship that may have influenced the group’s decision to purchase the Weston Opera House. On August 30, 1900, the “Herald Democrat,” recorded Cragg’s artistic success at and Elk’s benefit performance in an article entitled “Elks Entertain a Jolly Night.” The fourth annual benefit of the Benevolent Protective Order of Elks, Leadville lodge No. 236, was given at the Weston opera house, and considered a “success of the season.” The article reported, “The curtain was then raised on a scene containing ease! and crayons and J. H. Cragg proceeded to show his skill as a lightning sketch artist. In an amazingly short time, he had made landscapes in color which had from the distance of the audience, all the appearance of oil paintings.” He remained active in the mountain community and was even appointed grand marshal for the Fourth of July in 1901; that was one of the years with falling snow on July 4.
Cragg’s activities with the Elks continued and Cragg represented the Leadville Lodge at a Boston Convention in 1903. On July 27 that summer, the “Herald Democrat,” announced, “Colonel Jim in Baltimore.” Of Lodge No. 236 B.P.O. Elks, the Baltimore Herald reported, “One of the most prominent Elks from the west now in the city Is Mr. J. H. Cragg, of Leadville, Colo., who came to the reunion with the Louisville lodge. Mr. Cragg is the past exalted ruler of the Leadville lodge and during his administration last year installed 236 members in his lodge. In proportion to population the Leadville local has more members than any other in the United States. The population of the city is 12,000 and the membership of the lodge is 665 members. They have recently occupied their new club house, which cost $60,000 to erect.”
Cragg passed away only a short time later, on January 17, 1904. His obituary was published in Colorado Springs “Weekly Gazette” announced, “Leadville, Colo., Jan. 17.- James H. Cragg, a pioneer of Leadville, died here today of pneumonia, after an illness of almost two weeks. Mr. Cragg was a native of Kentucky, 56 years of age and came to Leadville to manage the Tabor Opera House for H. A. W. Tabor. After Tabor left, he looked after the latter’s mining interests here and at one time was manager of the Vendome hotel. Mr. Cragg was a prominent Elk and served several terms as exalted ruler of the local lodge. The remains were taken to his former home in Louisville for interment. In his earlier life Mr. Cragg was manager of many theatrical companies and is known to theatrical people all over the country” (January 21, 1904, page 2).
Cragg’s obituary was also published in the “Courier-Journal” in Louisville, Kentucky on January 18, 1904, home to his only sister Maggie. “James H. Cragg Dies in Colorado. Was brother of Mrs. J. M. Chatterson, of Louisville, Who Was at His Bedside. James H. Cragg, fifty-six years old, died at 4 o’clock yesterday afternoon of pneumonia at Leadville, Col. He had been seriously ill for two weeks, and his sister, Mrs. J. M. Chatterson of Louisville, went to Leadville last week and was with him when he died.
1904 obituary for James H. Cragg
Mr. Cragg was prominently connected in this city and had a large number of friends here, He formerly owned a music store on Fourth Avenue, between Green and Walnut streets, and moved West fifteen years ago. He was well known and popular with musical and theatrical people, and his store was headquarters for visiting members of the profession. He had been successful in his mining ventures in the West and was preparing to close up his business and return to Louisville to live when taken ill. He was unmarried and is survived by one sister, Mrs. J. M. Chatterson.”
The Tabor Opera House was purchased by the Leadville Elks in 1901 and renovated in 1902. Renamed the Elks Opera House, new scenery was purchased for the enlarged stage. Old shutters, wings, borders and roll drops were stored in the attic.
While examining the scenery in the attic this fall, I documented three textile mill stamps. In past posts, I explored the history of Stark Mills (https://drypigment.net2020/11/07/travels-of-a-scenic-artist-and-scholar-stark-mills-and-drillings-for-scenery-at-the-tabor-opera-house/) and the history of Boott Mills (https://drypigment.net2020/11/04/travels-of-a-scenic-artist-and-scholar-boott-mills-standard-sheeting-for-stage-scenery-at-the-tabor-opera-house-in-leadville-colorado/). The third textile mill with fabric that made its way to the Tabor Opera House attic is the New Vaucluse Mills. Fabric manufactured at the New Vaucluse Mill in South Carolina was wrapped around a drop roller.
