Stage Hardware – Drypigment.net

TABOR OPERA HOUSE, LEADVILLE, COLORADO: Scenery for Von Suppe’s FATINIZA, ca. 1889-1895

In 1889, the Bostonians extended their tour to visit the Pacific states, including some remote mountain towns west of Denver. Previously known as the Boston Ideal Opera Company, the company traveled under the management of three principals, Karl, MacDonald and Barnabee.

*“Fatinitza” was performed the Bostonians at the Tabor Opera House in 1889.*

The Bostonians visited the Tabor Opera House in Leadville in July 1899, performing “Fatinitza” for a filled house. On July 8, 1889, the “Carbonate Chronicle” announced, “The great operatic event of the year in Leadville will be the appearance of the famous Bostonians. The success of the company has indeed been flattering – it is an American organization of which Americans may just feel proud.”

*Scene from Act I of “Fatinitza.” A Russian Outpost on the Danube River.*

*A shutter depicting a winter scene and a “Fatinitza” set piece labeled for act one of the opera.*

*Label on the door to the shack, showing this was used in “Fatinitza” at the Tabor Opera House in Leadville, Colorado.*

On June 24, 1889, the “Leadville Daily Chronicle” described how the extension of the Bostonian tour, expand their territory to Leadville. The article reported, “During their last engagement in Chicago a proposition to tour the leading cities of the Pacific slope was made to them by Will J. Davis, manager of the Haymarket theater in that city, acting for himself and Al Hayman, the manager of Baldwin’s theater and the New California theater of San Francisco. Terms were agreed upon, after some deliberation, for it was something unusual for this company to prolong its season so far into the summer as this tour is completed. However, all objections were surmounted, and Messrs. Hayman and Davis secured the celebrated singers by paying them a good round certainty for ten weeks. The speculative managers assumed the entire risk. The Bostonians left Chicago Sunday, April 28, for Los Angeles, where they sang the week of May 6. Then followed the tremendous four weeks success in San Francisco which has but recently closed. The company opens to-morrow night in Denver, following with engagements at Pueblo, Leadville, Colorado Springs, Lincoln, Nebraska, Omaha, and Sioux City. The company numbers some seventy-odd people, and includes all the principal artists, chorus singers and members of their own orchestra. They travel by special train and in very good style, it being the intention of Karl, Barnabee, and MacDonald, the proprietors, to furnish sleeping car accommodations for the entire company at their own expense. Costumes, personal baggage and special scenery help make the size of the special quite as large as most regular trains. The personnel of this company, anyway considered, is not approached by any similar organization in the country. It is almost wholly Bostonian, the exception being credited to Chicago, in the case of the three principals, while Cincinnati and Baltimore are credited with one each. There is a distinct New England flavor to the chorus and orchestra. The independent airs of the Boston girl are plainly present in the pretty young ladies in the chorus, while the young men might pass for Harvard students.”

*In 1889 the Bostonians transcontinental tour also stopped at the Grand Opera House in Salt Lake City, Utah.*

The “Leadville Daily Chronicle” rejoiced, “At last! After countless visits to Colorado by that greatest of all operatic organization, the Bostonians, Leadville will see them. While in the city last Thursday, Manager Peter McCourt of the Tabor Grand, Denver completed the arrangements whereby the great company will visit Leadville, the dates having been fixed on Monday and Tuesday, July 1 and 2” (June 24, 1889). However, the best laid plans don’t always work, and the troupe rearranged a section of the tour as Emma Abbot had already performed in “Bohemian Girl.”

