In 2022, Gilbert & Sullivan Austin (Texas) reimagined The Mikado to create The McAdo. Promotional materials explained, “The Mikado has been moved to the highlands of Scotland and becomes The McAdo. Gilbert’s librettos and Sullivan’s score will be kept virtually intact, while scenery and costumes will reflect the Scottish moors. It is a farcical tale of a wond’ring minstrel, a cowardly executioner, and iron-fisted ruler, and some of the greatest songs in musical theatre!”
Gilbert & Sullivan Very Light Company (Minneapolis, Minnesota) produced their own version of The McAdo, or The Town of Ballydew this fall. I was again asked to be the scenic designer/artist. This became a “family endeavor” last year; my son plays with the GSVLOC orchestra (cello), and my husband fills in as a stage carpenter.
Gilbert & Sullivan Very Light Opera Co. The McAd, Nov. 2024. The show was double-cast, with Sam Vinitsky playing Coco (pictured above) with the Gilbert cast. Brant Roberts played Coco with the Sullivan cast.A view of The McAdo stage under work lights during tech week.
Established in 1979, the Gilbert & Sullivan Very Light Opera Company performs at the Howard Conn Fine Arts Center, Plymouth Congregational Church , Minneapolis, Minnesota. This stage is a very challenging space, as there is no fly loft or viable wing space… just a series of 12’-0”h (semi-permanent) wings, and a rather odd-shaped apron.
To complicate matters, the orchestra is situated SR in a double-decker shop space (see images below).
View of the SR wing where the 30+ person orchestra is situated. The double-decker Gilbert & Sullivan orchestra, directed by Dr. Randy Buikema, 2024.Another view of the GSVLOC orchestra and Dr. Randy Buikema, 2024.
The McAdo ran from Nov. 1-24, 2024, and was directed by long-term company member, Joe Andrews, who added his own layer of whimsy to the Scottish interpretation.
GSVLOC Musical Director Dr. Randy Buikema (left) and Director Joe Andrews (right) shaking hands on opening night of The McAdo, 2024.
To add context, he developed a 12-min. digital pre-show. It began with multiple streaming choices, including “Rapture Plus,” a Gilbert & Sullivan network.
A few of the screens developed by Joe Andrews for his version of The McAdo, Gilbert & Sullivan Very Light Opera Co. (Minneapolis, MN), 2024.
This was not a video clip, but controlled by Stage Manager Kate Bender each night from the lighting booth.
Screen saver for The McAdo pre-show. This is before the streaming service options pop up on the screen.
A variety of Mikado options were listed in the “pre-show streaming service” – such as Hot Mikado (the 1985 retelling of the 1939 All-African American reimagining of the classic), Cool Mikado (reset in a contemporary 1960s comic gangster story), Il Ducato (The San Francisco Lamplighters re-setting of the G&S classic in Renaissance Italy), Eric Idle Mikado (1987 ensemble set in an English country hotel during the 1920s), and GSVLOC’s choice – The McAdo.
Parental warnings of racism, exoticism, and cultural appropriation were also attached to the original Mikado listing, with a secondary side note stating that this version was “only availability in Florida, Kansas and Arizona.”
Another streaming setting during pre-show – “to optimize” viewing pleasure – included a Language and Accents option, specifically “Midwestern English”, “Mid-Atlantic English (with a wee Scottish Lilt)”, or “Scottish Shetland Brogue”. The Audio settings included BuikemaAudio, after the musical director Randy Buikema, and described “as if a 30-person orchestra and full chorus were mere feet away.” Finally, there were two other settings – Anachronisms and Video Settings. “G&S Virtual Reality” is the final selection before the overture opens the show.
My scenic design was completed and approved before the introduction of the “Rapture Plus”pre-show.
Original scenic design for GSVLOC’s The McAdo, by Wendy Waszut-Barrett, 2024.Original scenic design for GSVLOC’s The McAdo, by Wendy Waszut-Barrett, 2024.
Some of the painted elements downstage of the projection screen were cut. The others that remained had to “disappear” during the pre-show and “appear” instantaneously during the overture.
It was Coco who would make the side-stage art and stage-apron art magically appear. Black masking suggested for the reveal, but I was concerned about quickly whisking away large pieces of fabric on a small stage filled with forty performers. We then tried small roll drops, but they were too sluggish; the action had to take place in about two seconds.
After watching a few failed attempts during tech, it became clear that our only option was LIGHT.
Fortunately, I have a wonderful LD – Carl Schoenberg. In the end, it worked extremely well! When the projection screen was raised for the overture, the stage was bathed in cool light – working well for the “G&S virtual performance” saspect.
During Coco’s magical reveal (about halfway through the overture), the set was blasted with warm light, making the scenery appear vibrantly lush. Schoenberg did an excellent job of pulling out various colors in the foliage painting throughout the show to change location. The attached images fail to capture the actual color, but I was extremely well pleased with how everything looked.
Here are a few scenes from our show that received extremely positive reviews.
GSVLOC production of The McAdo, 2024.GSVLOC production of The McAdo, 2024.
