Stage Machinery – Drypigment.net

Travels of a Scenic Artist and Scholar: Adelina Patti’s Stage Scenery.

On August 7, 2024, Mike Hume and I visited the Adelina Patti Theatre in the Craig Y Nos Castle, Wales. My last post focused on this well-known soprano and the construction of her theatre. This blog is going to look at remnants of her stock scenery collection. A few borders and a garden drop are all that remain. Visitors can only catch glimpses of delicate branches and lacy foliage high above their heads. Here is a view from the fly rail of the theatre that shows some of the original painting by scenic artist Walter Hann. He will be the subject of my next post.

***Border curtains and garden backdrop at the Adelina Patti Theatre, Craig Y Nos Castle, Wales.***

I am going to start with an article published in Western Mail article about the opening of Adelina Patti’s Theatre in 1891, detailing some technical aspects. The article was discovered by Mike Hume, who has included it on his page about the theatre at Historic Theatre Photography.

*Mike Hume photographing the fly loft at the Adelina Patti Theatre on August 7, 2024.*

The inaugural address for the opening of Adelina Patti’s Theatre was published in a Western Mail article. Mr. Terriss, a last-minute replacement for Henry Irving, gave the address. Here is an excerpt:

“Ladies and Gentlemen, – I stand here as the humble and inadequate representative of the first of living English actors. It had been the intention of Mr. Henry Irving to signalize his appreciation of Madame Adelina Patti’s transcendent talent as a singer and actress, and to mark his strong sense of the close alliance connecting the musical and dramatic arts, by speaking a few inaugural words on this occasion – one that is unique in operatic and theatrical annals alike. For we are met here to be present at an initial performance held in a theatre which, at the generous behest of the Queen of Song, has been erected and provided with every mechanical appliance perfected by modern science in the very heart of a wild Welsh valley, teeming with the beauties of Nature and remote from the busy haunts of men.”

No expense was spared in the outfitting of Patti’s Theatre. The stage, machinery and lighting were also detailed in the article:

The stage is 24 ft. deep and 40 ft. wide, with ample height to allow the whole of the scenes to be raised into the flies without rolling. Every modern appliance necessary for opera and pantomime has been provided. There are electric footlights, rows of batten lights in the wings, and ground lights with coloured lamps for giving coloured effects. The number of lights in the entire theatre is 281, and all these are under the control of the prompter by means of a handsome switchboard which has each department labelled. A cellar under stage accommodates the machinery for working the scenes and traps: whilst alongside the auditorium on the opposite side of the corridor is a large scene dock, 32 ft. long and full height, to accommodate scenes when not in use. Behind the stage are five dressing-rooms on the first and second floors, with a loft over the properties. The architects were Messrs. Bucknall and Jennings, of Swansea and London. The builder was Mr. H. Smith, of Kidderminster; the scenery was painted by Mr. W. Hann, of London; and the decorations done by Messrs. Jackson and Sons, of London. The electric lighting has been carried out by the Wenham Light Company.

*Above the stage, looking at the gridiron (facing the proscenium opening).*

*Two rows of cleats on the stage-left fly floor.*

*The stage-right fly floor with machinery to raise the act-drop.*

*Grooves attached to underside of fly floor.*

*View form the stage-left fly floor showing two sets of grooves.*

*Below the stage, looking at cuts for sloats.* *There are also bridges, but no operational stage machinery at this time.*

*Understage area at the Adelina Patti Theatre.*

The Western Mail newspaper article provided the name of the scenic artist responsible for the stock scenery collection – Mr. W. Hann [Walter Hann]. A few of his settings were described in opening night festivities. For example, in the performance of Act I from La Traviata’s (Patti played her favorite character – Violetta Valery), the article reported, “Then the curtain rose, disclosing a very tasteful drawing room set scene leading out into a conservatory.” An illustration of this scene was published in Black & White magazine on August 22, 1891. It gives us a true sense of how the stage looked on opening night. The newspaper illustration is now in the People’s Collection of Wales.

*From* Black & White magazine, 22 August, 1891.

I also want to draw your attention to proscenium drapery – and how very little of the proscenium opening is covered in this illustration.

*Detail of drawing room setting with conservatory beyond arch.*

Such is not the case with the current proscenium draperies.

The drapery, however, was mentioned in the newspaper article when Mr. Terriss completed his inaugural address: “The great actor retired behind the heavy folding curtain of electric blue plush, which almost immediately afterwards parted and disclosed the beautiful act drop with Mdme. Patti as Semiramide driving the chariot.”

Other stock scenery by Walter Hann for the Adelina Patti Theatre included a garden backdrop, cottage wing and wood wing. I believe that the garden drop is still suspended in the theatre, although greatly altered over time with overpainting. It was used for first act of Faust, also performed on opening night. The Western Mail article reported:

“When the curtain rose on the first scene in “Faust,” great admiration was evinced. It was a delightful rustic scene, representing an enclosed garden, Margherita’s cottage on one hand, a group of trees and flowers in the center, and on the other side a rustic seat and Margherita’s spinning wheel.” The “group of trees and flowers in the center” would have been a painted flat the rose up through a cut in the stage floor.

A photograph of Walter Hann’s garden setting was included in the Adelina Patti Documentary, produced by the Bannau Brycheiniog (Brecon Beacons) National Park.

I took a screen shot while watching the documentary and enlarged the image to compare it with the current garden drop hung from the back of the stage.

*Top of garden backdrop (tree branches in foreground are dimensional)*. *Note color palette on top borders.*

This image has an empty alt attribute; its file name is IMG_9323-1024x768.jpeg — *Garden scene detail showing some original painting, but primarily overpainted section*s.

Unfortunately, the lower half of the garden drop has been heavily repainted; note the extremely bright greens and blues.

I was unable to photograph the entire composition, but the detail above shows the same pathways, garden wall and steps in the photograph above. The over painting is in sharp contrast to the original branches and leaves on the woodland borders (see below).

*Detail of painting on borders and the top of the garden backdrop.*

*The borders remain untouched and show the original color palette.*

*Original foliage painting. Note coloration and foliage treatment.*

*Original foliage treatment and color palette on borders.*

The branches and foliage work on the borders remains in sharp contrast to the more recent additions to the garden drop (see below).

*Trees and foliage added to the original backdrop.*

There are a few things to point out about the overpainting historic stage settings and the addition of painted elements. It is relatively easy to spot additions when simply analyzing color. The brightest greens, yellows, and blues look like they came out of a can. These colors fail to include the complimentary color, thus supporting painted illusion for the stage. This is one of the topics that I had presented on the week before when teaching the Historic Scene Painting Workshop and delivering the paper, “Scenic Art: Past and Present”, at the Tyne Opera House and Theatre (July 30-August 2, 2024).

Only the garden steps in the composition below are original, whereas many of the organic elements (crude floral and foliage arrangements) have been heavily over painted. Specifically, the blue foxglove in the foreground, the shrubbery and vines against the garden wall, the pink flowers, and bright green grass do not contribute to the scenic illusion. They read as “flat” and without definition or dimension.

*Section of backdrop that has been partially repainted*. *Note the shift of color palette from top of trees and sky.*

The overpainting primarily occurred in areas that were easy to reach from the stage floor. That is likely why the corresponding woodland borders remain untouched.

Here are a few more photographs of the garden backdrop, detailing the addition of foliage and flowers.

The repainting of an original scene is not uncommon. When a drop, wing, or other piece of scenery began to show wear, there were frequent attempts to “brighten up” a composition. When Walter Hann’s garden scene was “touched up”, additional elements were added throughout the composition, such as the pink flowers on top of the original spheres transforming each in to a floral vase (see image above). This same color was also added to bushes against the garden wall.

