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Travels of a Scenic Artist and Scholar: Edmund Handby’s Act-Drop for Victoria Hall in Settle, England.

Victoria Hall is listed as one of the first purpose-built music halls in the UK.

The music hall was built by Rev. James Robinson, a local philanthropist and secretary of the Settle Choral Society. From its inception, the hall was constructed for both public instruction and entertainment.

The formal opening and dedication of the building took place on Monday. Oct. 11, 1853. Celebratory events included a performance of Haydn’s Creation, featuring vocalists and instrumentalists from choral societies in Settle and Leeds.

Over the years, Victoria Hall hosted a variety of entertainments that included caricaturists, ventriloquists, magicians, and even P. T. Barnum side-show acts. Local groups also met in the building, including the Settle Mechanics’ Institute. Mechanics’ Institutes were educational organizations formed for the betterment of society through instructing individuals in various trades and subjects.

By the 1879, Settle’s Music Hall became home to the Settle Amateur Dramatic Society. It was this group that likely fueled the demand for the 1882 Act-drop curtain, currently on display. Painted by Society member, Edmund Handby (1850-1918), a local artist and performer. Dozens of newspaper accounts recount Handby’s skill as a painter, comedian, vocalist (tenor), and instrumentalist (coronet player).

It was the discovery of Handby’s Act-Drop, combined with the revelation of the painted proscenium arch, that helped guide the most recent building renovation. The Victoria Hall backdrop received a grade II listing and is believed to be one of only five similar surviving in England.

Covered in a layer of dust, the act-drop had been stored for decades above the rafters. Storing scenery above the stage, above an auditorium, or in the distant recesses of a theatre is not uncommon.

*1879 Scenery currently stored above the rafters at the Tabor Opera House in Leadville, Colorado. It is currently inaccessible, but safe for the time being.*

When painted scenes became damaged, or were deemed unnecessary, there remained individuals who understood the cultural significance of each artifact. These people, whom I consider to be the first generation of stewards, helped preserve historic stage artifacts by storing them in hard-to-reach locations. If an artifact was difficult to access, it was less likely to be thrown out on a whim.

*Painted detail of Comedy Mask on Edmund Handby’s Act-Drop at Victoria Hall, Settle.*

*Painted detail from central composition on the Act-Drop by Edmund Handby*.

In addition to the discovery of the Act-Drop, Victoria Hall’s painted proscenium arch was also revealed in the 1990s when a chunk of plaster fell away during the redecoration.

*The altered interior of Victoria Hall*, concealing the painted proscenium arch.

The painted proscenium arch is quite stunning; a glimpse into an era when decorative ornament was not always dimensional.

*Painted Proscenium Arch above the Edmund Handby Act-Drop.*

*Painted detail from Proscenium Arch at Victoria Hall, Settle.*

Side note: Although no one is currently credited with proscenium arch painting (c. 1909), it is very possible that it is from Handby’s brush. I am not convinced that someone else would have been asked to paint the arch if Handby was still painting in Settle at the time. I also look at the fringe and tassels (despite their being recently restored), and see a similarity in style – but with the experience of time.

*Painted detail on Edmund Handby’s Act-Drop for Victoria Hall, Settle.*

The discovery of culturally significant artifacts can often generate community support. In 1994, there was discussion about adequate community facilities for leisure and recreation in Settle. The choice was either to build an entirely new community center or “rehabilitate” Victoria Hall.

Settled Victoria Hall Ltd was established in 1999, and now holds a 99-year lease from Craven District Council. Despite the building’s derelict state at the time, funds were secured to renovate Victoria Hall. The restored venue reopened on March 3, 2001.

There are two lovely scrapbooks about the history of Victoria Hall; graciously shared by Finance & Marketing manager, Josie Guthrie.

It was Guthrie gave us full access to the hall on August 4. Mike Hume fully photographed the space, so more information will be published at Historic Theatre Photography. I will provide a link HERE when it is ready.

This post focuses on life and career of Edmund Handby, as well as his large-scale artwork for Settle’s Music Hall in 1882.