On July 1, 1889, Leadville’s “Carbonate Chronicle” announced, “The ‘Bostonians’ Will Come Next Week and Give Us Two Treat.” The article continued, “The final arrangements were completed yesterday and the great organization with its many superb singers will give two performances at the Tabor Opera House. It was first decided, when Mr. Dailey, representing the company, was in Leadville, to play here on Monday and Tuesday, giving “Bohemian Girl” and “Fatiniza.” Learning that the former opera had been played here by the Abbott company, it was thought best to change that and also the dates, playing Pueblo and Colorado Springs before Leadville and also give Aspen a chance to see this really wonderful company. The state-tour, therefore, will be as follows: Monday, Colorado Springs; Tuesday and Wednesday, Pueblo; Thursday and Friday, Leadville; Saturday, Aspen. The “Musketeers” and “Fatinitza” will be played in the Cloud City, in the order named. The selection is a splendid one and could not have been bettered, The Bostonians will tour the state in their special train. The mounting and costuming of the opera’s will be one of the features at the Tabor. Among the principals appearing in the “Musketeers” will be Juliette Corden, Louise Bianchi, Carlotta Maconda, Josephine Bartlett, Gertrude Colby, W. H. McDonald, Edward Hoff, H. C. Barnabee and Fred Dixon. Marie Stoue and Jessie Bartlett Davis will be among the principals in “Fatinitza.”

*Poster from an 1879 production of “Fatinitza.”*

In 1889, the Bostonians toured with five rail cars: two Pullman buffet and sleeping cars, a day coach and two baggage cars (Sioux City Journal, 14 July 1889, page 9). Besides the principal artists there were thirty singers in the grand chorus, thirteen orchestral performers, and baggage, scene and property masters; seventy people toured with the company (Los Angeles Herald, 5 May 1889, page 3). The company toured with settings for six operas, but this did not mean that they were limited to those productions. In Leadville, “The Three Musketeers” replaced the anticipated “Bohemian Girl.” Also, not all communities or venues could support six full-scale productions. For example, the Bostonians performed only two operas in Leadville, while the advertised for six at Salt Lake City’s Grand Opera. This mean that the company toured with a significant amount of special scenery, and multiple shows necessitated careful labeling of each piece; individual pieces would be labeled for immediate identification. This is not to say that the Bostonians did not supplement their special scenery with stock scenery from the various venues, but they would have also used clearly labeled scenery. “Fatinitza,” required only three settings for the three-act opera; a Russian Outpost on the Danube; Izzet Pasha’s Harem; and Count Kantchukoff’s Palace.

*Before the “Fatinitza” door was cleaned and documented. Tabor Opera House, Leadville, Colorado.*

*After the “Fatinitza” door was cleaned and documented. Tabor Opera House, Leadville, Colorado.*

There is a door piece at the Tabor Opera House in Leadville that is clearly labeled “Fatinitza, Act 1st in 1, LH.” The extant door was for the Russian outpost on the Danube. Interestingly, the set piece does not stylistically match any of the other scenic items at the venue.

However, there remains one lone shutter that depicts half of a winter scene. Is it possible that a touring production left a scenic piece as they quickly packed up for their next stop? None of the other attic scenery was specifically marked for a show. The only common markings were on wings for groove set positions, such as L1 and R1. This would indicate stage left, first position and stage right, first position; down stage grooves.

As I was contemplating the possibility of the Bostonians, or another touring company, leaving a scenic piece at the Tabor Opera House, I came across an article in the “Los Angeles Daily Herald” from 1889. On May 5, an article about the Bostonians 1889 Transcontinental tour reported, “Nothing ever used in any of the many operas they present has been left behind. Scene, property, costume, and in fact every accessory to a perfectly finished performance of each opera was brought along” (page 3). Los Angeles was their first stop on the tour. I have to wonder if this was still the case as the tour neared an end in Leadville, and the elevation took its toll on both performers and stagehands.

“Fatinitza” returned to the Tabor Opera House in Leadville four years later. On April 20, 1893, the “Leadville Daily Chronicle” advertised three upcoming operas performed by a much smaller company, the Calhoun Opera Co. Their line up included “Fatinitza,” “Said Pasha” and “Boccaccio.” The shows were produced on a much smaller scale than the Bostonians in 1889. Instead of the Bostonian’s seventy-member company, the Calhoun Opera company toured with only forty people. Of these forty individuals, five of them constituted the orchestra. Reviews for the Calhoun Opera Co. shows were mediocre. Leadville’s “Herald Democrat” announced “an evenly balanced company.” The article continued, “One of the striking features of the Calhoun Opera Company is the nice equilibrium of the principles in producing artistic effects. They have been very intelligently selected, and the proprietor and chief manager, Mr. Shunk of Chicago, is to be congratulated on having organized a company that is compact and even well equipped to gain popular favor.”