*Excesive foliage (leaf work) added over original composition.*

*Crude leaves painted over the original foliage.*

Photographs and illustrations of the Adelina Patty Theatre are extremely rare. Amazingly, I tracked one down from 1893 that depicted a cityscape, cottage wings, and foliage. The bush in the center would have emerged through the cut, attached to a sloat.

Engraving published in *L’illustrazione Italiana*, January 15, 1893.

Here is the entire page published in L’illustrazione Italiana. I was astounded to discover that all of the issues have been digitized and area available though Internet Archive. Here is the January 15 issue (anno XX. No. 3)

This setting, and almost all of the other stock scenery once used for productions at the Adelina Patty theatre are missing.

The Theatre Trust includes a page on the Adelina Patti Theatre that shows an image of wood wings (see image below).

*The Theatre Trust Page on the Adelina Patti Theatre.*

It is possible that they are in another area of the building, or I missed them, or they are the current wings (now painted black) on stage.

I would love to see the rest of the Theatre Trust images. They would help identify the rest of the stock scenery.

Here is one more that I found online (c. 2010) looks like there were flats on stage.

The photograph above was used in a BBC Wales Arts article: Five Welsh Theatres placed on at-risk register.

Only tattered remnants survive, but that does not diminish the significance of the stage nor the remaining artifacts.

My next post will examine the life and career of Walter Hann, scenic artist who painted the stock scenery for Adelina Patti’s Theatre.

To be continued…

Travels of a Scenic Artist and Scholar: England and Wales, 2024.

You may have noticed that it has been a while since my last post.

When I’m not on the road for work, my life consists of scenery preservation, presentations, master classes, writing, scenic design, art, and caretaking (people, places and things). I wrote a similar statement last year, about the same time.

I just returned from a trip to England and Wales. The impetus for my travel began last fall at the Tyne Theatre & Opera House.

View of Newcastle-Upon-Tyne from my hotel window on July 29, 2024.

The Tyne Theatre & Opera House on July 30, 2024.

The Tyne Theatre & Opera House. Photograph by Mike Hume, August 2, 2024.

Last year, on Sept. 15, 2023, I presented a paper at an international theatre conference. 120 delegates attended the event, representing the UK, Europe, Canada and the United States.

My presentation, Stage Craft and Spectacle: Immigrant Contributions to North American Theatre, was part of the Tyne Theatre & Opera House Conference: Victorian and Edwardian Theatre in Performance, Music & Machinery – Stagecraft & Spectacle. Here is a link to my 2023 presentation from last year:

Travels of a Scenic Artist and Scholar: The Tyne Theatre & Opera House Conference, England, Sept. 13-15, 2023.

I was part of a session entitled Beyond Great Britain, one that included Mike Hume and Rick Boychuk. They discussed the Booth Theatre and Auditorium Theatre, respectively. Here is a link to more information about the conferences and individual sessions: https://www.tynetheatreandoperahouse.uk/international-conference/

The 2023 event was organized by David Wilmore of Theatresearch. On the final day of the conference delegates were able to watch the functioning stage machinery from both above and below stage.

David Wilmore explaining the stage machinery to delegates. September 15, 2023.

The 2023 conference was a truly a celebratory event, unveiling almost two decades of hard work to rebuild the entire stage house after a 1985 fire.

The theater’s website explains:

Our machinery is one of the only surviving examples of Victorian wooden modular stage machinery in the UK and is of huge historic importance. Prior to the theatre fire in 1985, the machinery was used regularly by fully trained volunteers in productions. Now however there is a real risk of losing historic knowledge from previous years. We are therefore developing a team of committed volunteers who will be trained in the operation and restoration of this machinery.

For more information about the Tyne’s Historic Stage Machinery, visit: https://www.tynetheatreandoperahouse.uk/historic-stage-machinery/

At both conference’s Wilmore provided context for the machinery, giving a full explanation of the bridges, cuts, and sloats during various demonstrations.

Sloats emerging from the cuts at the Tyne Theatre & Opera House. Sept. 15, 2023.

During the 2023 demonstration, Wilmore commented that they were ready to install new scenery. Before my departure, the following plan was hatched over a pint of beer.

Our plan: I would design and paint eight ground rows with historic pigments in the US, then hand-carry them in my suitcase.

In addition to delivering the scenery, I would teach a three-day distemper painting class while the scenery was being installed. The project would culminate at the end of the week with another international conference, featuring 19^th-century scenic art. The conference would also include a demonstration of the stage machinery, now complete with my scenery attached to frames on the sloats. Less than a year later, we were attaching frames to the sloats, just prior to the conference.

Attaching frames to the sloats on August 1, 2024.

So how did this all come to be?

In the fall of 2023, a survey was sent out to various organizations, inquiring about potential interest in a three-day distemper painting class. There was an overwhelming response, prompting the entire project to move forward.

As dates were finalized for the summer of 2024, a secondary “travel trip” was hatched with Mike Hume (https://www.historictheatrephotos.com/). In 2023, Hume, Boychuk, and I visited fifteen theaters, both before and after the conference. Our travels brought us to historic venues in London, York, Glasgow, Bristol, Bath, and the Isle of Man. In the end, we documented fifteen theaters.

Wendy Waszut-Barrett, Rick Boychuk and Mike Hume at the Theatre Royal in Bath, 2023.

Hume and I planned a similar trip this year, but by car. Our plan was to drive from Newcastle-Upon-Tyne to Craig Y Nos, Wales. The primary focus was historic scenery collections.

Mike’s map for our proposed 2024 theatre tour.

When all was said and done, I visited:

Georgian Theatre Royal, Richmond

Victoria Hall, Settle

The Plaza, Stockport

Buxton Opera House

Chatsworth House Theatre

Theatre Royal, Nottingham

Nottingham Concert Hall

Nottingham Playhouse

Everyman Theatre, Cheltenham

Adelina Patti Theatre, Craig y Nos

Normansfield Theatre, London

Richmond Theatre, London

The Palladium, London

My next several posts will be about the design and painting of the ground rows, my distemper scene painting class at the Tyne, the scenic art conference, and the historic scenery at various venues.

To be continued…

Travels of a Scenic Artist and Scholar. The Bristol Old Vic – Theatre Royal, Bristol, Sept. 19, 2023.

Mike Hume, Rick Boychuk, and I flew from the Isle of Man to Bristol late in the day on Sept. 18, 2023.

All on board for Bristol!

Taking off from the Isle of Man on Sept. 19, 2023.

Our descent into Bristol on Sept. 19, 2023.

The next morning we toured a restored Georgian Theatre known as the “Bristol Old Vic,” officially considered Theatre Royal, Bristol.

Hume had arranged our visit with Imogen Senter and David Harraway. It was such a treat to see the United Kingdoms’ oldest continuously operating theatre, having first opened its doors in 1766.

The original 1766 theatre wall is now an interior wall, sharing space with a coffee shop and offices.

Facing the other way.

Mike Hume in action. He has a wonderful write-up about this building.

Here is a link to Hume’s wonderful webpage about the history of the building: https://www.historictheatrephotos.com/Theatre/Bristol-Old-Vic.aspx

Here are a few more pictures from our tour:

A view of the proscenium and safety curtain.

Standing room.

The ceiling.

Decorative ornament along the railing.

Ornamental details.

Ornamental details.

More details.

Ornamental details.

Column detail.

A view from house left.

Graffiti near the stage right entrance.

More ancient graffiti.

Rick Boychuk in his happy place.

A view form the fly rail.

View of the thunder run from a platform constructed for public tours…this is SO wonderful!

Part of the viewing platform.

Another view.

The thunder run image from the interpretive display at the theatre.

Wind machine from the interpretive display at the theatre.