For those curious about my painting logistics:
I purchased 126”-wide muslin, as that is the width works perfectly with my paint frame. Tacking up to two 50’-wide pieces, I painted the entire show over the course of a few short days; working on multiple scenic art compositions makes everything go at lightning speed. I never have to wait for something to dry and can continue to plug along at a quick pace.
Stage settings for GSVLOC’s production of The McAdo on the paint frame at Hamline University, 2024.This photograph shows the stone painting process – very, very fast technique.Painted detail of completed stone section (for stone facade and stage apron) while still on the paint frame.Detail of The McAdo backdrop on the paint frame (only an 8′ x 10′ section).Here shows the base coat for the foliage wings. Painted detail of foliage for The McAdowings.
Now factor in that I am solely working with distemper paint (pigment paste and diluted hide glue), and the overall material cost is again reduced. I seldom use more than three cups of pigment paste and one pound of hide glue per show. Any leftover pigment paste is scraped into a container and saved for the next show. The shelf life is phenomenal.
This whole process is extremely green with virtually no waste. Vertical paint frames and distemper paint were made for each other. Everything dries fast and everything can become a transparency! In the end, each piece can be folded for easy storage until its next use.
Mike Hume and I arrived in Buxton on the evening of August 4, 2024.
The fence surrounding Buxton’s Pavillion gardens with the Opera House, pictured far right.A map showing the location of the Buxton Opera House in England.
On the morning of August 5, we had a little time to wander about town, taking in a few sights.
Buxton, England.
Buxton is a spa town in the east Midlands region of England, built on the River Wye. With ancient origins, Buxton became known for the healing properties of its waters. In fact, the one of the first things we did upon our arrival was to fill our water bottles at St. Ann’s Well, a shrine since medieval times.
St. Ann’s Well in Buxton, England.
Buxton’s website explains that St. Ann’s Well was denoted one of seven ‘Wonders of the Peak’ by Thomas Hobbes in 1678: “this cures the palsied members of the old, and cherishes the nerves grown stiff and cold”. Warm water, from a geothermal spring, flows at a constant 28 degrees Celsius (82.4F). High in magnesium, the same spring water is bottled and sold asBuxton Water.
Victorian spa in Buxton, now part of the Buxton Tourism building. Note the flowerpot sculpture – like in Settle!
Mike had scheduled an appointment with Willow Hick, production coordinator at the Buxton Opera House. I am still a little amazed that anyone allowed us to visit during the International Gilbert & Sullivan Festival.
It was also a perfect opportunity to visit old friends. As Diana Walkden lived nearby, we invited her to join us on our excursion. It was a really good thing too, as her involvement with the current Matcham exhibit on display in the building likely expanded or tour options that day!
Wendy Waszut-Barrett and Diana Walkden at the Buxton Opera House, August 5, 2024.One of the framed panels for the exhibit at the Buxton Opera House.Detail showing the layout at the Buxton Opera House.
Buxton’s Opera House was designed by Frank Matcham (1854-1920). This architect has quite a following, although that wasn’t always the case. He has a really interesting past and his theatres are absolutely gorgeous. For more information about Matcham, visit the Frank Matcham Society.
Opening on June 1, 1903, the Buxton Opera House featured live performances until 1927. As was the case with many theatre at this time, silent films were introduced, thus shifting the direction of scheduled entertainments. Although live performances persisted over the years, the Buxton Opera House primarily served as a cinema, then gradually fell into a state of disrepair. Fortunately, it has returned to its former glory, reopening on July 30,1979, with a performance of Lucia di Lammermoor.
Here are some of my favorite photos from our visit:
The Buxton Opera House, England.Entrance to the Buxton Opera House.The lobby at the Buxton Opera House.Ceiling mural detail in the lobby of the Buxton Opera House.Floor detail in the lobby at the Buxton Opera House.The safety curtain in at the Buxton Opera House on August 5, 2024.The Buxton Opera House.Ceiling at the Buxton Opera House.Sunburner and ceiling murals at the Buxton Opera House.Ceiling mural detail at the Buxton Opera House.Mural detail of comedy and tragedy masks at the Buxton Opera House.Proscenium detail at the Buxton Opera House.Proscenium detail at the Buxton Opera House.Theatre Manager’s box at the Buxton Opera House.View of the orchestra pit from the boxes at the Buxton Opera House.Another view of the Buxton Opera House.Buxton Opera House.Last row at the Buxton Opera House.Buxton Opera House.Mike Hume in action at the Buxton Opera House during our visit on August 5, 2024.
As with all of our theatre visits this trip, Mike Hume’s Historic Theatre Photography will share more detailed information and photos for this and other venues.
Leaving the Buxton Opera House on August 5, 2024.Wendy Waszut-Barrett, Diana Walkden, and Mike Hume in front of the Buxton Opera House, England.
This particular post is about our journey from Settle to Buxton in England. What could have been less than a 3-hrs.-drive, took us all day long. Overall, it was quite an exciting day.
Starting with our morning visit to Victoria Hall (see yesterday’s post), we hiked to Scaleber Foss (waterfalls), explored Skipton’s Castle, enjoyed a Sunday Roast in Kelbrook (village in Lancashire), dropped Grit Eckert off at the train station in Manchester, visited The Plaza in Stockport, and snuck into Buxton’s Opera House (during intermission of HMS Pinafore). It was an absolutely amazing day and I will share some photos from each leg of our journey.