I will start with Handby’s act-drop. The subject is based on an 1822 artwork by George Nicholson. Here is the image included in the Victoria Hall scrapbook:

*Original composition created by George Nicholson depicting Settle, 1822,* *In the Victoria Hall Scrapbook.*

Here is a color lithograph available online at Rare Old Prints

*A color lithograph of George Nicholson’s print available at Rare Old Prints.*

The composition features the Settle market place in the 1820s. Elements identified in the painting are The Shambles (far left), the Old Tollhouse (pictured center and later demolished to make way for the town hall), and Castleberg Rock (although exaggerated, pictured in the distance).

*Painted detail from Edmund Handby’s Act-Drop for Victoria Hall, Settle.*

*Act-Drop painted by Edmund Handby in 1882.*

There is one other thing that caught my eye beyond the composition – the fabrc. It was constructed with standard drill cloth. I have only encountered this type of fabric in stage scenery once before – at the Tabor Opera House in Leadville, Colorado. The Standard Drill cloth was manufactured by Stark Mills, Manchester, New Hampshire, USA.

*Detail of fabric used in the Victoria Hall Act-Drop.*

*Detail of drilling cloth used for scenery at the Tabor Opera House in Leadville, Colorado, c. 18*79

Standard Drilling cloth, manufactured at cotton mills, was popular for lining used in skirts, pants, and jackets. In rural communities, it was readily accessible to use for theatrical scenery. For more information about this type of fabric, here is my post about Stark Mills standard drilling cloth.

The Victoria Hall scrapbooks have a section devoted to Edmund Handby, identifying him as an “Operatic Stalwart.” Dressed up as Stephen in Iolanthe, he certainly looks the part!

*Page in Victoria Hall scrapbook about Edmund Handby.*

Here is a better photograph of his image in the scrapbook:

*Edmund Handby as Stephen in* Iolanthe, *1895.*

Before I get into the details of Handby’s life and career, I want to place his life within the context of a much bigger picture – that of rural scenic artists in both the United Kingdom and United States.

Handby represents the majority of scenic artists working from the early-to late-19^th-century. These small-town scenic artists poured both their time and talent into so many local and regional endeavors. They were essential members of the community, who, in most cases, were extremely active citizens. The participated in the majority of public events and entertainments. These scenic artists were integral to rural communities with entertainment halls. Local heroes one could say. Although most never received any national recognition (as they were not associated with major metropolitan venues), their contribution certainly deserves mention in history books.

Small stages across the country offered many aspiring artists an opportunity to showcase skill. Scene painting projects provided an opportunity to be heralded and respected by their community, and in some cases region. Artists such as Handby took on a variety of projects, working as decorative artists, sign writers, carriage painters, glaziers, chemist, and plumbers. Their contributions were very, very visible to the general public. Many local artists also taught painting classes and sold their small-scale artworks at local stores and events.

Rural scenic artists often fully embraced every aspect of the production too – music, performance, and management. They contributed in so many different ways to numerous amateur groups, including dramatic societies, operatic societies, orchestras, bands, fraternities and other social organizations.

Here is Handby’s tale…

Edmund Handby was born in Bentham, Yorkshire, England, in January 1850. Some of his descendants indicate that he was nicknamed “Ted” by family and friends. Handby was the youngest of three sons, born to James Handby (1816-1874) and Ann Tomlinson (1809-1871). His older brothers were John Handby (1841-1918) and James Tomlinson Handby (1846-1897).

Their father tried his hand at a variety occupations over the years, working as a constable, quarryman, and gardener. Gardener seems to have been the one that eventually stuck. A few interactions and court cases published in local newspapers suggest that James Handby Sr. was quick to temper and little foul-mouthed. That being said, it is it hard to judge a person, or the dynamics in a small town, when so much time has passed. However, when you look at the whole of a family, you can see that something was at play. It may not have been the easiest upbringing for the Handby children. I am only going to mention his two brothers at this time.

Edmund’s oldest brother (John Handby) was apprenticed as a Plumber and Glazier by 1861, although he was still living at home with Edmund and his parents. By the way, this is the same trade listed by George Rivers Higgins in a past post (scenic artist of the woodland scene, Georgian Theatre, Richmond).

Edmund’s brother James Tomlinson Handby was out of the family home by 1861, despite his young age. He was likely placed as an apprentice at little father away. James Handby Jr. became a tailor by trade, but died relatively young. He passed away at the age of 52 yrs. in 1897. The cause of death was listed as “suicide during temporary insanity.” James Jr. shot himself.