For more information about the artifacts, stage machinery, and history, visit: https://bristololdvic.org.uk/archive

To be continued…

Travels of a Scenic Artist and Scholar. The Gaiety Theatre, Isle of Man, Sept. 17-18, 2023.

Mike Hume, Rick Boychuk and I hopped a plane on the morning of Sept. 17, 2023. Our final destination was the Gaiety Theatre and Opera House in Douglas on the Isle of Man.

Our descent to the Isle of Man on Sept. 17, 2023.

A view of the countryside between Douglas and the airport. When the sun comes out, it is paradise.

For quite some time, this theater has been on my bucket list.

Why?

Because of the drop curtain, painted by William T. Hemsley (1850-1918). It is absolutely exquisite, and one of the best examples of historic scenic art out there.

Drop curtain at the Gaiety Theatre.

For years, I have searched for detail images of Hemsley’s painting technique in online photos. My next post will look at the painted composition in detail. This post is about everything else.

Our tour guide was Alex Davidson, Light and Sound Technician at Villa Marina and Gaiety Theatre. Both are located along the promenade in Douglas.

Mike Hume, Wendy Waszut-Barrett, Alex Davidson and Rick Boychuk, in front of the Gaiety Theatre, Douglas, Isle of Man, Sept. 18, 2023.

For geographical context, here is a map with the location of the theater.

The theater is right near the red box that says ” You are Here.”

The garden across from the theatre, alongside the Promenade.

As the tide comes in later that day.

Another view of the Promenade later that day when the tide is in again.

A view of the theatre from the beach at low tide on the morning of Sept. 18, 2023.

Yes, we saw our share of rain. Especially when Mike and I went to visit the Laxey waterwheel on the morning of our second day in Douglas. By the way, Lady Isabella is the largest waterwheel in the world. Here are a few photos from our side trip.

The waterwheel in Laxey, Lady Isabella.

Another view of the water wheel.

Information about the water wheel.

Mechanical information.

But the sun came out by the afternoon. Back to the Gaiety Theatre…

Gaiety Theatre, Douglas, Isle of Man.

Designed by architect Frank Matcham, the Gaiety Theatre opened on July 16, 1900. It was constructed on the same site of a previous venue; an entertainment pavilion. Matcham’s design utilized many parts of the original structure, including the roof.

The Pavilion Theatre, Douglas, Isle of Man.

Interior of the Pavilion Theatre, Douglas, Isle of Man.

A portion of the Pavilion Theatre’s ceiling still remains in the gallery section of the auditorium.

Our visit to both the grid and dome above the auditorium ceiling gave us an opportunity to examine the original structure.

The original Pavilion Theatre roof and the Gaiety Theatre grid, with Rick Boychuk for scale.

Alex Davidson on the Gaiety Theatre gridiron.

Mike Hume next to the drum for the paint frame.

Drum for the paint frame below.

Above the auditorium dome, designed by Frank Matcham for the Gaiety Theatre. It was placed well below the original Pavilion Theatre roof.

Ornamental iron work remains above the current auditorium doom.

The original Pavilion ceiling was incorporated into Matcham’s design for the ceiling above the gallery.

Part of an original Pavilion Theatre arch was preserved in the stairwell.

Here are some photographs of the auditorium.

Grand drape at the Gaiety Theatre.

The ceiling of the auditorium.

Ceiling detail.

Auditorium boxes, house left.

Auditorium boxes, house right.

View from the house left box.

Another view of house right box and drop curtain.

View from the house right box.

Statuary near house right box.

More architectural details.

More architectural details.

Entrance to the Gaiety Theatre.

Behind the Main Drape.

Movable grooves, so that the wings can be angled.

Movable grooves, so that the wings can be angled.

Upstage. Notice the underside of the paint room and bridge.

Doorway to the paint room.

Paint room at the Gaiety Theatre.

Another view of the paint room.

Skylights for paint room. Alex pulled one of the shades. The angle of the light is perfect so that no shadows are cast on the frame when one is painting.

Movable paint frame.

Paint frame detail.

Paint room sink.

Windlass for the paint frame.

Another view of the windlass.

Under-stage machinery at the Gaiety Theatre.

Here are some images of the machinery below the stage.

Under-stage machinery at the Gaiety Theatre.

Under-stage machinery at the Gaiety Theatre.

The Corsican Trap at the Gaiety Theatre.

A working model of the Coriscan Trap.

A working model of the Corsican Trap. The model researched and constructed by Robert Stafford. The model was designed and painted by John Romayne.

The paperwork for the Corsican Trap Model with history and other information.

Under-stage machinery at the Gaiety Theatre.

Here is a link to see an 8-minute YouTube video of the Gaiety Theatre Traps in action, including the Corsican Model and Corsican Trap: https://youtu.be/-TyNJKbB88g?si=F7p7fEf_3Ah-K-Zh

If you are interested in learning more about this exquisite venue, please consider purchasing “A Full Circle, 100 Years of the Gaiety Theatre and Opera House” by Roy McMillan.

Here is a link to the venue’s website:https://www.villagaiety.com/hire-us/gaiety-theatre/

To be continued…

Travels of a Scenic Artist and Scholar. The Citizen’s Theatre, Glasgow, Sept. 16, 2023

A scene from our walk to the Citizen’s Theatre, Glasgow, Scotland, on Sept. 16, 2023.

A scene from our walk to the Citizen’s Theatre, Glasgow, Scotland, on Sept. 16, 2023.

The sun was out in Glasgow as Mike Hume, Rick Boychuk, Megumi, Alan Butland, and I walked to the Citizen’s Theatre, 119 Gorbals Street. Here is a link for the history of the building, also known as “The Citz”: https://www.citz.co.uk/about/citizens-theatre/history-the-building

The Citizen’s Theatre on Sept. 16, 2023.

Mike Hume had arranged a tour with Graham Sutherland, head of production and client representative of the Redevelopment Project. In 2019, the Citizen’s Theatre broke ground on a £21.5 million project to enlarge and modernize the building. The reopening is currently anticipated for 2024.

Our visit necessitated that an architect to be on site, as the building is in the midst of a massive project; a big ask.

Mike Hume, Rick Boychuk, Wendy Waszut-Barrett, Megumi, and Alan Butland.

The complex is magnificent and I am especially intrigued with the history of the building. I can only hope to visit once the project is complete.

On Dec. 28, 1878, the venue opened as Her Majesty’s Theatre and Royal Opera House. Less than a year later, the building went under new management, was renovated, and rechristened the Royal Princess’s Theatre. On Oct. 24, 1879, the Glasgow Herald reported, “A lease of the theatre has, as we learn, been taken by Mr. Cecil Beryl, who will be favorably remembered by many playgoers, and arrangements have been made for the commencement of the season on the 22d of December with the production of Merrit’s drama ‘New Babylon,’ which has reached something like the 250^th night of performances at the Duke’s Theatre, London” (page 4).

On Dec. 19, 1879, the Glasgow Herald announced, “Our south-Side playhouse, rechristened the Royal Princess’s Theatre, is to be opened under the management of Mr. H. Cecil Beryl tom-morrow evening. During the time the establishment has been closed it has undergone considerable alteration and redecoration…a new act-drop painted by Mr. W. W. Small, and representing a scene on the Bosphorus, has been hung, while much of the scenery is fresh” (page 4). This was William Wilson Small (1830-1890), the resident artist who lived nearby. He is quite an interesting character, and now on my list of scenic artists to track down.

Small also painted scenery for the opening show that winter. An advertisement in the Glasgow Daily Mail on Dec. 27, 1879, credited Mr. H. Emden and Mr. Wm. W. Small as the scenic artists for New Babylon at the Royal Princess’s Theatre (page 1). They likely worked on paint bridges and frames high above the stage floor.

For visual reference of a paint bridge, here is an illustration by scenic artist Charles Graham for Harper’s Weekly Magazine in 1878.