For geographical context, here is a map of our travels on August 4, 2024.
Screenshot
After visiting Victoria Hall that morning, we enjoyed coffee and some Victoria cake before visiting the local scenic attraction known as Scaleber Foss. We travel a bit like Hobbits; first breakfast, second breakfast, elevenses, and so forth. It makes up for the energy spent tromping across towns and in theaters.
The one-lane road from Scaleber Foss to Settle.
Also known as Scaleber Force, it is a 40-ft. high waterfall on Stockdale Beck, flowing into the River Ribble between Settle and Long Preston in the North Yorkshires. Sounds a bit like fairytale locations, right? The landscape is enchanting even on a cloudy day.
Although the water is much more forceful in spring, late summer slows the stream down to a trickle, a series of gentle cascades. Over time, water has eroded the limestone, carving out giant steps that lead to the base of the ravine.
Scaleber Foss near Settle.Scaleber Foss near Settle.
I was surprised to discover that some believe Scaleber Foss was inspirational to Edward Elgar; he walked the countryside with his friend Dr. Buck, of Settle.
Despite overcast skies, the serene landscape, tumbling waterfall, steep footpath, and dense foliage were magical. The water was so pleasantly cool that I couldn’t resist going barefoot in the stream.
View from the footpath to ScaleberFoss.The surrounding landscape near Scaleber Foss.
Our next stop was Skipton Castle, known as one of the best-preserved medieval castles in England. Atop a rocky bluff, high stone walls are quite formidable to those below.
Visiting Skipton Castle with Grit Eckert and Mike Hume on August 4, 2024.Skipton Castle
At over 900 years old the Skipton Castle is still fully roofed and contains Lady Ann Clifford’s ancient yew tree in the Early Tudor Courtyard.
I was especially taken with the castle’s Conduit Courtyard. According to guidebooks, “It is formed by a range of domestic buildings which survive unaltered and intact from early Tudor times.” In the center, a stone bench surrounds an ancient yew tree, planted by Lady Anne Clifford in 1659.
The Conduit Courtyard with yew tree planted by Lady Anne Clifford in 1659.Another view of the Conduit Courtyard near the yew tree.Detail from the Conduit Courtyard.
Here are a few more photographs from our visit to Skipton Castle.
The grounds surrounding Skipton Castle.View from the Watch Tower at Skipton Castle.The Banqueting Hall at Skipton Castle.Mike Hume (for scale) in the fireplace.One of three ovens (this one used with coals) in the kitchen at Skipton Castle.The Lord’s Dayroom at Skipton Castle
We were all able to enjoy an early dinner – Sunday roast – before heading on to Manchester where Grit grabbed a train back to London. Mike and I were now headed to out next destination – Buxton, as the next morning we were touring another Opera House.
On a whim, Mike suggested that we stop at Stockport and visit The Plaza Amazingly, he was able to get us in for a quick tour from a head usher after the show let out.
What a treat!
The Plaza in Stockport.View of the flytower at the Plaza, Stockport.The Plaza, Stockport.The Plaza, Stockport.The Compton organ at the Plaza, Stockport.
Our visit took place just before the new House Tabs were installed.
Old House Tabs at the Plaza, Stockport.
Then we were off to Buxton. Little did we know, but the town was bursting with visitors, many attending the 30th International Gilbert & Sullivan Festival. Had we only known, tickets would have been purchased in advance! This festival is now officially on my bucket list with Andrew and Aaron.
The Gilbert & Sullivan line-up for August 4, 2024. The festival ran from July 27-August 10, 2024.Schedule for the 30th International Gilbert & Sullivan International Festival, 2024.The Buxton Opera House during the International Gilbert & Sullivan Festival.Storage containers for various productions at the Buxton Opera House for the 30th International Gilbert & Sullivan Festival.
It was an absolutely lovely evening as we wandered around the opera house. Occasionally a few lyrics from H. M. S. Pinafore interrupted the quiet night.
After lurking about until intermission, we were able to sneak in through a side door to see what the house looked like full of people. No, we didn’t stay for the second act. It was a sold-out show.
A full house for H. M. S. Pinafore at the Buxton Opera House.The Buxton Opera House on the evening of August 4, 2024.The park near adjacent to the Buxton Opera House.The Garden Pavillion, attached to the Buxton Opera House.
My next post will be about the Buxton the Opera House.
On Monday, Oct. 2, 2023, I returned from Chicago with the set for La liberazione di Ruggiero dall’isola d’Alcina. Less than two weeks later, I loaded in the set of H. M. S. Pinafore for the Gilbert & Sullivan Very Light Opera Co. (Howard Conn Fine Arts Center in Minneapolis). Although the show had been designed for months, it had yet to go into production. My husband, Dr. Andrew Barrett, took on the role of stage carpenter to help me out.
The Gilbert & Sullivan Very Light Opera Company production of HMS Pinafore.
The set in the Howard Conn Fine Arts Center space.