Regardless of which touring company left the outpost hut for “Fatinitza,” the construction dates are approximately, 1885 to 1895.

*Detail of the “Fatinitza” hut at the Tabor Opera House in Leadville, Colorado.*

*Only one half of a winter scene remains. A shutter that was stored in the Tabor Opera House attic for over a century. Leadville, Colorado.*

*Painted detail of a winter scene shutter at the Tabor Opera House in Leadville, Colorado.*

Flat sheaves were placed at the bottom of the winter scene shutter, allowing it to effortlessly roll on and off stage during scene changes.

To be continued…

TABOR OPERA HOUSE, LEADVILLE, COLORADO: Horizon Setting, ca. 1888.

*The Tabor Opera House in Leadville, Colorado.*

From September 21-27, 2020, I led a group of local volunteers to document historic stage settings in the attic of the Tabor Opera House (Leadville, Colorado). Below are two horizon shutters and corresponding side wings. There were three sets of wings to accompany each set of shutters.

*Two horizon shutters and three side wings at the Tabor Opera House in Leadville, Colorado.*

When the Tabor Opera House stage was renovated at the beginning of the twentieth century, new scenery was purchased from the Kansas City Scenic Co. The Kansas City Scenic Co. subcontracted some of the project to Sosman & Landis Scene Painting Studio in Chicago.

The older scenery, especially that painted by T. Frank Cox and associates in 1888, was stored in the Tabor Opera House attic. The old scenery sat for over a century, until last month when we lowered most pieces to the stage floor. Each piece was lowered thru a small opening high above the proscenium wall, stage right side.

*Door to the stage floor, approximately 40′-0″ below.*

*View of pin rail and attic door from the stage floor.*

*Cut-down wings attached to an attic wall at the Tabor Opera House.*

Unfortunately, when some of the wings were placed in storage the height was reduced so that they could be tacked up to an attic wall. Each piece was cut down from 16′-0″ to 10′-0″. Of the original six wings, two had their bottoms cut off and three had their tops cut off. One wing had both the top and bottom trimmed.

*Horizon wing with 6′-0″ cut off at the top.*

*Horizon wing with 6′-0″ cut off from the bottom.*

These pieces are a delightful look at American theatre history. Shutters created backings for nineteenth and early-twentieth-century stage pictures. Serving the same function as a backdrop, they slid together. Flat sheaves were attached to the bottom of the shutters to help them effortlessly roll together. Once joined, the centre seam was barely noticeable from the audience. Scenes were easily shifted, and often double-painted. The back of each shutter and wing holds another composition.

*Flat sheaves attached to the bottom of shutters and wings allowed each piece to easily roll on and off stage during scene changes.*

Shutters and side wings were a perfect solution for theaters that did not have enough fly space to raise backdrops out of sight. Shutters masked the upstage area and wings masked the side stage area, while each supported painted illusion on the stage.

Wings and Shutters were standard stage settings for many American nineteenth and early-twentieth century stages. The Tabor Opera House shutter scenes are painted on linen fabric and tacked to pine frames. The scenic paint was a mixture of pure color (dry pigment) and diluted animal hide glue.

For more information about the historic scenery collections at the Tabor Opera House, visit www.drypigment.net and keyword search “Tabor Opera House.”

*Painted detail of sky and water on shutter.*

Tabor Opera House, Leadville, Colorado: European Street Scene Shutters, ca. 1888.

From September 21-27, 2020, I led a group of local volunteers to document historic stage settings in the attic of the Tabor Opera House (Leadville, Colorado). Below are two shutters, dating from 1888. Shutters created backings for stage picture when rolled together, forming a perfect solution for theaters that did not have room to raise backdrops out of sight. Shutters paired with side wings to mask the off stage areas. Wings and shutters slid on and off the stage in grooves to form scenic illusion on nineteenth and twentieth century stages across the United States.

The scenes are painted on linen fabric and tacked to pine frames. Pure color (dry pigment) was mixed with a binder of diluted hide glue and applied to the linen.