Harper’s Weekly Magazine, Nov. 30, 1878.

It was not until 1894 that the Citizen’s Theatre backstage area was expanded to include a paint room with two vertical frames. Amazingly, the paint frames and machinery are still functional and intact. The distemper paint palette that scenic artists used for decades is also still in the space!

Here are a few photographs of the paint room from our tour.

Paint room with two frames at the Citizen’s Theatre.

Paint room at the Citizen’s Theatre. Notice the distemper paint palette on the right.

Graham explained that they were analyzing the paint on the walls to see what colors were used.

Paint-spattered walls and frame.

Looking up at the skylights.

Paint frame counterweight.

Winches in the paint room.

I will be curious to see what colors they identify, and if they are from the standard color palette promoted in Victorian scene painting manuals, such as F. Lloyds “Practical Guide to Scene Painting and Painting in Distemper.”

One of many scene painting guides published in the 19th-century.

Color chips were included in F. Lloyds’ book.

More color chips from F. Lloyds’ book.

It was not until Sept. 11, 1945, the theatre opened as The Citizen’s Theatre. Hume has written a lovely history about the venue and photographed the entire building before the current redevelopment project. Here is a link to his page: https://www.historictheatrephotos.com/Theatre/Citizens-Glasgow.aspx

Here are a few photographs of architectural details from our tour on Sept. 16, 2023.

Ceiling of the auditorium.

Ceiling detail.

Statuary detail.

Column detail.

Balcony detail.

For more information about the theater’s history, you can also visit: http://www.arthurlloyd.co.uk/Glasgow/Citizens.htm

To be continued…

Travels of a Scenic Artist and Scholar. The Tyne Theatre & Opera House, Sept. 13-15, 2023.

The Tyne Theatre and Opera House in Newcastle, England.

Last month I attended an international conference at the Tyne Theatre & Opera House in Newcastle, England. It was entitled Victorian and Edwardian Theatre in Performance, Music & Machinery – Stagecraft & Spectacle.

On the last day of the conference, Mike Hume, Rick Boychuk, and I, presented papers for the Beyond Britain panel. Later that afternoon Dr. David Wilmore led a demonstration of the newly-installed theatre machinery.

It was a devastating fire on Christmas Day 1985 that razed the Tyne’s backstage area. The conference celebrated the completion of the project dubbed “Drury Lane of the North,” highlighting the stage machinery. Here is a link to the project, led by Dr. Wilmore: https://www.tynetheatreandoperahouse.uk/heritage-project/

Dr. Wilmore describing the 1985 fire.

Image from Dr. Wilmore’s presentation.

It was the safety curtain saved the rest of the Tyne Theatre from being destroyed by fire.

Here are a few photos from our Tyne Opera House & Theatre tour:

Dr. Wilmore describing the stage machinery.

Here are a few photos from our tour of the theater and stage machinery on Sept. 15, 2023.

David Wilmore explaining the under stage machinery at the Tyne Opera House.

Poles for future scenery.

The stage floor retracts to reveal a working bridge.

The bridge being lowered into position.

Some of the machinery under the stage.

Here are some images of the auditorium.

The Tyne Opera House auditorium.

Auditorium ornament.

Auditorium ornament.

Ceiling detail

Proscenium detail.

Looking up at the grid.

A newly-constructed thunder run.

Mike Hume, Wendy Waszut-Barrett, Alan Butland, and Rick Boychuk.

To be continued…

Travels of a Scenic Artist and Scholar: The Scottish Rite Scenery Collection in McAlester, Oklahoma.

On November 17, 1930, Thomas G. Moses was credited with the scenic art for the Scottish Rite Temple in McAlester, Oklahoma. In section entitled “Giant Stage Equipment is Feature of New Temple,” the following was written about Moses’ scenic contribution to the project:

“Outstanding among the features of the new Scottish Rite temple are the size of the big stage provided and its equipment. The scenery will long be remembered by the persons who see it in use. This very important part of the equipment was designed and painted by Thomas G. Moses, representing the Wm. Lemle Studios and the National Theatre Supply company, of Chicago.”

The work was contracted two years earlier, with Moses presenting models to the McAlester Scottish Rite representatives. Although it was Moses who landed the project, the McAlester Scottish Rite contracted the National Theatre Supply Co. for the work. The National Theatre Supply Co. then subcontracted the work to the William Lemle studios, who in turn hired Moses, as was the understanding in the contract.

This project did not go according to plan and in the end the McAlester Scottish Rite Masons refused to pay the full amount owed, citing that some of the pieces of scenery were damaged during shipment, even though Moses repaired each of the damaged pieces cited by the Valley. The drawn-out collection process directly affected Moses. As the official supplier and client bickered about who should file a claim with the railroad for damaged goods, Moses was left in a dire financial situation at the onset of the Great Depression, begging to be paid for his work.

Due to the size of the drops and scope of the project, there were several shipments of scenery in 1929, yet only one was partially damaged. Problems between the theatrical suppliers and McAlester Scottish Rite began well before any damage was cited. The first issues were in the form of delayed payments. On Aug. 2, 1929, Moses wrote directly to the McAlester Scottish Rite Secretary, W. P. Freeman, noting that they had not received the $1,000 July 1^st advance payment, although the project was well underway. Freeman explained that the check had been sent, but it never arrived that fall. By Dec. 3, 1929, McAlester was behind two payments, totaling $2,000. This time, P. Lester Landis of the National Theatre Supply Co. wrote a letter to Freeman at the McAlester Scottish Rite, notifying him of the deficiency. The $2,000 was paid two weeks later.

And then there was a damaged shipment from a leaky rail car. The initial letter citing the damage, sent from the McAlester Scottish Rite representatives to the National Supply Co., was purportedly returned as “undeliverable.” This is after continued correspondence for a year. The McAlester Scottish Rite then sent a second letter, this time directly to Moses at William Lemle’s studio. Moses immediately responded on Nov. 12, 1929, writing, “We called the representative of the C & E I, who took the shipment, and he assured us that he would communicate immediately with the representative in Tulsa, and that he would come to McAlester, where you can show him the damaged pieces. If this is possible, and I trust it is, and he in turn will notify us and I am sure we can establish the cost of repairing. This of course, will not be done until I come to McAlester next summer, to touch up and match the pieces which you found un-painted…it is almost impossible to do this work without being set up on the stage, which is the same reason some of them were not finished. So whatever damage there has been done to the drops or set pieces in this shipment, will be taken care of at that time, so please do not worry about it.”

Keep in mind that many final touches to scenery occurred after stage machinery was added to each drop for various scenic effects.

Moses also explained, “As long as you have the drops in a dry place that is all that is necessary. I have never known one of the shipments to go out that did not require more or less touching-up when they were installed.”

I personally think that the damage occurred somewhere between the railway depot and the temple, not necessarily in transit from Illinois to Oklahoma. All it would take is a rainstorm with a work crew who decided to transport the scenery from the depot to the temple regardless of the weather conditions.

In the meantime, Moses completed the McAlester Scottish Rite scenery and repaired all of the damaged goods. It was not until Nov. 30, 1930, that the damage and completed work, however, was inspected by Louis “Lou” E. Lounsbery. After his visit, the McAlester Scottish Rite wrote to Moses noting that Lounsbery looked over his work and stated, “he is greatly pleased with your work and had many good and nice things to say about you.” There was no mention about any dissatisfaction with Moses’ repair of the damaged scenes – at all.