In fact, I was unable to start painting the show until Monday, Oct. 9. This meant I had less than five days to paint the the show, knowing that the structural pieces and flooring would be painted after load-in. As with other recent productions, I used distemper paint (pigment paste mixed with diluted hide glue) for all of the soft goods. This painting process facilitated the compressed timeline, as I spent less time mixing color, washing brushes, and cleaning buckets; the list goes on. Also, with painting on a vertical frame, and not the floor, everything dries faster.
Dry pigment paste is combined with diluted hide glue during the distemper painting process.
View from the aisle, house right. Gilbert & Sullivan Very Light Opera Company’s production of H.M.S. Pinafore, 11 November,2023.
Painted details. behind the helm.
My painting schedule was as follows:
Monday, Oct. 9 – Load in all painting supplies to Hamline University, set up palettes, make glue, attach fabric to frame, and size.
Tuesday, Oct. 10 – Base paint ship pieces, draw out composition and finish.
Wednesday, Oct. 10 – Remove ship pieces from frame, attach cloud/water pieces and size.
Thursday, Oct. 11 – Paint cloud/water pieces and cannons.
Friday, Oct. 12 – Remove all painted pieces from frame and load out of Hamline University.
Saturday, Oct. 13 – Finish set construction.
Sunday, Oct. 14 – Load into space.
A partially-constructed set during load-in, Oct. 15, 2023.
Under work lights before the floor is painted.
Painting the floor during tech week. I ran tape to save time, and used the existing “black floor” as the crevices.This meant I was able to paint the floor all by myself in only an hour. The “key” to this process is to let the floor fully dry before pulling up the tape.
After painting the floor and railings.
Before the remaining ropes and seagulls are added for “character.”
My favorite seagull.
The final painted “bits” stage right- seagulls and belaying pins.
The final painted “bits” stage left- seagulls and belaying pins.
The speed at which I was able to paint also really relied upon the subject matter and my own skill set. I have always loved painting skies, water, wood, draperies, and foliage. Getting to paint three out of your five favorites, isn’t bad.
It also helped that I was the scene designer. It gives me a little wiggle room.
On-site “touch-up” with distemper paint also means every color is instantaneously available without having to store of unpack a “touch-up kit.”
My “warm” distemper palette for on-site touch-up.
The new thing that I tried during the painting process this time was positioning the seascape compositions sideways. Why? Because it fit better on the frame and made running the long horizon lines easier.
Painting water and sky scenes SIDEWAYS to fit on the paint frame at Hamline University. Notice how the distemper paint dries from dark to light.
Another view of the process.
Running the horizon line on a motorized paint frame without a lining stick
You do have to pay VERY close attention to what you are doing. However, I would choose this orientation again, as running the horizon line was substantially easier. No lining stick needed when you have a steady hand and motorized paint frame. This is also why painting vertical folds in draperies is also stream-lined on a motorized paint frame.
Waiting for canon flats and doors to dry.
Recycling portions of an existing stencil to save time.
Here are a few process shots from tech week and the final production.
The set with pre-show lighting.
The scenery under cool lights.
How the colors can shift. Distemper paint reflects color so much better than contemporary (pre-mixed) scenic paints.
The show runs for one more weekend! There are some absolutely lovely voices in this production. It is a very fun show directed by Gary Briggle, with musical direction by Dr. Randall Buikema.
The added bonus this time is that our son is playing accordion in the pit orchestra!
The Gilbert & Sullivan Very Light Opera Company Orchestra under the baton of Dr. Randall Buikema.
Show curtain for THE SORCERER, painted by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023. Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER. Portrait of Mr. Gilbert by Wendy Waszut-Barrett, 2023. Painted detail from THE SORCERER. Portrait of Mr. Sullivan by Wendy Waszut-Barrett, 2023.
Harry C. Sprague in the Tabor Opera House listing of “Harry C. Miner’s Dramatic Directory” for the 1884-1885 season.
H. C. Sprague was the second stage manager for the Tabor Opera House. He lived in Leadville, Colorado for approximately five years, from 1879 to 1884. Only Sprague’s home address changed over the course of this time, although he was absent from the City Directory in 1879 and 1882. In 1880, Sprague was first listed in the directory, working as a bill poster and lodging at 312 W. 6th.
Although there were many men named Harry C. Sprague living in the United States during the late-nineteenth century, I think that I tracked down the right one.
Harold “Harry” C. Sprague was born on Feb. 2, 1861 in Ohio, the son of Charles Sprague and Jane Sommers, both born in 1835. Charles worked as a carpenter his entire life, a trade that was passed down to his sons. Charles and Jane married in 1855 and celebrated the birth of seven children: John E. (1858-1947), Harry C. (b. 1861), Emma J. (b. 1866), Florence (b. 1867), and Cornelia (b. 1869), Ida (1874-1913) and Belle C. (b.?). Their first child, John, was born in Toronto, with the remained children born in Ohio. The 1860 US Federal Census listed Charles, Jane and their infant son living in Youngstown, Ohio, with Charles still working as a carpenter. By 1870, the US Federal Census recorded that the Sprague Family was living in Youngstown, Ohio, due west of Akron, Ohio.