Little is known of Edmund Handby’s formative years in Settle. The Handby family were still living in Settle. On Oct. 8, 1863, The Bradford Observer listed his father “James Handby, gardener, Settle” as contributor for a gift to the Rev. M. Wood, Second Master of Giggleswick School. The gift was a Tea and Coffee Service, Salver and Purse containing 200 guineas.

Three years later, his son made the news.The first mention of Edmund Handby has to do with a tragic railroad incident.

On August 18, 1866, The Lancaster Gazette reported, “The Windermere Excursion Train Accident – Our usually quiet little town was thrown int a state of great excitement on Wednesday when the news came that an accident had happened to the excursion train which had that morning taken a great many passengers from Settle and Windermere. Those who had friends or relatives amongst the passengers were concerned to know whether that had escaped injury, and several persons met the train at the station on its return to learn the truth. Then, and not till then, it was ascertained with certainty that no Settle persons had been seriously injured, except a young man of the name Edmund Handby who got badly hurt about the head, and was brought home by an earlier train and placed under medical care. Very many were more of less bruised, and among them were the following, who were more seriously injured than the rest, viz.: Mr. Michael Wilson, the young man Handby, a son of Mr. Greenwood, grocer, Mrs. Perfect, Miss Clayton, and Mrs. J. Brennand. All, we are glad to hear, are going on favorably.” This places the Edmund Handby and his family in Settle, between 1863 and 1866 when Edmund entered the painting trade as an apprentice.

*Painted detail on Act-Drop curtain by Edmund Handby, 1882.*

Here are two articles that mention Handby’s social activities before he settled down in 1872. On Feb 27, 1869, The Lancaster Gazette announced that in Settle, the Band of Hope had sponsored a Music Hall entertainment. Readings, recitations, speeches and songs were presented by various local citizens, including Handby who sang (with chorus) Eulalie.

On Dec. 10, 1870, The Lancaster Gazette listed Handby as performing a coronet Solo -Air with variations – for another Band of Hope entertainment at the Music Hall.

That is pretty much the extent of Handby’s activities published in local news prior to his marriage. When he did wed a few years later, the trade of painter was listed on his marriage certificate. In 1872, Handby also listed his residence as Huddersfield in 1872, whereas his wife was living in Settle. Huddersfield was southeast of Leeds, a significant distance from Settle, but a much larger town.

Edmund married Jane Holmes on April 23, 1872, at Ascension Church in Settle. The two remained in town where Handby continued to work as a painter and decorator.

*Holy Ascension Church and cemetery in Settle. 3 August 2024.*

Edmund and Jane celebrated the birth of six children: John (b. 1875), Bertram (b. 1881), Bessie (b. 1883), Edmund (b. 1887), Annie (b. 1888) and Madeline Ellen (nd).

For larger painting projects throughout the area, Handby advertised for assistants. On May 5, 1875, Handby placed a want ad in The Bradford Observer: “TO PAINTERS. – Wanted, Two or Three good HANDS. Apply to E. Handby, Settle.

He also continued to perform, joining a variety entertainments. For example, Handby performed the song “Nina” for the Settle Cricket Club entertainment at the Music Hall in 1876 (1 Jan. The Lancaster Gazette p. 3). Overall, the majority of Handby’s social activities were included in newspapers throughout the 1880s. One in particular made me chuckle; Hanbdy performed in the William Tell burlesque. The burlesque was part of the Church Institute’s annual tea party (17 Jan 1880 The Lancaster Gazette).

The year before Handby painted Victoria’s Hall act-drop, the 1881 Census listed his household as including: Edmund (31 yrs., head), Jane (35 yrs., wife), John (5 yrs, son), Edmund (2 yrs., son) and Margaret Holmes (18 yrs., niece). Margaret would never leave the Handby home, eventually becoming their maid.

In the 1881 census, Handby was listed as a decorator and photographer. As many scenic artists at the time, photography was a natural addition to the painting trade. By now, his sons John and Edmund were 15yrs, and 12 yrs. old, respectively.

In 1881 Handby also placed an advertisement in The Daily Telegraph, inquiring: DRAPERY. – WANTED, smart YOUNG MAN, with almost three years good experience, for drapery counter, and to assist in dressing window.- Apply after six p.m. to Edmund Handby, 6, Willow-place, near Stoke Newington Station.

It does not appear that Hanby remained in the photography profession for long, soon returning to the decorative arts and performance.