Interestingly, two weeks prior to the letter, Lounsbery was mentioned in an article about the new stage. The article reported, “The scenic equipment was given to Lou Lounsbery, former McAlester resident and prominent worker in the Scottish Rite for years, to plan, as he had some big effects in mind and had investigated several large temples, the last two which were at Fort Scott, Kansas, and Oakland, California [both Moses installations]. Constantly getting closer to his idea of big effects, Thomas Moses was called to Los Angeles to consult with Lounsbery. After several meetings and the showing of a number of miniature sets, Mr. Moses was instructed to proceed with models and these were brought to McAlester.” If there were any deficiencies with the repaired scenery by November 1930, it was not mentioned in their letter to Moses. That being said, the dissatisfaction may have originated from a new source. From the beginning of the project to the final payment, there was a changing of the guard at the McAlester Scottish Rite in the form of a new secretary. When a new secretary of SGIG becomes involved with an existing project, it can change everything, including fair dealings; I know, as I have encountered this a few times.

On September 11, 1930, Moses wrote to the McAlester Scottish Rite Bodies, “I trust that you realize that we have a great deal more in this contract than has been advanced to us. Of course, we expected this to a certain extent, but work has been much more expensive than we estimated and we are cramped for ready means.” Part of the problem was size; you can only store so much scenery that measures 40’ high by 56’ wide while waiting for a payment. Moses tried to remedy these continued delays for the collection of the final payment. By this time, Moses had implemented a practice of not leaving a Masonic job until final payment was collected.

The final amount for the scenery was to be paid directly to Moses upon his arrival to McAlester for the final installation. On September 26, the National Supply Co. even sent a letter to the new McAlester Scottish Rite Secretary, Lawton Beasley, confirming that final payment should be handed to Moses on site and not mailed to the company. Again, this step was requested by Moses, and likely because the McAlester Scottish Rite had established a pattern of delayed payments to the National Theatre Supply Co. The McAlester Scottish Rite did issue a final payment before Moses’ departure, one that was handed to Moses directly. Unfortunately, it was for less for than the amount owed.

In the end, the McAlester Scottish Rite decided to not file for damaged goods with the railroad company and decided to just deduct that amount from their final payment, citing, “Under the contract these curtains were to be installed by your company in perfect condition.” They acknowledge that the National Theatre Supply Co. paid Moses $120 to repair the damage as well as possible, and then simply deducted the $120 fee for Moses from the final damage estimate. This meant that they chose not to pay the remaining $807.00 of the contractual agreement. In effect they breached the contract. That is today’s equivalent of $12,640.52 – no small amount.

The McAlester Scottish Rite even took the time to draw up an agreement justifying this reduced amount and stated that the National theatre Supply Co. would collect the remaining funds from the railway for damaged goods. The McAlester Scottish Rite then took the time to write a second letter to Moses, sending it via. William Lemle studio. They reiterated that Moses did the best he could with all of the repairs, but the scenery was still not in “perfect condition,” and therefore, they should not have to pay full price. In the end, it was the William Lemle Co., that took the time to file the claim with the railroad and collect the payment for scenery damage in caused during transit.

In regard to the McAlester Scottish Rite’s citing that Moses’ repairs left the Valley with scenery in less than “perfect condition,” I have a few comments. When considering the caliber of Moses’ work and his experience, leaving any scene in a bad state directly reflected in HIS reputation. As Moses had several more upcoming Scottish Rite projects, leaving any example of poor work would jeopardize future Masonic projects.

Furthermore, I evaluated the McAlester Scottish Rite scenery collection in 2010 and encountered no existing damage that would have substantiated their claim and decision for a reduced payment. It was in far better shape than most Scottish Rite scenery collections and absent of areas indicating massive water-damage. The painting was still beautiful and in great shape. If anything, the biggest issue was some dusting, repairs from constant used and failed netting; a standard deterioration after eighty years of use. Here are a few of the McAlester Scottish Rite Scenes.

*Painted by Thomas G. Moses, 1929-1930.*

For more information about Scottish Rite degree productions, scenery and stage machinery, visit www.drypigment.net and keyword search “Scottish Rite.”

Travels of A Scenic Artist and Scholar: ‘Gene Field and the Tabor Opera House

I continue to explore the history of the earliest scenery painted for the Tabor Opera House between 1879 and 1882. Evelyn E. Livingston Furman was integral to the preservation of the scenery at the Tabor Opera House in Leadville, Colorado. She was a good steward, one who safeguarded many stage artifacts throughout the building. Furman’s publication, “The Tabor Opera House, a Captivating History,” pieces together many loose ends regarding the early stage and stories about the Tabors. I have repeatedly returned to her work for the past few years, searching for additional clues. Gretchen Scanlon also explored the history of the Tabor Opera House in “A History of Leadville Theatres.” It is an insightful and entertaining publication about popular entertainment and a variety of performance venues in this rough mining town.

In my own writings about the Tabor Opera House, I try to rely on historic newspaper articles, understanding that there is always a margin of error with the retelling of any story. It is easy to jump to conclusions about history, trying to piece it together in a tidy progression of events. When I catch one of my own mistakes, I often go back to correct the error and update my writing; that is the beauty of a digital format, it becomes a living document. For today’s post, I followed a trail of breadcrumbs to Eugene Field, the son of attorney Roswell Field, best known for representing Dred Scott. ‘Gene Field became part of the Tabor story early on and was recently credited with painting the Royal Gorge drop. Spoiler alert: He was a writer and not a scene painter.

Eugene Field (1850-1895). Denver Public Library.
There is a wonderful history about Field (1850-1895) on the Denver Public Library site. Here is the link: https://history.denverlibrary.org/colorado-biographies/eugene-field-1850-1895

In regard to the earliest scenery installed at the Tabor Opera House, it is clear that both Furman and Scanlon relied on the same historic newspaper articles for sources. I have now located many of the same sources, as well as a few more. Unfortunately, neither Furman nor Scanlon cite specific sources in their works. This presents a challenge for others to further substantiate their claims.

In my continuing examination of early Tabor Opera House scenery, here is a recap. The original scenery, stage machinery and drop curtains were delivered by James E. Lamphere, scenic artist, and Mr. Barber, stage carpenter, in 1879. By August 1882, the building and stage were renovated. On August 23, 1882, the “Leadville Daily Herald” reported, “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.” If the stage arrangements were bad enough to be changed within two years, it is unlikely that those responsible for the original arrangements were rehired. In fact , H. C. Sprague is credited as the stage carpenter for new arrangements. I have yet to locate any mention of a scenic artist, however, keep in my that many talented stage carpenters during this period could also paint, and paint well. The theatre industry was not as compartmentalized as it is now.

Furman also writes that the original roll curtain from the Leadville Tabor Opera House was taken to Denver for the premiere of “Silver Dollar.” In a later chapter Furman describes the original drop curtain’s composition but does not cite any source. Her description of the first drop curtain by Lamphere is identical to a similar description published in the “Leadville Weekly Herald” on Nov. 15, 1879: “The drop curtain is a masterpiece from the brush of Mr. Lamphere, and represents a glorious mountain scene, at the base of which is a fine old castle, with a stream running at the foot; alongside of the water is a rugged road, which ends in the winding of canyon” (page 3). Scanlon describes this same scene for the original drop curtain. It is improbable, however, that this curtain survived beyond the 1882 renovation; it was likely repainted or replaced well before the Elks purchased the building in 1901.

Furthermore, Scanlon writes that a second drop curtain that was delivered to the Tabor Opera House a few years after the venue opened; this timing would coincide with the 1882 renovation. Scanlon credits Gene Field with painting the second drop curtain that replaced the original, writing “A few years later, Tabor contracted to have a new drop curtain painted by Gene Field” (page 132). Scanlon goes onto explains that Field’s drop curtain depicted Royal Gorge, and it was still being used when the Elks enlarged the stage in 1902. Furman also writes about the Royal Gorge composition, but not as a replacement for the first drop curtain, just as another roll drop with a hefty price tag of $1,000. Furman includes the Royal Gorge drop as part of the original scenery painted by Lamphere. This is where it would have been extremely helpful if either author had cited any source in regard to the $1,000 expense or Gene Field as the scenic artist.