New Vaucluse Mill Stamp on a drop roller at the Tabor Opera House in Leadville, Colorado.New Vaucluse Mill fabric on a drop roller at the Tabor Opera House in Leadville, Colorado.New Vaucluse Mill fabric on a drop roller at the Tabor Opera House in Leadville, Colorado.New Vaucluse Mill fabric on a drop roller at the Tabor Opera House in Leadville, Colorado.
This small piece of cotton fabric connectsthe history of a Colorado opera house with that of the southern textile industry.
In Dec. 1833, the General Assembly of South Carolina granted Shultz Breithaupt and his associates a charter for the Vaucluse Manufacturing Company. This was only the second charter of incorporation granted to a textile factory in South Carolina. By 1834 operations commenced, and by 1836, the new mill was producing from $250 to $300 worth of goods daily. That is today’s equivalent of $7,000-$8400 worth of goods daily, or 2.5-3 million annually.
For me, it is difficult to explore the history of nineteenth-century textile mills without contemplating the poor working conditions and reliance upon child labor. Nineteenth-century textile mills are one example of an American industry that did not always prioritize the safety of their workers over profits. Without local, regional and national oversight, many factories considered their employees dispensable, and treated them as such. If ever there was a reason to support American labor unions, we just need to look at history of mill workers; so many were lives were sacrificed for the profits of a few.
The drop roller with the New Vaucluse Mill stamp at the Tabor Opera House likely dates from 1879 to 1882, indicating that this may be some of the earliest scenery delivered to the Tabor Opera House. This lone roller connects a small western opera house to the South Carolina textile industry. Vaucluse was located near the small towns of Graniteville and Aitken in South Carolina. Now, there are many histories written about the Graniteville Manufacturing Co. and Vaucluse Mills as well as the rise of capitalism in the south. Some historians describe the works of visionaries; rags to riches tales of white men developing manufacturing industries. Others explain that their initial success was a direct result of slave labor; they were only paying for materials in the manufacturing process. This initial jumpstart gave them an immediate advantage over their northern counterparts.
As I read the history, I was reminded of one line from the musical “Hamilton.” It is from an I am exchange between Hamilton and Jefferson in Cabinet Battle #1 . Hamilton says:
All stories that revolve around the Vaucluse Mills include William Gregg (1800-1867), founder of the Graniteville Manufacturing Company and investor in Vaucluse Mills in the Edgefield District. Vaucluse was a mill town, one of many in the area. The first large-scale cotton mill was constructed in nearby Graniteville by Gregg in 1845, immediately after his return from touring the northern textile mills the year before. Many consider Gregg to be the father of the textile industry in the South. After he returned for his 1844 trip, Gregg wrote a series of articles about his visit, calling upon southern investors in to support southern industrialization. In short, Gregg believed that southern mills could effectively compete with their northern counterparts, citing labor was cheaper in the south. Well, in some cases it was slave labor, so free. The Graniteville Manufacturing Co. was organized in 1855, situated on Horse Creek in the town of Graniteville (Keowee Courier, Pickens, SC, 26 June 1879, page 2). In 1869, a larger mill was proposed on the Vaucluse site. An article about the Vaucluse Manufacturing company asked, “It becomes the citizens of the State, therefore, to take hold upon this enterprise. Into what can our planters better put their surplus funds, the safe investment of which is to so many of them so great a puzzle? In what way can any citizen do more for the general interest of the State?” (The Charleston Daily News, 26 March 1869, page 1). Graniteville mills and Vaucluse mill later became part of the Graniteville Manufacturing Co. Graniteville was the home office and central location to a collection of textile plants in South Carolina and Georgia.
The new Vaucluse mills complex continued to grow and integrate new technology for an ever-increasing output of products. Even after a Vaucluse Mill waterpower burned in 1874, it was soon replaced with a new mill of granite and brick. By 1877, Vaucluse Mill completed the completed the construction of a 342-foor long dam (Keowee Courier, 26 June 1879, page 2). In 1880, Vaucluse Mill even generated 197,000 yards of cloth over a two-week period (Austin American-Statesman, 3 Oct 1880, page 2). By 1884, Vaucluse mill processed 70,738 pounds of cotton that produced 1,423,926 pounds of cloth, or 5,264,500 yards, consuming 1,675,211 pounds of cloth, or about 3,723 bales (Montgomery Adviser, 29 April 1884, page 2).
Buildings from the Vaucluse mills are now part of the Vaucluse historic district, but little is left of textile legacy in terms of products. No handy dishtowels in a museum gift shop as at Boott Mills in Lowell, Massachusetts.