Two shutters that form a European Street Scene at the Tabor Opera House.

Painted detail on shutter at the Tabor Opera House in Leadville, Colorado.

The shutter was stored in the Tabor Opera House attic when the stage was renovated from 1901-1902. In 2020, the shutter was documented and lowered to the stage floor.

Lowering a shutter from the attic to the stage floor.

Flat sheaves were attached to the bottoms of wings and shutter, allowing them to effortlessy roll on and off stage.

Travels of a Scenic Artist and Scholar. Day 3 at The Tabor Opera House. September 23, 2020.

Volunteer crew for day 3 of scenery documentation at the Tabor Opera House in Leadville, CO.

We all experience those tactile moments that conjure up images from the past, offering an instantaneous connection. It can be as simple as using your grandmother’s mixing bowl or your grandfather’s tools. There are so many ways to reconnect and remember times gone by.

Handling historic scenery offers a special connection to the past, especially if the setting has not been assembled for decades. I often wonder if the original creators are patiently waiting in the wings for their scene to appear once again on stage, occasionally stepping in to guide our fumbling hands.

Today, we set up two historic scenes on the stage of the Tabor Opera House in Leadville, Colorado; ones that had been stored in the attic for well over a century. Damaged and dusty, we carefully pieced together two interior sets. I spent a significant amount of time, both last night and this morning, contemplating how I would “put Humpty Dumpty back together again.” Some of the of pieces were intended to work with grooves, effortlessly sliding on an off stage. Others had anchors for stage braces. Some had no indication as to how they were supported. In the end, it just took time, muscle and a crew that trusted my gut instincts.

Stage setting stored in the Tabor Opera House attic for more than a century.

Doors added to setting, but the appropriate plug for the arch is still missing.

The doors and arches were the backside from the first setting. They are double-painted with a composition on each side.

The process was almost as satisfying as the outcome. It is hard to express my emotions as the stage was transformed today.

I first laid eyes on a piece from the setting two years ago. At the time I could only envision how this would look on stage. Seeing it assembled surpassed all of my expectations. Although some of the colors are faded and some of the fabric is torn, there is an insuppressible beauty to the painting. It was absolute magic.

To be continued…

Travels of a Scenic Artist and Scholar. The Scenic Art Career of Lemuel L. Graham, 1884 to 1914.

Yesterday I examined the early life of Lemuel Laken Graham, a partnership with Thomas G. Moses in 1882, and his return to the Sosman & Landis Studio in 1883. By 1884, Graham left Chicago to start his own studio in Kansas City, Missouri. The 1885 Kansas City Directory lists Graham as a founder of the Kansas City scenic company studio known as Graham & Davis. At the time, Graham was residing at 637 Garfield Ave. His business partner, William Davis, was with the firm for less than only two years, and by 1886 studio was simply listed under Lemuel L. Graham.

In 1887, Graham was again listed in the Kansas City directory as a scenic artist with his studio at 525 Main, rooming at 517 E. Missouri ave. The 1888 Kansas City Directory lists “Lemuel L. Graham” as employer for other scenic artists in the city, such as Benjamin F. Dunn, future president of the Kansas City scenic Co. Two other bits of information in 1888 provide a little context for Graham’s career in Kansas City; the first is that Moses mentions stopping in Kansas City to visit Graham in his memoirs, writing, “He was doing well.” Indeed, Graham was doing very well, with a substantial staff of artists work in his studio. The second mention of Graham and his studio was included in the 1888 publication, “Industries of Kansas City: Historical, Descriptive, and Statistical.”

The section on Graham included the following listing:

L. L. Graham. Scenic Artist, Contractor for Stage Equipment, Theatre Hardware, Frame Work, Canvas, Traps, Bridges and Every Necessary Equipment of First Class Theatres, 525 & 527 Main Street.