The “Leadville Daily Herald” included many articles that mentioned Harry Sprague during his time in town, providing a little insight into his life and career there. Ironically, it was Colorado newspapers that provided the greatest insight into this elusive personality.
In 1881, Harry C. Sprague was listed in the city directory as a “stageman” at the Tabor Opera House, likely a misprint for “stage man,” a directory abbreviation for stage manager. That year, Allen T. Wells Jr. was listed as the general manager of the Opera House. Sprague would have been in charge of the backstage area.
On August 23, 1882, a newspaper article initially brought Sprague into the public during the Tabor Opera House’s stage renovation. The article reported, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague, who has had extensive experience in the east, and was in Leadville before, in the early days. All these improvements will take until about the first of September to execute. As soon as the house is in perfect order, say about the fourth of September, J. Rial’s Uncle Tom’s Cabin troupe will commence an engagement of three nights” (“Leadville Daily Herald,” August 23, 1882).
Sprague was an instant success, and by Sept. 6, 1882, the “Leadville Daily Herald” reported, “Mention must also be made of the clock-work precision in the shifting of scenes, and upon inquiry as to the cause of the surprise, it was learned that Mr. Harry C. Sprague had returned” (Leadville Daily Herald, Sept 6, 1882).
Even 1883, Sprague was still credited with his stage settings used by the Goodwin Company during their visit that fall. On November 1, 1883 “Stage Manager Sprague, of the Tabor opera house, deserves favorable mention for his stage settings during the Goodwin season. All three of his pieces performed were carefully and handsomely mounted” (Leadville Daily Herald, Nov. 1, 1883, page 1). The scenery was credited specifically to Sprague, suggesting that he built and painted the pieces. It is important to remember that stage managers were also expected to paint scenes in smaller venues with minimal staff. If a scenic artist was not available to paint a scene for an upcoming production, that responsibility may fall to a backstage manager, such a Sprague. Sprague would continue a painting career after his stay in Leadville.
By 1884, Sprague was living at 202 W. 6th and in 1885 at 121 E. 7th. He seemed to have stay in an area home to other theatre professionals at this time. In 1884, Sprague is again listed as stage manager of the Tabor Opera House, but now residing at 202 W. 6th.
Sprague was also mentioned again in regard to the 1884 appearance of the Frank Mayo company at the Tabor Opera House. Their play was “Davy Crockett” and newspapers noted, “The cast is excellent, and with the stage settings even upon the comparatively limited quarters of our opera house, it makes one of the strongest combinations and one of the most attractive plays ever seen in Leadville…Great credit is due Mr. Harry Sprague, the stage manager for the admirable manner in which the stage was set last evening, which compared favorably with any theatre in the east” (Leadville Daily Herald, Feb. 1, 1884).
One of the more interesting events with a specific mention of Sprague was Leadville’s Jewish Festival in 1884. Three hundred people participated in the event that year. An article published in the “Leadville Daily Herald” announced, “The Purim Bal Masque a Brilliant Social Success Last Evening.” The article continued to describe the event with special mention of Sprague: “The most brilliant social event of the season and one that has kept society on the qui vive for a month past culminated last evening. City Hall was a blaze of light and in this connection a thousand thanks should be tendered to Harry C. Sprague the Stage manager of the opera house for the excellence of the calcium lights which cast a most pleasant light on the parti colored costumes” (Leadville Daily Herald, 12 March 1884).
The next month, the Tabor Opera House featured Mr. and Mrs. Knight in “Baron Rudolph.” On April 5, 1884, the “Leadville Daily Herald” reported, “The stage setting was admirable and reflects much credit to Mr. Harry C. Sprague, whose work was made easier from the fact that Messrs. Monheimer Bros. kindly donated the rugs, draperies, etc. which were so much admired.”(Leadville Daily Herald, April 5, 1884). As with many shows, stage managers were responsible for acquiring the items identified on each show’s prop lists, send to each venue ahead of every touring production.
By summer 1884, Sprague was again credited for his contribution to an upcoming production of “’Patience.’ On June 22, the “Leadville Daily Herald” reported, “One of the attractive events of the coming seek will be the opera of ‘Patience,’ to be given at the Tabor Opera House tomorrow evening. Everything is now is readiness for the most perfect amateur entertainment ever given in Leadville. The costumes have been imported expressly for the occasion, and are marvels of the costumers art. The solo parts and choruses have been drilling for weeks, while Mr. Cragg, and his efficient stage manager Mr. Sprague, have exhausted their ingenuity and good taste in the matter of stage setting. The indications point to a crowded house and a grand success is assured, both from a musical and social standpoint.”
Unrelated to any theatre events, Sprague was listed with a group of individuals helped feed a stray dog in 1884. That summer Sprague contributed 25 cents to help feed “Bum,” a local mutt described as “the sad-eyed decrepit looking canine, who seems to belong to nobody in particular, but lavishes his licks impartially upon all the members of the gambling fraternity in town” (Leadville Daily Herald, June 3, 1884).