The Vaucluse Historic District was listed in the National Register of Historic Places on May 7, 1996, and includes an 1832 granite wheel house and foundation, the 1877 mill complex (main mill, tower, connecting building, and picker house), 83 former company dwellings the 1952 northside expansion, and the 1955 warehouse. The New Vaucluse mill complex from 1877 was designed by architect Amos D. Lockwood. His design was one of the earliest examples of a New England prototype mill to be built in South Carolina. Lockwood’s later firm, Lockwood, Greene & Co. later designed approximately fifty of South Carolina’s textile manufacturing facilities.
Much of the New Vaucluse Mill history is included in “Planting a Capitalist South: Masters, Merchants, and Manufacturers in the Southern Interior, 1790–1860” by Tom Downey (Baton Rouge: Louisiana State University Press, 2005).
The Tabor Opera House in Leadville, Colorado, opened in 1879. Over the next two decades, wing and shutter scenery for the stage was repeatedly purchased, refurbished and repainted. The venue was later renamed the Elks Opera House when the Benevolent and Protective Order of Elks (B.P.O.E.) purchased the building in 1901. Immediately after the purchase, the building was renovated, and a new stock scenery collection purchased. Part of the stage renovation included adding a fly loft, so that new scenery could be raised out of sight. Previously, the Tabor Opera House used wings, shutters, roll drops and borders. This scenery was tucked away in storage after the renovation where it waited for over a century.
The Tabor Opera House in Leadville, Colorado
I lead a group of local volunteers to document both the scenery on the stage floor and that stored in the attic. On the back of one cut wing, was written: “W. J. Moon stage carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890. This penciled note identifying the creators places the eight cut wigs within the timeframe of Tabor Opera House history.
W. J. Moon listed as carpenter and Henry E. Burpey [sic] on the back of a cut wing at the Tabor Opera House
William J. Moon was a local resident, associated with the opera house for decades. Henry E. Burky was an itinerant scenic artist who began his career in Chicago and was working in Denver by 1884. “Harry Miner’s Dramatic Directory” for the 1884-1885 season listed “Burckey, Tabor Opera, Denver” as the scenic artist for the Tabor Opera House in Leadville; he was working for both of Tabor’s theaters. Burcky was still associated with the Tabor Opera House five years later.
On August 24, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (age 5). The article reported, “Mr. Burkey, the efficient scenic artist from the Tabor Grand, Denver, is at present in Leadville, and at work on some new scenery for the Tabor in this city. There will be several new sets, particularly some much needed interior scenery. One set has been completed already and is very handsome” (page 5).
On September 3, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (page 5): “Mr. Berkey, the scenic artist from the Tabor Grand, Denver, is getting along very well with the new scenery he is painting at the local theater. He has already completed three interiors, which are a decided improvement to the scenic portion of the theater. Mr. Berkey is a first-class scenic artist and does some decidedly commendable work.”
Baronial Hall interior side of double-painted shutter at the Tabor Opera House in Leadville, ColoradoNew England interior side of double-painted shutter at the Tabor Opera House in Leadville, Colorado
After completing the scenery project in Leadville, the “Herald Democrat” reported his departure for Denver on October 16, 1890, noting “Mr. H. E. Burcky left last evening for Denver.” In addition to the tropical-themed cut wings, I suspect one of Burcky’s double-painted interior settings remain. When he painted the three new settings noted in the newspaper, he likely repainted existing composition. When nineteenth-century scenery was repainted, it was simply scrubbed down with water and then repainted. In the case of the Burcky’s double-painted wings, the underlaying composition became a template. There was no need to scrub down and redraw and interior setting for each piece. Keep in mind that this would have been tricky, as the underlying colors would immediately lift. Scenery painted with dry pigment and diluted hide glue reactivates when it comes in contact with liquid.
Four double-painted wings painted by Henry E. Burcky for the Tabor Opera House in 1890Painted detail from double-painted wing painted by Henry E. Burcky for the Tabor Opera House in 1890A detail showing the underpaintingfrom a previous composition.
Burcky’s interior set consists of wings that slide in grooves, as well as two shutters that formed a back wall. The back wall had an opening for double door in the center. What is interesting, however, is that only the shutters use flat sheaves (wheels). A pair of flat sheaves was secured to the bottom of each shutter for easy movement. Unfortunately, one of the shutters was so badly damaged that it was not lowered to the stage floor and thoroughly documented. This piece and its companion remain in the Tabor attic, until they can be repaired and safely lowered to the stage floor.