There was an entire entry for Graham too:

“Mr. L. L. Graham is a prominent representative of the scenic art in Kansas City, having established this business here four years ago in conjunction with Mr. Davis, who withdrew from the firm some two years since. Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years. His first experience in the school of art was had at McVickers’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans. His establishment here is eligibly located at 525-527 Main Street, and consists of a studio and shops fitted up with every essential appliance and convenience for the correct and expeditious execution of the work, which comprises high art stage scenery and equipment, rich and elegant stage curtains, stage properties of every description, theatrical hardware, frame work, canvas, traps, bridges, etc. One special feature of Mr. Graham’s industry is his advertising drop curtain, which is richly draped on the top and sides with royal crimson and heavy bullion fringes and pendants gracefully falling on steps painted at bottom of curtain. In the center is a large and artistically painted picture in stucco frame, which is surrounded by a border of deep Prussian blue, divided into spaces for the insertion of business cards. The cards may be lettered in a becoming and artistic style in bright gold, the whole having a brilliant and pleasing effect. There are usually from eighteen to twenty of these spaces of varying sizes to suit the advertiser as to the amount he desires to pay. Full particulars concerning this feature will be furnished by mail, upon application, to theatre managers, hall proprietors and others interested as well as any other information appertaining to stage equipment and carpentry. Mr. Graham has executed stage work for some fifty or sixty houses in Nebraska, notably at Omaha and Lincoln, etc., and for forty five different houses in Kansas, including Winfield, Wichita and Anthony, and in St. Joe, Hannibal, Springfield and many others in Missouri. As many as thirty-six men in his employ upon an average weekly pay roll of $500.00, Mr. Graham giving his personal attention to every detail of this most intricate work. Contracts were made for Priests of Pallas and trades displays and pageants in Kansas.” Thirty-six men in Graham’s scenic studio is comparable to that of Sosman & Landis in Chicago at the same time. However, Graham did not remain in Kansas, heading east.”

This publication included an interesting commentary about scenic studios at the time: “Such industries as the one under special notice [L. L. Graham], are among the necessary concomitants of a rapidly developing metropolitan community, indicating that spirit of enterprise that caters to refined taste and social enjoyment.”

By 1896, Graham was listed as doing business with another scenic artist L. J. Couch (1838 – 1909). Little is known of their exact relationship or business, but it was an unsuccessful venture and makes me ponder Moses’ comment, “a good fellow and a hard worker, but altogether too close to please me.” Graham and Couch were listed in the “Boston Globe” under the heading “Business Troubles.” Of their scenic studio, the newspaper announced, “L. J. Couch and Lemuel L. Graham, doing business at 384 West 1st St, South Boston, under the firm of Levi Couch & Co., scenic painters, have been petitioned into insolvency by Edmund G. Pond, creditor” (The Boston Globe, 9 Jan. 1896, page 7). This is Graham’s third failed business venture in twelve years.

Couch was a scenic artist and inventor, specializing in stage hardware. Born in Milford, Connecticut, he was also a stage mechanic, with an extensive background as a general carpenter. This should have been the winning combination for Graham and Couch – both scenic artists, with one being a knowledgeable stage mechanic. Couch even applied for two patents that involved the operation of stage scenery. One was for a “wire rope clamp” (US Patent 756,158) and other for a “curtain block, drop” (US Patent 756,157). Here are the links to Couch’s two patents:

https://pdfpiw.uspto.gov/.piw?PageNum=0&docid=00756157&IDKey=38593B643681%0D%0A&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO1%2526Sect2%3DHITOFF%2526d%3DPALL%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsrchnum.htm%2526r%3D1%2526f%3DG%2526l%3D50%2526s1%3D0756157.PN.%2526OS%3DPN%2F0756157%2526RS%3DPN%2F0756157

and

https://pdfpiw.uspto.gov/.piw?PageNum=0&docid=00756158&IDKey=835F3B6405D6%0D%0A&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO1%2526Sect2%3DHITOFF%2526d%3DPALL%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsrchnum.htm%2526r%3D1%2526f%3DG%2526l%3D50%2526s1%3D0756158.PN.%2526OS%3DPN%2F0756158%2526RS%3DPN%2F0756158

Couch advertised his wire clamp in the “New England Business Directory and Gazetteer” (No. XXI, 1904).

Advertisement from the “New England Business Directory and Gazetteer,” No. XXI, 1904.