The last mention that I have located of Sprague’s time in Leadville was connected with a children’s operetta at the Tabor Opera House. On October 30, 1884 the “Leadville Daily Herald” reported, “Mr. Moody, assisted by Mr. Sprague, the regular stage manager of the house, had charge of the stage. Under their able supervision everything worked as smoothly as clockwork.” After this, Sprague fades from print in Leadville.
By 1885, Willie Moon was listed as the asst. stage manager at the Opera House, living at 121 E. 7th, but Sprague was no longer in the city directory in 1885. It is likely that Moon was already working as an assistant in 1884. Sprague leaves Colorado at this point, and here is what I have tracked down about his return to the east.
Sprague left Leadville for Chicago, where he was married the following year. On Jan. 27, 1886 he married Sarah L. Lacy. At this time, Sprague transitioned to primarily working as a scenic artist, being listed as a “painter” in directories for the remainder of his life. This becomes more complex as there were multiple individuals with the last name of Sprague working in the theatre industry at this time, both as painters and carpenters. By 1889, the Harry and Sarah Sprague moved to Indianapolis, Indiana, where Harry continued to work as a painter. Harry C. Sprague was listed as a painter in the 1889 Indianapolis directory, living at 175 Riverside avenue. Sadly, in 1891, his wife Sarah passed away and was buried in Crown Hill cemetery. Nothing is known of the circumstances surrounding her death, but considering that she was young and the couple newly married, it is possible that she died in childbirth. At some point after the death of his wife, Harry returned to Illinois.
It remains unclear as to why Harry returned to Chicago, whether it was to mourn the loss of his wife or care for his aging parents. Regardless, Harry was living with his parents in 1900, He was 40 yrs. old. and still working as a painter. He was the only adult child of the couple living home; they were now listed as retired, each 65 yrs. old. By 1910, Harry’s mother had passed away. Both Harry and his father moved in with his sister Ida and her family, the Kirbys. The 1910 US Federal Census provides a little insight into this extended family living in Chicago. Ida’s husband Phillip was a manager at a metal works factory. Harry’s occupation was listed as a salesman, but with no specific industry. Harry was also listed as widower. Harry’s sister Ida passed away a few years later. In 1913, her obituary stated, “KIRBY – Ida E. Kirby, nee Sprague, 7736 S. May St., beloved wife of Phillip A Kirby, mother of Charles J. and Jennie C., daughter of Charles A. Sprague, sister of H. C. Sprague, John E., Florence G., and Belle C. Youngstown [O.], Elora [Ont.] and New Jersey papers copy. Funeral Wednesday, Dec. 31. Burial at Greenwood cemetery” (Chicago Tribune, 30 Dec. 1913, page 15).
I have yet to discover when Harry’s father passed, or he left Chicago. Sprague appears to have disappeared from print for the next two decades, but eventually ended up in painting in the Philadelphia area. His older brother also lived in the area. Harry C. Sprague passed away on March 9, 1933 at the age of 72 yrs. His obituary, reported, “Harry C. Sprague, aged 73, of Philadelphia, a retired painter, died in that city yesterday. He is survived by two sisters, Mrs. Florence Hults of Vineland and Mrs. Milton McGargle of Madison and a brother, John Sprague, of Philadelphia. Mrs. Charles Stickert of Vineland is a niece of the deceased. Funeral service will be held Saturday afternoon at 2 o’clock with burial in Siloam Cemetery” (“The Daily Journal” Vineland, NJ, 10 March 1933, page 3).
At the time of his passing, Harry’s burial expenses were paid by Mrs. Harry A. Brown of 1250 South 45th Street and Mr. Wilcox of 1427 Catharine Street, both in Philadelphia. It seemed odd to me that it was not a family member who took responsibility for the body.
I have just started to look at possibilities of who Mrs. Henry A. Brown or Mr. Wilcox might have been. Interestingly, Harry A. Brown was a Chicago artist, working in the city the same year that Sprague returned and met his future wife – 1885.
Sosman & Landis delivered scenery for a “Mikado” production
that toured the Redpath Chautauqua circuit in 1917. Annual Chautauqua, or tent,
events were held in cities across the country during the spring and summer,
featuring programs with all types of entertainment that ranged from Broadway
shows and orchestra concerts to magicians and lecturers. During its peak some
12,000 communities hosted a Chautauqua. The Redpath Chautauqua was massive
circuit with hundreds of shows and thousands of entertainers. Although there
were many Chautauqua agencies that contracted entertainers and lecturers, one
of the most notable was the Redpath agency. In 1917, one of the Redpath touring
shows was the “Mikado.” A company of thirty, selected in part from the Chicago
Grand Opera Company, performed in the Gilbert and Sullivan classic that year.
From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Steuben Republican,” (Angola, Indiana) 4 July 1917, page 4.From the “Durham Daily News,” (Durham, North Carolina), 8 April 1917, page 17.
The “Critterden Record-Press” reported, “The Redpath
Chautauqua special train of six cars, carrying over a hundred of the big
Redpath family, left Chicago on Tuesday afternoon, April 10, for Jacksonville,
Fla. The arrival in Jacksonville was scheduled for Thursday, April 12th,
the opening day of the Redpath Chautauqua circuit for 1917” (Marion, Kentucky, 14 June 1917, page 9). The
season ran until the end of summer, closing the first part of September.