One of two shutters that formed the opening for a double door.The two shutters still wait in the attic of the Tabor Opera House for repairA flat sheave on the bottom of the interior shutter
The double-painted wings do not have flat sheaves on the bottom. They were shifted during scene changes without the benefit of wheels, indicating that the wings slid in wooden floor grooves. Sets of grooves were placed above and below the unit to stabilize each unit for the interior setting.Not all of the interior setting remains, as part was disassembled to create a massive barn setting during the late nineteenth-century. Painted remnants littered the attic, a testament to the original scope of Burcky’s project. I am in the process of slowly fitting these pieces back together.
A small step unit was uncovered at the Tabor Opera House in Leadville, Colorado, while I was on site from September 21 to 27, 2020. It was clearly identified as part of the setting for Julius Cahn’s production of “David Harum.” A shipping label from the Globe Express Company noted the intended delivery from Leadville to “David Harum Co. c/o Tabor Grand Opera House, Denver, Colo.”
Step unit for Julius Cahn’s production of “David Huram,” ca. 1901-1905Step unit for Julius Cahn’s production of “David Huram,” ca. 1901-1905Step unit and shipping tag for Julius Cahn’s production of “David Huram,” ca. 1901-1905Shipping tag on step unit for Julius Cahn’s production of “David Huram,” ca. 1901-1905
Why or when the “David Harum” step unit was first placed in the attic of the Tabor Opera House remains a mystery. Was it simple a touring piece left behind, never forwarded to the next venue? The piece likely dates from 1901-1905; my estimation based on newspaper advertisements, the shipping labels and actual construction of the piece. For over a century, this scenic orphan was hidden in a pile, disguised under a layer of dust, until this fall.
It is hard not to consider the history of the step unit. When it first toured, how many thousands of people witnessed a favorite stage personality pause on this very piece? How many stages provided the foundation for the step unit before it was abandoned in Leadville? Although many questions remain unanswered, “David Harum” was an extremely popular piece during the first half of the twentieth century. I knew nothing about this production until my visit to the Tabor Opera House this fall.
There is a famous line from the show that accompanied many 1905 advertisements for the production: “Do unto the other feller the way he’d do unto you. But do it first.” The line was delivered by Harum, a small-town banker from the 1890s. The simple character captivated western audiences, especially when the show toured the western states. Edward Noyes Wescott’s 1898 novel was dramatized for the stage by R & M. W Hitchcock in 1900. At the time theatre critics commented, “There were many misgivings as to the possibility of making a successful play from a story which was so thoroughly a character sketch” (Carbonate Chronicle, 24 June 1901).
From the “Aspen Daily Times,” 28 March 1905.William H. Crane as “David Huram” in the touring production by the same name in 1903.
The initial touring production starred William H. Crane. Crane continued in the role for a few years before being replaced by William H. Turner. “David Harum” first appeared in Leadville during 1900, then starring Crane. By 1901, Julius Cahn was linked with the touring production of “David Harum” and by 1904, Cahn’s “David Harum” featured William H. Turner at the Elk’s Opera House in Leadville. That February, the “Herald Democrat” reported, “Mr. Julius Cahn will present W. H. Turner in the dramatization of Westcott’s widely read book, “David Harum,” at the Elk’s opera house next Thursday evening. The play is now nearly three years old, and since its production it has been a phenomenal success. For sixteen weeks it ran in New York, for six weeks in Chicago, for two months in Boston where it proved to be a record beaked in point of attendance, and for six weeks in Philadelphia” (February 7, 1904).
The show returned to Leadville again the following year. On March 12, 1905, an article in the “Herald Democrat” stated, “Mr. Cahn personally superintended the getting up of the production, and paid much attention to its cast…its success has been extraordinary” (March 12, 1905).
On March 24, 1905, and advertisement in Leadville’s “Herald Democrat” announced:
Elk’s Opera House. Wednesday, March 29. Julius Cahn Presents DAVID HARUM.
The Play That Won’t Wear Out. The Epic of the “Hoss” trade. Quaintly Delightful. An Excellent Company.
WM. H. TURNER as David Harum. Mr. Cahn utilizes the same production here as see at the Garrick Theatre, New York. DAVID HARUM SAYS:
“Do unto the other feller the way he’d do unto you.
But do it first.”
Prices: 50, 75 and $1.00. Advance sale
opens Sunday, March 26, as West’s Cigar Store.