Handby performed the role of “Toby Perch” in Morton’s Old Honesty. On Feb. 18, 1882 The Lancaster Gazette reported, “Mr. Handby’s comicalities both of look and gesture completely captivated his auditory, whose applause at times was nigh deafening.”

It was about this time that Handby also became quite active in the newly-formed Amateur Dramatic Society. He was credited as not only a performer, but also the group’s scenic artist (4 Dec 1880 The Lancaster Gazette p. 3).

*Stencil-work on Edmund Handby’s Act-Drop for Victoria Hall, Settle, 1882*.

1882 productions, with scenery painted by Handby, included Amateur Dramatic Society’s The Post Boy and My Turn Next. On Dec. 18, 1882, The Lancaster Gazette reported, “As on former occasions, the scene painting was done by Mr. E. Handby, and the stage effects by Mr. R. Grime. On this occasion their united labours had produced the most elaborate scenery which was universally admired.” Handby continued to perform with the group, and was in the production of All That Gliters is Not Gold in 1884. (19 Apr 1884 The Lancaster Gazette p. 6)

At the same time, Handby was also singing with Settle’s Choral Society. He sang as a tenor solist in Hadyn’s Creation (23 Apr 1881 The Lancaster Gazette p. 5) and in W. H Birch’s Robin Hood (6 May 1882 The Lancaster Gazette p. 8). On Dec. 23, the Weekly Examiner listed Handby singing at the first concert of the newly formed Holmfirth District Choral Society. The article reported, “Mr. Handby (of Settle), who is on a visit to this district, sang two recitatives and two airs with an excellent tenor voice.”

On March 3, 1883, The Lancaster Gazette reported that donations to the Royal Albert Asylum for Idiots and Imbecils of the Northern Counties, Lancaster, received “Settle – E. Handby, two framed pictures, per Cbr. Brown, hon. Local Secretary.” Side note: Keep this type of event in mind when you read my future blog about Normansfield Entertainment Hall. Handby continued to perform with choral groups throughout the 1880s. Here is one more example. On July 9, 1887, The Leeds Mercury reported that “Mr. Handby, of Settle” sand a solo at the annual North Craven Choir Union Festival at Gargrave.

Handby continued to work as a scenic and decorative artist, hiring help as needed for larger projects. On April 25, 1883, Handby placed an advertisement in The Leeds Mercury, looking for a “PAINTER and PAPER HANGER; steady man. Apply Edmund Handby, Duke-street, Settle.” By now, Handby was 33 yrs. old and doing quite well. His projects included room decor for many different social events that were planned throughout the season.

On Jan. 5, 1884, The Lancaster Gazette reported, “LIBERAL CLUB BALL – The annual ball in connection with the Settle Liberal Club was held at Drill Hall on Friday evening, 28^th ult. There was a large and representative assembly, by whom dancing was kept up with vigour and evident appreciation into the small hours of the following morning. The Settle quadrille band supplied the musical requirement, whilst Mr. Overing provided the refreshments, which gave great satisfaction. The room had been artistically decorated by Mr. Edmund Handby.”

Here is another example…On Jan. 3, 1885, The Lancaster Gazette described CHRISTMASTIDE’s Volunteer Ball at Drill Hall, noting, “The room had been most tastefully decorated for the occasion by Mr. Edmund Handby.”

Although it is easy to think of Handby as an amateur artist and performer, his career mirrored that of many well-known English and American scenic artists, as he also exhibited his fine art works.

On Dec. 13, 1884, The Lancaster Gazette announced:

FINE ART EXHIBITION. – Mr. Edmund Handby’s exhibition of oil-paintings, water-colour drawings, hand painted mirrors, and screens and other works of art, which was opened in the Assembly Room at the Ashfield Hotel on Tuesday the 2^nd instant and continued until Wednesday last has afforded genuine pleasure to the many visitors who have inspected the collection. The display of valuable oil-paintings and water-colour drawings comprise several; meritorious works which did infinite credit to the respective artists. The mirrors and screens exhibited deserve more that a passing notice, not only on account of their artistic merit but as being work of a native of Settle. It is to Mrs. McClelland that we owe the revival of this art, which was formerly practiced by the early Italian masters and used simply as a wall decoration. Now, however, Mrs. McClelland has applied it to a variety of objects which have taken prominent places in artistic English homes.