Of the Royal Gorge drop Scanlon continues: “It was taken down, and there was a great deal of debate over what should happen to it. Some thought that it should be hung in the Carnegie Library or donated to the Leadville Pioneers for safekeeping; others thought that the main part should be cut out, framed and hung in the opera house. The curtain stayed in the opera house. In 1932, it was lent to the Denver Theater for the premiere of the movie Silver Dollar, starring Edward G. Robinson, based on Tabor’s life. What happened to the curtain after that remains a mystery.”

Gene Field wasn’t an artist, he was a writer who wrote for various newspapers. In 1883, the “Larimer County Independent” reported, “Without Gene Field and the Tabor Opera House, Denver would be a barren waste” (Fort Collins, Colorado, 24 May 1883, page 2). Decades later, newspapers would reminisce about the relationship between Field and Tabor: “That the reputation of the Tabor Grand spread in ever widening circles during the early years of its history was due, in certain measure to the theater itself, but more, it is believed, to the stories about its personnel and players, written in the Denver Tribune between 1881 and 1883 by Eugene Field, who was earlier associated with the Kansas City Times, then in his twenties Field glorified in lampooning prominent people, particularly the newly rich. Mr. Tabor, his son Maxey and William Bush, first manager of the theaters, were his eternal targets. Copies of the tribune were demanded even in Mexico, London and Canada. So the Tabor Grand acquired far renown” (Springfield Leader and Press, Springfield, Missouri, 5 June 1921, page 8).

I located the source that connects Field with the Tabor Opera House drop curtain, but he was not noted as the scenic artist. On Jan. 1, 1903, the “Herald Democrat” reported, “There is a story about Tabor and this curtain which may or may not be true, but it is worth repeating. Gene Field was originally responsible for it.” Field was not responsible for the painting of the drop, but the telling of the story about Tabor and the drop. The 1903 article continues to share the story, as originally told by Field:

“It is said that when Tabor got the curtain, the artist had painted a portrait of the late William Shakespeare for a centerpiece. Shakespeare, the artist thought, was a proper person to pose for a picture symbolical of the thespian art to which the building was to be devoted. When Tabor saw the picture he is said to have asked whose picture that was. “Why, that’s Shakespeare,” said the artist. “Who the — is Shakespeare?” roared Tabor. “Take his face out of that if you want to make a portrait gallery of the curtain, put my picture there.”

Five years earlier, “The Saint Paul Globe” shared a similar on January 23, 1898:

“It was when the building had been completed and the artist was painting the drop curtain that Tabor came in. As he watched the progress of the work, he asked the artist: “Whose picture is that which you are painting in the center of the curtain?”

“Shakespeare,” replied the artist.

“Who is Shakspeer?” asked the future senator.

“Why,” said the artist, “he is a great man who has written the greatest plays – the Bard of Avon, you know.”

“Shakspeer?” said Tabor. “Seems to me I’ve heard the name somewhere. But what in thunder has Shakspeer done for Leadville!”

“Nothing that I know of,” said the artist.

“Then paint that picture out and put me in.” And that is the way Tabor’s picture came to be in the drop curtain.”

Here is an earlier version from 1890 that appeared in the “Norfolk Virginian” (12 Nov. 1890, page 8) and the “Pittsburgh Press (9 Nov. 1890, page 12). The heading for the article in the “Norfolk Virginian” was “Not Acquainted with Shakespeare.” The heading for the article in the “Pittsburgh Press” was “Senator Tabor’s Drop Curtain.” The story for each was identical:

“When the building was completed he hired an artist to paint some suitable designs on the drop curtain. The artist did so. While the finishing touches were being put on, the Governor and Senator ambled into the building and inquired:

“Who’s picter’s that?”
Shakespeare’s,” meekly replied the successor of Raphael.

“Who’s Shakespeer?”

“Why, he’s the standard author of tragedy and drama – the Bard of Avon you know.”

“Shakespeer, Shakespeer’ seems to me I’ve heerd the name summer, but what in thunder has he done for Leadville?”

“Nothing that I know of.”

“Then paint the picter out and put mine in.”

And it was done, and Tabor’s picture remains there to this day.”

The story was again repeated at the time of Tabor’s passing in 1899, but Tabor’s portrait was no longer on the drop curtain. His portrait was painted on the proscenium arch; this is what I have proposed in past posts, as Tabor’s portrait would remain visible throughout a performance, whereas a drop curtain scene is raised at beginning of a production. The following article was originally published in the “New Orleans Times-Democrat,” but quickly spread all across the country and appeared in many other newspapers. Here is the article in the “Sacramento Bee” from May 13, 1899:

“Soon after the late Senator H. A. W. Tabor, of Colorado, made his first million,” said a former resident of the Silver State, “he built an opera house at Leadville. It was a very fine building for the day and place, and with characteristic liberality he determined to spare nothing in its appointments. Among other experts he engaged an extremely competent New York artist named De Moro to do the decorations and gave him absolute carte blanch. This greatly pleased the painters, and he did a remarkably fine piece of work. When the job was completed he sent for Tabor to inspect it, and the latter was delighted with everything until he looked at the proscenium arch, in the center of which was a superb medallion portrait of Shakespeare. “Who is that fellow, anyhow?” asked the new millionaire, frowning ominously. “That is William Shakespeare,” replied De Moro, in surprise. ‘Well, he didn’t have a blamed thing to do with building this theater,’ said Tabor, sternly. ‘Rub him out and put me in.’ The artist was furious and adopted a unique method of getting even. Tabor wore an enormous purple-black moustache, which always had the appearance of being imperfectly dyed, and De Moro proceeded to duplicate the weird armament on the upper lip of the bard of Avon. He then painted in a standing collar and red cravat, labeled the ghastly composite ‘Hon. H. A. W. Tabor,’ and went back to New York, cursing everything in Colorado. The De Moro portrait stood unchanged for many years and was regarded by frontier art critics as a speaking likeness.

‘Up to middle age Tabor’s life was one of great hardship,’ continued the Westerner, “and when he suddenly became fabulously rich he plunged into luxuries like a starving man wading into a banquet. One of his early freaks was the purchase of several magnificent lace nightgowns, which cost $1000 apiece and which he kept locked up in a safe during the day. Eugene Field was editor of the Denver Tribune at the time, and those lace nightgowns made him simply hysterical. He wrote columns upon columns about them, describing the garments in detail, with numerous diagrams depicting sections fore and aft. The diagrams were hideous affairs, which Field carved out himself with a penknife on the back of old wood type. He used to describe how Tabor would forget the combination of the safe and sit up, shivering and naked, half the night trying to remember the right figures. Although he kept Denver in a roar for weeks, and made Tabor so wild that one day he rushed into his office, snatched the unfortunate nightgowns out of their compartment and tore them to thread. “There, now!” he exclaimed, wiping his forehead and kicking the tattered fragments into a corner. ‘I hope than cussed fool will be satisfied. I’ll be hanged if I ain’t going to get a gunny sack,’ he continued, ‘cut some holes in the end for my head and arms, and then sleep in it for the rest of my life!”