Advertisement for “David Harum,” from the “Herald Democrat,” 24 March 1905 when it toured the Elks Opera House (Tabor Opera House) in Leadville, Colorado.
Another “Herald Democrat” article reported, “Nearly all of the familiar sayings, quaint philosophy, and amusing incidents of the story are in the play. One of the best things in the book and one of the best things in the play is the horse trade, which takes place in the opening act” (Feb. 19, 1905).
The first act setting was later described in detail: “The opening scene of the play is an exterior. On one side is Aunt Polly’s house with its trellis-covered veranda and old-fashioned garden. On the other is David’s bank, and in the background is the big barn. In this act Harum sells the bulky horse to Deacon Perkins – the horse that would “stand without hitchin’ ” (Herald Democrat, Leadville, 12 March 1905). David’s horses were kept in the barn.
The “Herald Democrat” noted, “The second act, which is laid in Harum’s bank shows the old chap as a businessman. The act contains the incident of the counterfeit five-dollar bills, the tussle with Bill Montaig, the village tough, and the securing of the mortgages on the Widow Cullom’s home” (Feb. 19, 1905). The setting included the counting room in the back office of the bank.
The third act was placed in Aunt Polly’s sitting room on Christmas. The action included the telling of Harum’s visit to the circus with Billy P. Cullom and the engagement of Mary Blake and John Lenox. After Christmas dinner the act ended with the comical uncorking of a champagne bottle.
Act three setting for “David Harum” when it toured the Elks Opera House (Leadville) and Wheeler Opera House (Aspen) in 1905. From the “Aspen Daily Times,” 26 March 1905
Of the 1905 production in Leadville, the “Herald Democrat” reported, “The company, which is under the direction of Julius Cahn, contains a number of clever character actors, and unless the indications are very much astray they will be greeted by a crowded house for Mr. Cahn will utilize the identical production seen at the Garrick theatre, New York City” (Feb. 19, 1905)
On March 29, 1905, the “Herald Democratic” reported, “The presentation of “David Harum” which is to be made at the Elk’s Opera House Wednesday, March 29, should prove highly diverting…The success of the play has reached an extraordinary pitch, and, judging from the things said of the work, there is no reason why results should be otherwise. The play is clean, it is wholesome, its atmosphere is redolent of the country and its humor is of the healthy kind…In dramatizing “David Harum”, every effort was made to return all of those things which made the book so entertaining. The play is remarkable in one way, and that is, that it has been said again and again by competent critics to be an improvement upon the book. As a rule many dramatizations have failed to thoroughly catch the spirit of the novels from which they were taken. This is not the case, however, with “David Harum,” and it is the most satisfying comedy of its class now before the public. Wm. H. Turner has the role of “Harum” and his work has been praised highly.”
On March 28, 1905, the “Aspen Daily Times,” provided a little more information about the leading actor in the production, William Turner. The article reported, “On Tuesday evening Julius Cahn presents at the Wheeler Opera House “the play of book plays,” “David Harum.” Mr. William H. Turner will be seen as “David. Mr. Turner has been under Mr. Cahn’s management for the past twelve years, during which time he has appeared in many notable Metropolitan successes, scoring personal hits in many productions among which are remembered, Rufus in “Held by the Enemy,” Mr. Austine in “The Faint Card,” Mr. Watkins in “Sowing the Wind,” Black Michael in “The Prisoner of Zenda,” John Wotherby in “Because She Loved Him So,” and Dr. Pettypont in “The Girl from Maxims.”
The story of “David Harum” remained popular for the next fifty years, standing the test of time and translating to film. The first film adaption occurred in 1915, but Will Rogers later starred in the 1934 version.
The first film version of “David Harum,” starring William H. Crane, 1915. The second film version of “David Harum,” starring Will Rogers, 1934.
By 1936, “David Harum” became a radio serial that lasted until 1951. “David Harum” even became the name of an ice cream sundae, consisting of vanilla ice cream, crushed strawberry, and crushed pineapple, whipped cream and a cherry.
Advertisement for David Harum Sundae
Who knew that such a small scenic piece could tell such a large story.
Here are two double-painted flats created for the Tabor Opera House. One side depicts a rocky mine setting (with diamond dust for silver veins) and the other side depicts a garden setting.
The rocky mine setting included three pieces; one was double-painted with clouds and the other two double-painted with a garden scene.
All three pieces were created between 1879-1890.When the Leadville Elks (BPOE) purchased the building and renovated the stage and auditorium (1901-1902), the original scenery was replaced with new; the older collection tucked away in the attic.