I would really love to see one of his paintings! Just to see how it compares with his large-scale scenic art.

There was also another aspect of Handby’s life that I stumbled across while doing research – he became a Freemason in 1885, joining Castleberg Lodge No. 2091, Settle. Handy was initiated on 25 June 1885, becoming a Master Mason when he was raised on Dec. 2, 1887. Grand Lodge records list Handby’s profession as a decorative artist. This could have cemented many future projects in the area.

By the 1890s, Handby began to look explore another aspect of the theatrical trade – theatre management. He applied for a theatrical license. The name of Settle’s Music-hall had become known as Settle’s Public Hall. It was mentioned in a local newspaper announcement in the fall of 1892. On Sept. 24, 1892, The Leeds Mercury announced: “The Public Hall at Settle. Mr. E. Handby has made an application for a license for the Public Hall (late Music-hall), Settle, but he did not appear in support of his application.” Later than month, on September 29, 1892, Handby was granted a theatrical license from the General Purposes Committee of the West Riding County Council for Victoria Hall at Settle. Notice the name change to Victoria Hall. The committee meeting was held at the Clerk of the Peace Offices, Wakefield, and published in The Leeds Mercury on Sept. 30, 1892. In the announcement, “Mr. E. Handley [sic. Handby]” was listed as the manager of the Victoria Hall, Settle (p. 3). Handby was still working as the hall’s manager, and functioning as its main contact, two years later. On March 30, 1894, The Leeds Mercury announced the renewal of Victoria Hall’s theatrical license, again E. Handby was listed as the manager.

Despite his work as a manger and performer, Handby’s primary income stemmed from the decorative arts. He continued to be listed as a painter and decorator until the 1911. The census that year listed Handby as a 61-yrs. old house painter. He was now a widower, living with his 23-yrs. old daughter Annie, and 48 yrs. old niece Margaret Holmes; Margaret was listed as his housekeeper.

Both Edmund and his brother John passed away in 1918. This was the same year that the world was plagued with a pandemic. Edmond died on Feb. 24, 1918.

It was the year after his passing that Victoria Hall became a cinema.

To be continued…

Travels of A Scenic Artist and Scholar: James H. Cragg and the Tabor Opera House, 1882-1894

*The Tabor Opera House pictured in the “Leadville Daily Herald,” 1 Jan 1881.*

James H. Cragg was the manager for the Tabor Opera House in Leadville, Colorado, from 1882 until 1894. During his twelve years there, Cragg implemented a series of improvements throughout the building that included the stage area. He thoroughly understood the stage needs of touring productions, having previously managed companies before his move to Leadville. When the Tabor Opera House was purchased and remodeled by the Elks in 1902, the “Herald Democrat” recalled Cragg’s early changes to the theater, noting, “The old opera house was known as a ‘flat hall’ until Col. ‘Jim’ Cragg took charge of it in 1881. He had the seats raised and other more modern improvements made. Col. Cragg managed the house as long as it remained in the possession of Mr. Tabor.” Actually, Cragg was not hired as the Tabor Opera House manager until the spring of 1882, but he remained associated with the venue until 1894.

*From the “Leadville Evening Chronicle,” 11 April 1893.*

Cragg was a man of many talents, both as a performer and an artist. He received his earliest musical training at home in Louisville, Kentucky, and entered the music profession under the tutelage of his father, Thomas P. Cragg. The elder Cragg was a music merchant, dealing in musical instruments and other accessories. James was the middle child of three children born to Thomas (1805-1889) and Mary Jane Cragg (1818-1901). Although no exact date was recorded for his birthday, his birthyear was 1846. James affectionately referred to his older sister Margaret as “Maggie,” and the two remained close throughout the duration of their lives. After James moved west, Maggie frequently visited her younger brother in Colorado.

Before Cragg entered the music profession, he fought in the Civil War as a corporal for the Confederacy. He was captured and imprisoned at Camp Douglas, Fort Donelson, in Illinois, and then sent to Cairo as part of a prisoner exchange on September 3, 1862. At the time, he was sixteen years old.

After the War, James followed in his father’s footsteps, working in Louisville at a music store. He began as a salesman, working at D. P. Fauld’s firm for several years. He was eventually listed as a clerk and eventually established his own music store the following decade. By 1868. Cragg was also the guitarist for a group of young musicians called the Owl Club. The group was originally organized in 1866 “for the pleasure of its members,” composed of young gentlemen who were “highly accomplished in their specialties” (Courier-Journal, Louisville, Kentucky, 11 Aug. 1868, page 4).