On June 12, 1917, the “Owensboro Messenger” reported,
“The Redpath chautauquas have been doubly fortunate in securing two eminent
artists for their production of ‘The Mikado’ here Chautauqua Week” (Owensboro,
Kentucky, page 7). The show featured the talents of Ed Andrews as Ko-Ko and Arthur
Aldridge as Nanki-Pooh. The “Steuben Republican” reported, “The orchestra is under
the dynamic direction of Miss May Valentine, a band and orchestra leader who is
rapidly gaining wide recognition” (Angola, Indiana, 4 July 1917, page 4). The article
also noted, “Mr. Arthur Aldridge is, like Mr. Andrews, one of the great
interpreters of his role, Nanki-Pooh. In the recent revival of the Gilbert and
Sullivan Opera he scored tremendous success with De Wolfe Hopper. He has
appeared recently in the mammoth New York Hippodrome productions and is now
recognized s New York’s leading light opera tenor. Indeed, some critics have
been so kind as to claim that he has few equals among the world famous grand
opera tenors” (Angola, Indiana, 4 July
1917, page 2).
May Valentine was the conductor of “The Mikado.” From the “Advocate Messenger” (Danville, KY, 25 May 1917, page 7.
Newspapers across the country noted that Andrews was the
best Ko-Ko of his generation, having performed the part more than 1200 times to
date. The “Knoxville Sentinel” reported, “He is a small dark man, swarthy of
skin with a beak like an eagle. He possesses a thunderous bass voice all out of
proportion in volume to his small body. He sings the part with zest and a
delightful enthusiasm” (May 24, 1917, page 5). Of the scenery, the articled
added, “Beautiful and unique effects have been secured in the scenery built
especially for the Redpath chautauquas by Sosman & Landis, of Chicago.
These scenic artists have just completed the effects for a spectacular Madison
Square Garden production.” “The Nashville Banner” reported, “At first it was
thought that it would be practically impossible to give ‘The Mikado’ an
adequate setting on the Chautauqua stage, but all difficulties were overcome
and most gratifying results have been obtained” (Nashville, TN, 2 July 1917,
page 28).
From the” Times-Herald,” (Port Huron, Michigan) July 31, 1917, page 2.Ed Andrews played the part of Ko-Ko.
The University of Iowa Libraries holds a massive Redpath
Chautauqua Collection, contained in 1,132 boxes. The cite gives a brief history
for the circuit:
“Circuit or ‘tent’ Chautauqua had its beginning in the
lyceum movement, which started in Massachusetts as early as 1826, and in the
Chautauqua assemblies held at Lake Chautauqua, New York, beginning in 1874. The
purpose of the lyceum movement was self-improvement through lectures and
discussions on literary, scientific, and moral topics. After the Civil War,
commercial lyceum bureaus were founded; among them was the Redpath Lyceum
Bureau of James C. Redpath in 1868. In 1901, Keith Vawter purchased a one-third
interest in the Redpath Lyceum Bureau and became the Redpath booking agent in Chicago,
later moving his headquarters and operations to Cedar Rapids, Iowa. In the
summer of 1904, Vawter launched the first Chautauqua circuit with the
assistance of Charles Horner. The Redpath Lyceum Bureau had offices in
other American cities, including White Plains, New York; Columbus, Ohio;
Chicago; and Kansas City, Missouri. Vawter’s territory was roughly Iowa,
Minnesota, the Dakotas, Nebraska, and Missouri. Another Iowan and former Vawter
employee, Harry P. Harrison, ran the Chicago office. Under the name
“Redpath-Chicago,” Harrison launched a major Chautauqua circuit in
1912. His territory was Illinois, Indiana, Ohio, Michigan, Kentucky, Tennessee,
and the Gulf States. In 1912, Horner established in Kansas City the
“Redpath-Horner Chautauquas.” His territory was Missouri, Arkansas,
Texas, Oklahoma, Kansas, Nebraska, Wyoming, Colorado, and South Dakota. Circuit
or tent Chautauqua began to expand and became an even greater influence about
1913, but World War I interrupted the circuits somewhat. In the years after the
War (1920-1924), Chautauqua reached its peak of attendance. In 1920 there were
twenty-one companies operating ninety-three circuits in the United States and
Canada. The Great Depression brought an end to the circuits. The final circuit
folded its tents in 1932 and the splendor of tent Chautauqua was over.” Here is
a link to this remarkable collection, http://sdrc.lib.uiowa.edu/traveling-culture/inventory/msc150.html
The publicity brochures in this collection have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php Additionally, there are over seven hundred photographs and postcards in the Chautauqua Collection with subjects ranging from tents and parades to audiences and performers, cities, and other scenery. These have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php
In 1915, Thomas G. Moses wrote, “A small ‘Pinafore’ set told
us that we were not through with this old popular opera.”
One of many “Pinafore” productions that played in 1915.