Garden side of the first flat.Rocky mine side of the first flat.Garden side of the second flat.Rocky mine side of the second flat.Painted detail of foliage.Painted detail of foliage.
In September 2020, I led a group of volunteers to document the attic scenery and lower many pieces to the stage floor. I have yet to identify the scenic artist for this particular piece, or exact date. For more information about historic scenery collections at Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, use the keyword search function at www.drypigment.net
It is often difficult to identify the work of nineteenth-century stage carpenters, seldom did they sign their work. When you factor in natural disasters, building renovations and changes of ownership, the challenge increases exponentially. Last month I evaluated a collection of nineteenth-century stage settings at the Tabor Opera House in Leadville, Colorado. Tucked away in the attic were dozens of wings, shutters and borders, placed there when the building was renovated over a century ago. On the back of one jungle wing was written the name of a local stage carpenter – W. J. Moon. Penciled in near the frame was “W. J. Moon stage carpenter and H. E. Burpey scenic artist, October 1890.” A bread crumb. It just takes a small bit of information to point the way.
Pencil marks noting W. J. Moon, stage carpenter, and H. E. Burpey, scenic artist, October 1890.A jungle wing constructed by William J. Moon and painted by Henry E. Burckey for the Tabor Opera House in Leadville, Colorado, 1890. For over a century this scenic piece was stored in the attic of the opera house.
The stage carpenter was William J. Moon and the scenic artist was Henry E. Burckey. There is no question that scenic artist “H. E. Burpey” was actually scenic artist “H. E. Burckey,” as newspaper accounts place Burckey in Leadville during October 1890. Burckey also worked as the scenic artist at the Tabor Grand Opera House in Denver, Colorado. His scenic art connection to both the Tabor Opera House and Tabor Grand Opera House is noted in theatrical guides too. The earliest mention of Burckey’s role as scenic artist for the Tabor Opera House in Denver was in 1884. Although there is no indication as to when Burckey began working part-time in Leadville during 1890, he departed town on October 16. The “Herald Democrat” reported “Mr. H. E. Burcky left last evening for Denver.” Again, the jungle wings for the Tabor Opera House are also dated October 1890.
Painted detail by H. E. Burckey on a jungle wing at the Tabor Opera House in Leadville, Colorado, 1890.Painted H. E. Burckey in 1890, here is one of eight jungle wings at the Tabor Opera House in Leadville, Colorado, 1890.Back view of a jungle wing constructed by William J. Moon and painted by H. E. Burckey for the Tabor Opera House (Leadville) in 1890.Back of one jungle wing. “3R” denotes this wing is placed int he third position (set of grooves), stage right.
This is the first of several posts about the Tabor Opera House’s nineteenth-century scenery collection. The stories of Moon and Burckey are quite complicated, each intersecting individual characters explored in past posts.
I am starting with the life and career of William “Willie” James Moon (1867-1920). The 100th anniversary of his passing is only eleven days away, and that was my sign to start with Moon.
“Willie” Moon was a local resident of Leadville, Colorado, moving to the area as a child. Historical records list Moon’s parents as Jasper O. Moon (1831-1880) and Charity Peterson Moon (?-1895). Born in Missouri, there is no indication of the Moons’ eastern roots or why the family moved west. However, the promise of wealth associated with mountain mining camps was often enough to uproot anyone.
The 1870 US Federal Census listed the Moons as living in Granby Township, Missouri. The household included thirty-year old farmer, Jasper, living with his wife Charity (30 yrs. old), son William J. (3 yrs. old), daughter Elva (1 yr. old) and Mary J. Peterson, Charity’s twenty-year old sister-in-law.
The 1880 census listed a 13-yrs. old William living in Leadville with his mother and uncle, John Peterson; Peterson, like Jasper, became a miner. William, Charity and John lived at 318 3rd Street, a few blocks away from the newly constructed Tabor Opera House on Harrison Avenue. The 1880 Leadville Directory listed Jasper O. Moon living next door at 316 W. 3rd; how odd.Moon spent most of his life in Leadville living very near the Tabor Opera House, only a few blocks away. While I was working in Leadville this fall, I was also living on 3rd St, just a little closer; only ½ block from the opera house.