*Marriage certificate for James and Annie Cragg, 1875*

On Nov. 10, 1875, Cragg married Annie W. Parmele (b. 1853) in Louisville. She was the daughter of Amos G. Parmele (1818-1895) and Melina Dorcas Williams (1819-1910). Some records list her father as Alexandre Parmell, or A. G. Parmeal. In all cases, he was a merchant married to Melina. By 1878, Cragg was running his own music store on Walnut Street, just five doors down from his previous employer D. P. Faulds. Cragg remained in Louisville until 1880 when he headed west to Colorado. The 1880 US Federal Census Report listed Cragg and Ana living with his extended family; at the time, Cragg was thirty-four yrs. old and his wife twenty-six yrs. old.

It remains unclear as to how Cragg met Tabor or exactly when he arrived in Leadville. Early in 1882, Cragg was still the manager for Nick Robert’s Humpty-Dumpty company, touring across the country with the production. On Jan. 12, 1882, the “Knoxville Daily Chronicle” reported “Mr. J. H. Cragg, the genial and clever manager of Nick Robert’s Humpty-Dumpty, honored us with a call last night. We find him a gentleman in every sense of the word, and he is well pleased with their reception here.”

*The touring production managed by James H. Cragg before accepting employment as manager of the Tabor Opera House in Leadville, Colorado in 1882.*

Less than four months later Colorado newspapers announced H. A. W. Tabor’s hiring of Cragg for the Tabor Opera House:

“A Leadville special says the appointment of J. W. Rowell general agent of Governor Tabor has resulted in a change of management of the Tabor Opera House. J. H. Cragg is the new manager.” (“By Way of Denver,” Silver Cliff Weekly Herald, May 4, 1882).

In 1882 Cragg was also listed in Leadville City Directory as manager of the Opera House, with business offices at 124 West 3^rd Street. Later that year, Nick Robert’s “Humpty-Dumpty” played in Leadville from November 6 to 8. A week later, “Oliver Twist” played at the venue. On Nov 15, 1882, the “Leadville Daily Herald,” reported, “Manager Cragg, of the opera house, had a wide grin open his face as he came out from the stage entrance and stepped down into the auditorium at the conclusion of the fifth act in Oliver Twist . Manager Cragg was evidently highly amused about something and appeared almost on the point of taking the audience into his confidence when, happening to look towards the centre of the house, he observed that the majority of those present had risen en masse and were making towards the entrance as fast as they could . Then did the genial manager’s smile extend into a broad grin of laughter as be whispered into the ear of a hurrying friend “what’s your hurry, there’s another act yet.” “Another,” exclaimed the gentleman, then I’d better sit down.” Plump be dropped into the nearest vacant seat and gazed not alone at the curtain, but upon the silent rows of vacant seats before, behind and around him. It was too true; the majority of the audience had formed a conclusion of its own and decided that “Oliver Twist” had come to an end while yet the most pathetic incident of the drama was wanting. “On mete! O more!” sighed Manager Cragg.”

*From Leadville’s “Herald Democrat,” 11 July 1899.*

By 1885, Cragg was doing much more for H. A. W. Tabor than managing his Leadville opera house. Soon Cragg assumed responsibilities as manager of the Telephone Company, also located in the Tabor Opera House. On June 20, 1885, the “Carbonate Chronicle” included an article about “The New Hotel. The article reported, “Mr. J. H Cragg will probably be the new manager and Chauncery Nichols head clerk.” Cragg did secure the managerial position was soon listed in advertisements for the Tabor Grand Hotel on Harrison Ave in Leadville; J. C. Hutchinson was the first proprietor (The Chaffee County Times, Sept 10, 1885). Cragg would remain as the hotel manager even after Mrs. Geo. Bittinger was became the new proprietor (The Chaffee County Times, Dec. 10, 1885). In addition to managing a variety or firms, Cragg also dabbled in mining interests with a substantial return. He partnered with Charles Eldridge on the Hazel Kirke and Natalie mines (Carbonate Chronicle, April 18, 1885). In 1887 the “Detroit Free Press” described Cragg as “one of the richest mining men in Colorado” mentioned (Feb. 10, page 8). The article added, “J. H. Cragg has named his latest mine “Billy Florence,” in honor of the actor.”