“When Tabor was appointed to the Senate to fill an unexpired term of exactly twenty-nine days, Field broke loose again and had all kinds of fun with the old man. He declared that Tabor opposed the tariff bill on the ground that it encouraged lawlessness in the West. ‘I don’t know this Tariff Bill,’ he reported the Senator as saying in a speech, ‘but we have entirely too many of ‘em out where I live. There’s Wild Bill and Buffalo Bill and Pecos Bill and Billy the Kid – all no good. If you let Tariff Bill have anything to do with the Custom House he’s liable to steal the Atlantic Ocean.’ Many of the honest folk took these flights of fancy seriously, and drove Tabor nearly distracted by long letters of remonstrance, urging him to read up and get posted, so as to not disgrace the State. At the expiration of the Senator’s brief term he circulated an autograph album among his fellow-members and the incident tickled Filed immensely. He gave what purported to be a copy of the ‘sentiment’ inscribed in the volume by the different statesman – such things as ‘When you see this remembers me. Roscoe Conkling.’ And ‘Sure as the moss grows ‘round a stump you are my darling sugar lump – I mean chump – Geo F. Hoar,’ and similar nonsense, all of which maddened his victim. I think Gene Field was the only man Tabor never forgave, for in spit of his gaunt, forbidding exterior, the miner magnate was as tender-hearted as a girl. He was really full of sterling qualities, and in his proper sphere he would have been anything but grotesque. One thing is sure – if every fellow he helped in secret would have joined his funeral procession the other day he would have gone to his grave like an Emperor of old.”

To be continued…

Travels of A Scenic Artist and Scholar: The Tabor Opera House and J. C. Alexander (1843-1908)

One of the projects that I am working on right now is establishing artist provenance for each piece of scenery at the Tabor Opera House in Leadville, Colorado. This means creating a biography for scenic artists and stage mechanics who manufactured scenery and stage machinery for the Tabor Opera House and Tabor Grand Opera House. When possible, I link a specific creator with an extant artifact. This week, the focus of my search was J. C. Alexander, a well-known stage carpenter in Colorado from 1883-1908. The story of his life and career took shape as I read dozens of articles about his projects in relation to the Tabor Grand Opera House and the Colorado Circuit.

I doubt that H. A. W. Tabor understood much about theatre stages when Tabor Opera House was built in 1879. The architects and contractors failed to include experienced theatre professionals in the early planning; always a crucial and costly mistake. Although Tabor hired a very skilled fresco artist (J. E. Lamphere) and a capable carpenter (Mr. Barber), their stage arrangements failed upon repeated use. This did not mean that Lamphere of Barber were unskilled, they simply did not specialize in scenic illusion, stage machinery and stage transformations.

By 1882, the Tabor Opera House auditorium and stage underwent a pretty substantial rebuild. The roof was lifted up for acoustics and the stage appointments completely redone. Of the stage work, the “Leadville Daily Herald” reported, “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” (August 23, 1882). H. C. Sprague became the stage carpenter for the Tabor Opera House in Leadville, and J. C. Alexander became the stage carpenter for the Tabor Grand Opera House in Denver. Of the two, Alexander became integral in helping mechanically prepare venues for inclusion in the Colorado Circuit.

At some point between 1879 and 1882, Tabor realized that the key to securing touring shows was the backstage appointments. A specific set of stage accommodations attracted touring shows; you can’t put on a successful production without the necessary equipment. Regardless of the extravagance spent on front of house accommodations, it was the backstage area that mattered and attributed to securing popular productions.

Getting class acts to Denver, let alone to Leadville, was expensive. The only way to increase profits was to have the same production tour several venues in the area, or stop on their way to another location. This meant that the traveling costs were divided among the various theaters, reducing the overall expense for each house. Ultimately, western theatrical circuits saved money by sheer volume of venues. Simply offering multiple stops on a tour, however, was not enough to engage a touring company. The stage accommodations had to technically support each show.

For example, when the Grand Central theatre opened in Leadville only a month after the Tabor Opera House, it became quickly apparent that the Grand Central had a far superior stage. The only way for the Tabor Opera House to overcome this deficiency was to connect with a larger metropolitan venue and become part of a circuit – the Tabor circuit. When Denver’s Tabor Grand Opera House opened in 1881, it became the life blood for Tabor’s much smaller venue in Leadville. Without the connection to the Tabor Grand, I doubt that the Tabor opera house would have weathered any of its Leadville competition. Even with featuring the same touring productions as the Tabor Grand, the Tabor opera house had to improve their scenic appointments, hence, the 1882 renovation. The improvements necessitated the involvement of a stage carpenter and scenic artist intimately familiar with the demands of touring companies. Enter Henry E. Burcky, J. C. Alexander and H. C. Sprague. Keep in mind that “stage carpenter” is interchangeable with stage mechanic and stage manager at this time.

After the 1882 renovation of Leadville’s Tabor Opera House, the Tabor Grand Opera House began to hire out the services of their stage carpenter and scenic artist (Burkey and Alexander). This was an attempt to improve regional stages, thus establishing appropriate stops on a western circuit – the Colorado Circuit. In 1885, Alexander and Burcky transformed DeRemer’s rink into the new DeRemer Opera House. One article published in the “Colorado Weekly Chieftain” on Dec. 29, 1885, interviewed Alexander about a possible stage renovation.

The renovation would allow Pueblo to host the same touring shows featured at the Tabor Grand Opera House. There was incentive for both of Tabor’s theaters, as well as the Pueblo community. Here is the 1885 article in its entirety:

“On Sunday, Mr. J. C. Alexander, the stage manager and master mechanic of the Tabor Grand opera house, Denver arrived in the city for the purpose of taking a look at DeRemer’s rink and giving an unbiased opinion as to what could be done towards converting it into an opera house. Mr. Alexander was astonished and greatly pleased at the building, it was so much superior in every way to what he expected to see. The building is both longer and wider than the Tabor Grand, and all it lacks to make room equal to the Tabor Grand auditorium in every way is height. Desiring to get Mr. Alexander’s unbiased opinion regarding the proposed scheme, a Chieftan reporter tackled him yesterday afternoon. We inquired if he thought the rink could be converted into a first class opera house.

“Certainly, sir,” said Mr. Alexander, “It can be converted into an opera house second only to the Tabor Grand in Colorado. I have studied this hall thoroughly that last few hours, and I can tell you it can be made into a splendid theater – a theater where any company visiting Colorado can play and show all of their scenery. “Here,” said he, “you will see we have a working stage of 40×76 feet between walls, with the same width of proscenium opening as the Denver stage. It can be and will be furnished with five sets of working grooves, same as the Tabor, to fold back the fly galleries and give a clear working space in width of 48 feet. We also have a clear working height to the rigging loft of 26 feet, five sets of border lights and the footlights complete the same as we have at the Tabor. To start in with Mr. DeRemer proposes to put in eleven sets of complete scenery, besides a beautiful drop curtain. The eleven sets of scenery, as the house progresses towards completeness, can be painted on the reverse side, thus giving twenty-two sets of beautiful scenery. Here also we will have ample space for scene room, property room and eight dressing rooms. With these improvements any special bit of scenery painted for the production of a special play at the Tabor Grand, will be sent over the Colorado circuit, the completion of this improvement making it possible to set the Tabor scenes at Colorado Springs, Pueblo and Leadville, but Pueblo to the greater advantage that elsewhere on the circuit, because here you will have the largest and best appointed theater on the circuit, and be possessed of every facility to produce attractions as they should be produced. The people of Pueblo will never have such an opportunity to get a good opera house again. I will tell you why. They are only asked to make a temporary loan of $3,000 towards making all these improvements. Now the fact is the improvements contemplated will cost nearer $6,000 than $3,000, yet I understood Mr. DeRemer to say that if the people put up the $3,000 asked for the improvements will be made as contemplated regardless of the extra cost. He further tells me that he will expend every dollar of surplus earnings of the house in making improvements in the building. The fact is that people ought to advance $6,000 at once instead of $3,000.

“How many people can be seated in this building as now planned.” Asked the reporter.