Moon began his theatrical career as a performer before transitioning to a stage manager and stage carpenter. In 1882, W. J. Moon traveled with the Tennessee Jubilee Singers and performed throughout Colorado. It is possible that he was picked up while the troupe was on tour in the region, like running away with the circus. On Sept. 2, 1882, Moon was listed as staying with the group at the Windsor Hotel in Fort Collins, Colorado. At the time, he would have been 15 years old. Other Tennessee Jubilee Singers at the time included Lew Johnson, Harry Mannaford, Z. A. Coleman, Ed Hawkins, Josh Bell, Effie Allen, Lottie Reno and Nellie Mark (“Fort Collins Coloradoan,” 2 Sept. page 4). Moon was still performing in 1884 when he toured Kansas with the Nashville Students, performing at Painton’s Hall. By this time, he was listed as the lead tenor in the minstrel production “Old Shady am Gwing up North,” featuring southern songs and dances (Weston Herald, Girard, Kansas, 8 May 1884, page 3). In 1885, the Nashville Singers were still touring and featured “original Jubilee and Plantation Melodies, as sung by the children of bondage in their own peculiar manner in religious and social meetings and on the plantation” (“The Record-Union,” Sacramento, California, 16 July 1885, page 2). Moon played the roll of “Pete (a young pickaninny).”
It was this same year that Moon returned to Leadville and was listed twice in the city directory. “Willie” Moon was listed as the stage manager at the Opera House, residing at 121 E. 7th Street, while William J. Moon was still listed at him previous home residence – 318 W. Although “Willie” would not be listed again, William’s home residence would remain on 3rd street in the 1885, 1886 and 1887 directories.By 1889 the Leadville City Directory listed Moon as the stage manager for the Tabor Opera House. He was also listed as the stage manager for the venue in 1891 and 1892. In 1890, however, Moon was listed as the stage carpenter for the Tabor Opera House in the Leadville Directory; this matches the jungle wing scenic notation from October 1890. Keep in mind that during this period stage manager and stage carpenter were often interchangeable titles, both being responsible for the construction of scenery and management of the backstage area.
Moon worked as a stage carpenter at the Tabor Opera House for at least a dozen years. The only difference was that the 1899 Leadville City Directory listed Moon as the stage carpenter for the Weston Opera House. For a time, the Tabor Opera House was named the Weston Opera House, initially under the management of Judge Algernon S. Weston and later under the management of his widow Leticia. By 1900, the Leadville City Directory again listed Moon as the stage manager for the Tabor Opera House.The 1900 US Federal census also listed Moon’s profession as a stage carpenter. Regardless of title, Moon was still listed as living at 318 3rd, but now with a wife and two daughters. Moon married Louise Buffer (alt. spelling Bueffehr) on September 11, 1894 in Denver, Colorado. [Note: my husband and I share the same anniversary as the Moons].
Louise actually worked as a dressmaker in Leadville before marrying Moon, although I have yet to discover what drew her westward from Kansas. It may have simply been the burgeoning economy at the time. In fact, the 1894 city directory listed Miss Louise Bueffehr, dressmaker, residing at 314 East 6th street. Louise was born in Big Creek, Kansas, the daughter of two German immigrants, John and Christina Bueffehr. She grew up on a midwestern farm, one of four children born to the couple, her siblings were Anna, John and Charley.William and Louise Moon couple celebrated the birth of two children by the turn of the twentieth century, with Algin arriving in 1895 and Doris arriving in 1897. Interestingly, Doris Marguerite Moon, born Aug. 16, 1897, was baptized in 1909, and at the time her father William was listed as having “no belief.” Her baptismal records also list the spelling of Bueffehr as her mother’s maiden name.
Moon transitioned from stage carpenter to bartender shortly after the opera house changed hands. The Tabor Opera House was purchased by the Benevolent and Protective Order of Elks (B.P.O.E.) in 1901 and was renovated during 1902, necessitating new scenery as a fly loft was added to the building. The original wing and shutter scenery was simply placed in the attic and I have often wondered why is wasn’t sold or thrown out at that time. It is possible that Moon was a key individual in saving the old scenery, some of it constructed by both he and Burckey.
The 1902 Leadville Directory still listed William J. Moon as a stage carpenter, but his position soon changed. The 1903 Leadville City Directory listed, “Moon, William J., bartdr. Elks Opera House, rms. 303 Harrison av.” In 1910, Moon was still listed as a bartender in the directory, boarding at home of Julia Ross.Moon died at the relatively young age of 52 on 21 Oct. 1920 at 4:00 a.m. The cause of his death was listed as pneumonia. Moon is buried in the family plot at the Evergreen Cemetery in Leadville. His obituary was published in the “Herald Democrat” on October 27, 1920 (page 5) and in the “Carbonate Chronicle” on Nov. 1, 1920 (page 3).