There were numerous Pinafore revivals that year, ranging
from small town college productions to a large revival at New York’s 48th
Street Theatre. In Texas, there was even a production at Lake Austin where the
“Austin American Statesman” reported, “The ship ‘Pinafore’ will be anchored out
in Lake Austin and will be near enough to the shore and in such position that
the dialogues and songs can be easily heard by everyone along the bank” (5
Sept. 1915, page 8). Well, water does carry sound.
Looking at the numerous possibilities for a production with
Sosman & Landis scenery, one announced in the “Lancaster New Era” intrigued
me (Lancaster, Pennsylvania, 30 March 1915, page 7). The Crane-Burckly Co.
staged a revival of “Pinafore” during the early spring of 1915. Of the show,
the newspaper reported, “Young and old music lovers of Lancaster paid their
respects to Gilbert and Sullivan on Monday night at the Fulton Opera House,
when the Crane-Burckly Comedy Company offered their splendid revival of “H. M.
S. Pinafore” as their bill for this week. The music of this charming play is
the kind that seems to live forever. One can sit and remember seeing and
hearing the famous play some years ago, but the charm and beauty of the score
seems to be fresh and newly charming each time one hears t sung. The piece was
produced by the Crane-Burckly Company in its entirety. Not a line nor bar was
excluded, and all who would known Gilbert ad Sullivan can well imagine what a
perfect production of this famous play Messrs. Crane and Burckly have offered
patrons. Like true artists these people are, they gave a thoroughly perfect
rendition of both the dialogue and the music. Raymond Crane, who sang the role
of Captain Corcoran, showed himself in a new light. Mr. Crane disclosed himself
as an actor of ability, and his performance of the commander of the H. M. S.
Pinafore was by far the most artistic, the most finished piece of acting that
has been seen for some time. Arthur Burckly shared the honors with his partner
for first merits of the play. Mr. Burckly’s performances was the artistic
triumph of his career in Lancaster.” Meanwhile, another “H. M. S. Pinafore” production
played at the York’s 48th Street Theatre in New York, running from
April 19, 1915 to June 19, 1915.
There is simply no way of knowing which revival Moses was
referring to without locating the firm’s name in a program. However, during my
search, I did come across something else that was just fun.
On March 18, 1915, an entertaining tale from the “London
Opinion” was published in newspapers across the United States that mentioned
the show:
“Knows Something of the Sea.
Naval recruiting Office (to actor who has applied to join
the naval reserves – And what experience have you had?
Actor- Quite considerable, I was two years a midshipman in
H. M S. Pinafore, a lieutenant in half a dozen plays and an admiral in the
Chinese Honeymoon” (page 7).
In 1879 Moses decorated several private houses, but no one in Sterling could afford a very elaborate job and had very few theatre opportunities. He wrote, “I wanted the big work in the city and if possible, I wanted scenery and not so much decorating.”
1879 “Pinafore” color lithograph cigar label.
Finally, he painted the first set of scenery for “H.M.S. Pinafore” that played west of Chicago. Traveling with the show to Beloit, Illinois, he believed that his scenery looked good.
1879 production of “H.M.S. Pinafore” by the Amherst Glee Club of College Hall.
The production of the painted scenes had proven to be an opportunity to reconnect with his father. Moses wrote, “Father came to the Academy quite often while I was painting the ship set and offered many good suggestions.” I read this and thought that it was probably the perfect show for them to connect on, the old sea captain making suggestions for the ship compositions. Their relationship had come a long way since Moses first left for Chicago and he was now an accomplished artist, receiving support from the theatrical community. This proved his artistic worth to not only his father, but also the entire town of Sterling.
Moses received plenty of encouragement from the travelling companies, all suggesting that he return to Chicago. Moses wrote, “I was afraid to venture, but knew that I couldn’t go on as I was.” He especially need to increase his income after the birth of their first child
On September 6, 1879, “Pitt” was born and Moses wrote about a new fear as provider for his small family. This would be the first four children. He immediately realized that artistic projects in Sterling would never provide an adequate income. During that fall, Moses wrote, “The Winter was coming on and the outlook was anything but bright. I was earning on an average only of about $75.00 per month.”
Moses could continue travelling great distances for painting projects or simply move to a larger city. Regardless, he would have to leave home and start working elsewhere while Ella and Pitt remained at their home in Sterling. The painful separations of the past would start again. He understood that in order to continue his career as both a scenic artist and fine artist, he would need to move to a much larger city immediately and send for his family as soon as possible.
While contemplating where he should seek employment first, Moses received an offer in Grand Rapids, Michigan. His friend “Faxon” was going to start a regular painting business and wanted Moses as a partner. Moses wrote that Faxon was a “high-class sign painter and a good hustler.” In the end, Moses made up his mind to head toward Chicago in the spring. He had several jobs up to Christmas in 1879, but a lot of idle days. He wrote, “I didn’t have the painting bug then, or I would have painted pictures.”
Moses reflected on his wife’s undying support regardless of their situation, even understanding that she would soon be left alone to raise their child. He wrote, “Ella was very brave through it all, never complaining, which kept me up. There were a great many men in Sterling who were doing no better than I, and some doing less, and they seemed to be happy. But I would never be satisfied, for I had been to Chicago and knew what I could do.”