Couch’s background I fascinating, especially before he partnered with Graham. In 1890, Couch was working at the Bijou Theater in Boston, listed as stage carpenter in the city directory. He soon founded L. J. Couch & Co. and initially partnered with fellow scenic artist, David Richards from 1893-1895. As with Graham’s firm in Kansas City, L. J. Couch & Co. offered a wide range of theatrical goods ranging from painter scenery and theatrical hardware to general stage appliances.

After L. J. Couch & Company, Graham partnered with P. Todd Ackerman, another scenic artist. Their studio was initially located at the Broadway Theater in Brooklyn, New York. On Aug. 13, 1902, the “Brooklyn Daily Eagle” reported that Graham and P. D. Ackerman took a mortgage with John C. Sceneck at Bushwick Ave. for $3900 (Conveyances, page 14). In 1903, “The Standard Union” listed: BUSHWICK AVE, s w s 100 n w Eastern Parkway Extension, 50×29.5x-x56.3; Lemuel L. Graham to Philip D. Ackerman; ½ pt; all liens….nom” (22 July 1903, page 10). There Studio Building 1576 to 1580 Bushwick Ave, New York.

Graham later set up his own studio on Crosby Avenue in Brooklyn, calling it L. L. Graham and Son. This must have been Revard Graham. In 1905, the US Census lists Graham and his wife living in Manhattan with their three children: Rachel Elizabeth, Ethel, and Revard Parker, ages 21, 13 and 10. Graham would remain in Brooklyn, New York, until his passing in 1914, yet listed “Graham & Son,” now working with Revard Graham. There remains one drop credited to L. L. Graham & son at the Grange Hall in Denmark, Maine.

Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.

Signature of “L. L. Graham & Son.” Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.

Painted detail. Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.

Graham passed away after a brief illness on Sunday, Dec. 27, 1914, at the age of only 68. He died at his home, 3 Miller Ave, and was still working as a scenic artist (“The Standard Union,” 29 Dec. 1914, page 3). The Brooklyn Daily Eagle described Graham as “one of the best-known scenic artists of this country.” The article summarized, “[Graham] was known from coast to coast among theatrical men and had traveled through every State in the Union in his time, and his work was known in all of the principal cities.”

Here is Graham’s obituary in its entirety:

“L.L. Graham Artist, Dead.
Painted Many Scene and Curtains for Theatres. Had Studio Here. Curtain at Broadway Theatre His Creation. Lemuel Laken Graham, one of the country, died Sunday from heart failure after a long illness at his home. 3 Miller avenue, on the border line of Queens Borough, near Highland Park. Mr. Graham had a studio building on Crosby avenue, near his home, or ten years, funeral services will be held to-night with internment in Evergreens cemetery.

Mr. Graham was known from coast to coast among theatrical men and had traveled in every State in the Union in his time. His work was known in most of the principal cities. He was born in Ann Harbor, Mich., July 4, sixty-eight years ago, the son of the Rev. Daniel McBride Graham, a Baptiste clergyman and the president of Hillsdale College, Mich., and Ursula Graham. His father apprenticed him to the scene painting business in his youth and he early achieved fame in his chose calling.

He was associated with Sasman [sic.] and Landis of Chicago, for some years and painted the curtain for the Chicago Auditorium. Later he was a partner of L. J. Couch, of Boston, and in his studio there turned out some of the best known to stageland, While at Kansas City for a number of years, Mr. Graham was in charge of the great annual event there, the priest of Pallas parade, and created all of the floats and scenes used in the carnival. Mr. Graham and P. Todd [sic.] Ackerman did the decorations for the Broadway Theatre here, and he painted several curtains and numerous elaborate settings for Manhattan theatres.

Mr. Graham taught scene painting for years and some of the most skillful scenic artists in the country were his pupils. Of late years he confined his work to the creation of smaller scenes and he had a reputation for clever organizations. He leaves his wife, Elizabeth West Graham; a son Revard Parker Graham, a scenic artist, and a daughter, Mrs. Fermin Ferrer, of Laurelton, L. I.” (The Brooklyn Times, 29 Dec, 1914, age 12).

To be continued…