From 1886 to 1894, Cragg remained the manager of the Tabor Opera House until it changed hands and became the Weston Opera House. Prior to his departure, Cragg instigated a series of improvements to the building and stage. On March 22, 1886, the “Carbonate Chronicle,” included and article entitled, “Improvements in the Opera House.” The article reported, “Manager J. H. Cragg, with his usual interest for the benefit of his patrons, has secured the services of Mr. W. B. Bell, the carpenter, to tear out the old boxes, enlarge them and fit them up in first-class order; in fact, as fine as any in the country. For the care and taste Mr. Cragg is taking in beautifying our opera bouse, we hope when they are finished to see one or two box parties at every performance. Of other repairs which he is making we will mention a part at present, but when finished we hope to give a detailed account. The old ungainly looking wooden posts under the gallery have been removed and, in their place, a neat iron column, the walls and ceiling under the gallery have been papered with the finest gilt paper. As soon as it is found that the new roof does not leak, the main celling will be finely papered or frescoed. The painting will all be in fine white and gilt. It is unfortunate that the boxes cannot be finished in time for Miss Jeffreys Lewis’ engagement to-morrow evening, as her engagement here will be an event in theatrical circles” (page 8).

After the project was completed, Cragg had cause to celebrate and enjoy life. The Cragg’s celebrated the fall with extended family from Louisville. On Sept 12, 1886, the “Herald Democrat,” reported “Mr. and Mrs. J. H. Cragg, accompanied by their father, Mr. A. G. G. Parmile of Louisville, and Mr. Al Boudmant, of Red Cliff, will spend today at Twin Lakes.” The Craggs’ fortunes soon took a turn for the worse.

Anna passed away the following spring. On March 6, 1887, the “Courier-Journal” in Louisville reported, “CRAGG – At Leadville, Col. March 1, Annie W., wife of J. H. Cragg.” On Oct. 3, 1887 the “Leadville Evening Chronicle” announced, “Mr. J. H. Cragg returned Friday evening form a three week’s trip in the east. He returned much improved in health, which will be gratifying news of his many friends in this city.” A lovely memoriam was published in the newspaper, written by a childhood friend of Cragg’s; here is the link: https://drypigment.net2020/12/13/travels-of-a-scenic-artist-and-scholar-james-and-annie-cragg-of-leadville-colorado/

In the midst of grieving, Cragg threw himself back into work, falling into the previous pattern of managing the Telephone Company, the Tabor Opera House and the mines. It was around this time, that Cragg hired T. Frank Cox to painted additional scenes for the Tabor Opera House. On January 8, 1888, the “Herald Democrat” reported, “Manager J. H. Cragg has been adding new scenery to the properties at the Tabor Opera House” (page 4). Other articles described the various scenes painted by Cox and immediately used by touring companies. Later that spring Cragg also began managing his own touring production. On May 2, 1888, the “Aspen Daily Times “ included an advertisement for “A Ribbon” and the Ribbon Comedy Company under the management of J. H. Cragg. This was H. B. Iszard’s Musical Comedy show, comedy interspersed with catchy musical selections from Braham, Bristow, Graham, Lyons, Bolasco, Sullivan, McGuiness, King and Rooney.

*From the “Aspen Daily Times,” 2 May 1888.*

Cragg also became increasingly active in social and fraternal activities, joining both the Benevolent Protective Opera of Elks and the Knights of Pythias. On July 9, 1888, the “Leadville Evening Chronicle” interviewed Cragg in an article entitled, “The Knights Will Drill.” Cragg stated, “We have one hundred members of the Uniform Rank, Knights of Pythias,” said Mr. J. H. Cragg, “and have selected twenty-four of the best drilled to take part in the Grand Lodge meeting, which is to take place in Colorado Springs on Sept. 12.”

On July 25, 1888, the “Leadville Evening Chronicle” published a notice, giving some indication to the backstage goings on at the Tabor. The article was entitled, “A Manager’s Warning’ and explained, “Mr. J. H. Cragg has the following notice nailed on the o.p. side of the stage at the opera house.

NO KICKING! There is only one way to get along pleasantly on this stage and that is to be pleasant. When it comes to kicking, we will be right there.

No strangers allowed behind the scenes except by permission of the manager. No loud talking, swearing or noise of any kind will be allowed.