Here is the obituary in its entirety:
“WILLIAM J MOON
The funeral of the late William J. Moon was held from his residence at 222 West Third Street yesterday afternoon at 2 o’clock and was attended by a large gathering of friends of the pioneer. Samuel Thomas, chaplain of the B.P.O.E. order, presided over the services which were marked by the ringing of three duets by Miss Kate McCoy and Mrs. Frank E. Brown who were accompanied on the piano by Miss Anna McLeod. The hymns were “Beautiful Isle of Somewhere,” “I’m a Pilgrim” and the “Home of the Soul.” [Note: I absolutely love “Beautiful Isle of Somewhere].
The casket was covered completely with beautiful flowers and a bouquet by a surviving daughter, Mrs. G. H. Gordon, of California.William J. Moon was born in Missouri in 1868 and during the period of his young manhood came to Leadville where he has resided ever since. He entered the Elks lodge here as one of the charter members ad in the early days was interested in a great extent in mining. When the great Tabor Opera House was operating under the management of Judge A. S. Weston Mr. Moon became stage manager of the house and served in that capacity for a period of two years.
Mr. Moon is survived by his widow, Mrs. Nellie Moon, a daughter, Mrs. C. H. Gordon of San Francisco, a sister, Mrs. J. Olds, of Basalt.The pall bearers, all of whom were close friends of Mr. Moon and fellow members of the Elks lodge, of which he was a charter member, were S. B. Crosby, Gus Ouren, Joe Mann, Alva Bless, Erwin Lockhart and George Hartung. Interment was made in the family plot at Evergreen cemetery.”
In 1920, Thomas G. Moses wrote,
“Early in January I started on a model for the big Elk’s Show, which we did in
July.”
It is almost impossible to
pinpoint the specific Elks Show that Moses was talking about by 1920. First of
all, it is unclear where Moses was working at this time. In 1918 Moses Left
Sosman & Landis to work for New York Studios. Within a year, he left New
York Studios to work for Chicago Studios. He then returned to Sosman &
Landis by April 2020. However, he also completed a lot of work under his own
name. Without a specific reference to a producer or location, it is difficult
to track down the specific Elks Show.
Like the Masons, some Elks used stage settings for their
degree work; degree work otherwise conducted in a standard lodge room. Historic
photographs of the Elks Opera House in Prescott, Arizona, show an early-twentieth
century ceremonial scenery with a set piece containing the words Charity,
Justice, Brotherly Love and Fidelity on a step unit (past post 538, https://drypigment.net2018/10/17/tales-from-a-scenic-artist-and-scholar-part-538-w-h-clifton-and-the-elks-opera-house/).
Unlike many private fraternal theaters (like Scottish Rite Theatres), Elks
Opera Houses were often options for touring productions and public performances. They were more akin to the early-nineteenth
century and mid-nineteenth century Masonic Opera Houses. The performance venue
houses financially supported the ongoing maintenance of the fraternal building.
This approach was similar to large Masonic buildings with retail spaces on the
ground floors and lodge rooms above. For the Elks, the opera house was used by both
the membership and various entertainment rentals, a win-win.
The backstage door at the Elks Opera House in Leadville, Colorado, 1902.
Elks Opera Houses dotted the landscape during the first few
decades of the twentieth century, signifying another lucrative clientele for
scenic studios. Elks Opera House postcard collections included everything from
small social halls to large metropolitan venues. In each case, their entertainment
venues demanded stage machinery, scenery, and lighting equipment. This
signified a substantial investment, even for the smaller venues; big business
for theatrical manufacturers. Early twentieth century newspaper article
describe stage mechanics traveling the country, installing scenery collections,
and putting on a presentation of scenic effects prior to their departure for
another venue.
The survival of an early
twentieth century scenic studio depended on diversification in projects. A firm
could not solely survive on the production of painted illusion and stage
settings for live theatre. They needed a
diverse clientele that could weather economic down turns and unexpected
events. Sosman & Landis cast their
nets wide for clients and landed projects for fraternities, circus spectacles,
trade shows, silent films, charity events, public pageants, electrical parades,
private parties and other social gatherings. They also branched into the
production of stage machinery, lighting equipment, fabric draperies, and
projection screens. It was really all about survival.