“About 900,” replied Mr. Alexander, “or nearly 200 more than can be seated on the first floor of the Tabor Opera House. The seats will all be elevated and nicely arranged provided the project can be carried out, and there will not be a bad seat in the house. The height of the stage will be three feet ten inches from the floor and everything will be permanent about the stage, it can be dug out underneath after it is started and the pit and traps put in. In the same way the roof can be raised at any time, and these things I am assured will be done as fast as possible. If this scheme goes through the Tabor Grand has agreed to play all its attractions here permanently. That is why I am here and taking such an active interest in the way the work of improvement is to be done.

“Could a building about 130×52 feet be converted into a first class or even possibly good opera house, Mr. Alexander,” inquired the reporter.

“No, sir,” said Mr. Alexander; “it could not, and for the very obvious reason that such a building would lack one of the great things which a theater mush have – and width, What kind of a stage you put within fifty-two feet? What kind of scenery could you put up? Such a structure would be an abortion, so far as using it for theatrical purposes is concerned. The only way to convert a building fifty feet wide into a theater would be to tear down the structure, rebuild it and add about thirty feet more to its width.

Leaving Mr. Alexander the reporter hunted up Mr. J. R. DeRemer and Mr. George M. Haight, to find out what truth, if any, there was in the statement that the improvements to be made in the rink would cost $6,000.

“Yes,” said Mr. Haight, “Mr. Alexander thinks the improvement will cost much but if the people put up the three thousand dollars asked we will make the improvements at once.

“Yes,” said Mr. DeRemer, “and you can just tell the people that whatever Mr. George M. Haight says about this matter goes. He represents me in this matter fully and I will carry out whatever he agrees to do. It is estimated these improvements will cost $6,000, but we have only asked for $3,000, and as soon as that sum is subscribed we will commence this work with a vim. I will say further that every surplus cent of earnings of this house will be used to improve and beautify the structure until Pueblo has a first class opera house. I don’t think I can say any more, It now remains to be seen whether the people want an opera house. The people, however, are asked for but $3,000, as a temporary loan. The only feasible plan to secure an opera house is to make up this $3,000 fund at once. All other propositions are chimerical and impossible. If we can’t raise the sum asked by DeRemer we can’t raise anything for an opera house, but we believe this sum can be raised, and we hope to announce it has been subscribed before the week is out, Of the sum asked there only remains $1,000 to be raised. Now don’t refuse to put your name down when called upon. We can all afford to help this project along liberally and it is our duty as good citizens, with the prosperity of the town in view, to do so cheerfully and promptly.”

On January 7, 1886, the “Colorado Daily Chieftain” announced. “If the people of Pueblo want a first class opera house, let them wait on Mr. J. R. DeRemer or Mr. George M. Haight to-day and subscribe a loan of $525 towards the DeRemer opera house project, and our word for it, work will be commenced tomorrow. It this is not done very few of the Tabor Grand attractions will visit Pueblo in the future.” That almost sounded like a threat, but the money was soon raised and on February 3, 1886, DeRemer’s Opera House opened to the public. The “Colorado Daily Chieftain” reported, “During the past few weeks many people, of course, have visited what was formerly known as the finest skating rink in the west and watched the transformation in progress, but for all that there were few people present at the opening last night who were not surprised and astonished at the beautiful appearance of the interior of the new theaters…the stage is the largest in the state beside the Tabor Grand at Denver. It is furnished with all the scenery paraphernalia required in all first class opera houses. This work has all been done under the personal supervision of Mr. Maynard, assistant stage manager at the Tabor Grand…Pueblo is now accredited with the best equipped and largest opera house outside of Denver and in the state…Pueblo ought to be proud of DeRemer’s opera house; it is a first class place of amusement now, and in time we feel certain it will be excelled by few in style and finish.”

There were many more changes to go, including the raising of the roof to make it three stories high, but the house was open. Once the roof was raised, the seating would be divided into a parquet, dress circle, balcony and gallery.

Tomorrow, I will continue to explore the life and career of John C. Alexander.

To be continued…

Tales from a Scenic Artist and Scholar: Part 1093 – Stage Machinery, 1877

While doing some last-minute research on scenic artist Henry C. Tryon in the “New York Clipper,” the heading “Stage Machinery” caught my eye. Eureka! What makes this discovery so exciting that the 1877 stage was referred to as “an engine of motion.” The article suggests that the stage resembles “those great engine-houses which have iron galleries and flying bridges all round.”

Below is one of the most detailed descriptions of nineteenth century stage machinery that I have read to date, identifying the shift from wings, shutters and roll drops to fly scenery.

The article was published in the “New York Clipper” on January 6, 1877. It provides a wonderful perspective during a time when fly drops began replacing shutters and roll drops. Here is the article in its entirety:

“STAGE MACHINERY .

A stage proves to be a very different thing from what the popular eye, gazing from pit or boxes , presumes it to be. A great arch , a sloping floor, pierced here and there with traps ; cellars below, regions above, grooves at each side, in which scenes glide forward or back; rollers stretching across, on which the “cloths” behind are rolled up—such is the popular ideal. But the stage of one of the “grand” houses offers a different spectacle . There is neither floor nor ceiling proper; but above there is a number of light galleries running round in tiers, while, instead of a floor or stage, properly so called , there is a vast expanse of open grating or cage-work, one below the other, the bars of which are parallel with the seats of a pit. The whole, therefore, is not “clear” from top to bottom, resembling one of those great engine-houses which have iron galleries and flying bridges all round. A large stage looks imposing enough from the boxes; but few, perhaps, are aware that below it, in a grand opera-bouse, there is a space of about the same height as the stage, and above more than twice that extent. Thus, the space devoted to performance is really no more than a seventh or eighth of a part of the unseen regions above, below and around it . The stage and the floors below (in a large theatre there are often four) thus appear like a series of gridirons , one beneath the other. This has been found a necessary arrangement, owing to the great scenes, stretching the whole width of the stage, that must ascend or descend, and have a clear passage. As these openings may be required at any part of the stage, the only mode is to make the entire stage an open frame covered with panels , which can be drawn away. A “trap” can thus be opened at any spot, as one of these panels containing the trap and its machinery can be inserted. Few persons are aware of what is the traditional and established engine of motion in all the great theatres , or how it is that in some ambitious transformation scene a huge iron frame, laden with fifty or sixty figures, can be raised aloft . The agency of windlasses and such mechanical powers would entail a vast expenditure of human strength, which, indeed, it would be found impossible to concentrate at a fixed point. The motive power behind the scenes is wonderfully simple, and even scientific, and has been in use without change for more than a century and a half. It consists in a permanent arrangement of great balance-weights always ready mounted, and with which the object to be raised can be readily connected. A child could raise a ton weight to a particular height if the cord passing over a pulley be balanced by another ton weight. Roof and basement, aloft and below, are filled with enormous rollers, each furnished with wheels something like that of a ship’s rudder. To these are attached a series of concentric drums, much like the cone-shaped wheel upon which a watch-chain is wound, for the purpose of allowing cords to be wound upon them. The balance-weights are hung ln grooves next the walls; while the cords attached to run them up to the root pass through pulleys and are then brought down to the drums, to which they are attached. When some slowly evolving transformation is in progress, to be crowned by the ascent of some glorified frame stretching the whole width of the stage, on which a number of ladies are bestowed, its ascent is thus contrived. The weight of the machine and its burden is roughly found; it is then attached to the counterpoises, the ropes in their course being made to pass over the drums of the windlass. The men who lower or raise it have therefore only a few pounds weight to deal with, and hence that smooth, even motion always to be seen in stage changes. In fact , the counterpoises, being slightly heavier, raise the machine itself, and have only to be controlled or checked by the men at the drum. So, too, is the heavy drop-scene made to ascend or descend, and with such motion that it can be made slow or rapid; so figures ascend through trap-doors . Even the great chandelier that lights the hall is thus balanced . —New Quarterly Magazine .

To be continued…