We will do all we can to please anyone, but of course some people come here who think they have played in larger and finer houses. It is a great mistake. It is an easy thing for us, at a moment’s notice, to move any dressing room, furnish all with grand pianos, electric lights, hot and cold water, easy chairs, etc. People who were never used to anything in their lives always kick the most. They are what I call common people. J. H. Cragg.

Mr. Cragg says obstreperous people of different companies read the above notice and take warning accordingly.” Cragg’s patience was growing increasingly thin with some of the performers that visited the Tabor Opera House stage.

For the next two years, Cragg traveled back and forth between Leadville and Louisville, visiting quite often with family. He must have also channeled some of his grief into art. Cragg was an accomplished artist in his own right, as was his sister Maggie. The first mention of Cragg’s painting skills were noted in Leadville during 1889. On October 2, 1889, the “Leadville Evening Chronicle” mentioned Cragg in the section entitled “Palette Paragraphs,” reporting “Mr. J. H. Cragg’s rooms are profusely adorned with paintings from his very own brush.” I wonder if he was heading for a change of pace after the passing of his wife, finally finding it in 1891. That year the Denver Directory, listed J. H. Cragg as the assistant manager for the Silver Theatrical Circuit, with business offices at 14-18 Opera House Blk in Denver. Cragg’s private residence was listed as 32 Ghost Bldg.

Cragg’s sister was also an accomplished artist in her own right. On June 8, 1893, the “Herald Democrat” included an article about Cragg’s sister Maggie, also an accomplished artist in Kentucky. The article was entitled, “Her Artistic Success” and announced, “Manager J . H . Cragg , of the Opera house, has good cause to feel somewhat proud and elated at the triumph of a sister of his, Mrs. Maggie Cragg Ball of Louisville , Kentucky . This talented lady is an accomplished artist and has made a life study of painting on china. Her talent and genius had won for her quite a reputation at home, and she was requested to contribute a work of art for the Kentucky building at the world’s fair.” By Dec. 9, 1894, the “Herald Democrat” announced, “Mr. J. H. Cragg, for many years the efficient and popular manager of the Tabor (now Weston) Opera House in this city has severed his connections with that place of amusement to accept a more responsible position in connection with the management of the Mid-winter fair at New Orleans. His many friends here regret his departure, but confidently hope for his success in the new enterprise he has undertaken.” He did not leave Leadville for long and was back in the city directory the following year.

Cragg was listed in the 1895 Leadville City Directory as a clerk at the Hotel Vendome. By 1898 he had worked his way up to chief clerk and by 1899, advertisements for the Hotel Vendome published listed J. H. Cragg as asst. manager. His time at the Hotel Vendome ended on Jan. 1, 1901, when an article in “Herald Democrat “ announced the retirement of both Messrs. Brisbane and Cragg.” That year Mr. Chase took over all management responsibilities.

Cragg continued to remain very active with the Elks, however, and it was this relationship that may have influenced the group’s decision to purchase the Weston Opera House. On August 30, 1900, the “Herald Democrat,” recorded Cragg’s artistic success at and Elk’s benefit performance in an article entitled “Elks Entertain a Jolly Night.” The fourth annual benefit of the Benevolent Protective Order of Elks, Leadville lodge No. 236, was given at the Weston opera house, and considered a “success of the season.” The article reported, “The curtain was then raised on a scene containing ease! and crayons and J. H. Cragg proceeded to show his skill as a lightning sketch artist. In an amazingly short time, he had made landscapes in color which had from the distance of the audience, all the appearance of oil paintings.” He remained active in the mountain community and was even appointed grand marshal for the Fourth of July in 1901; that was one of the years with falling snow on July 4.

Cragg’s activities with the Elks continued and Cragg represented the Leadville Lodge at a Boston Convention in 1903. On July 27 that summer, the “Herald Democrat,” announced, “Colonel Jim in Baltimore.” Of Lodge No. 236 B.P.O. Elks, the Baltimore Herald reported, “One of the most prominent Elks from the west now in the city Is Mr. J. H. Cragg, of Leadville, Colo., who came to the reunion with the Louisville lodge. Mr. Cragg is the past exalted ruler of the Leadville lodge and during his administration last year installed 236 members in his lodge. In proportion to population the Leadville local has more members than any other in the United States. The population of the city is 12,000 and the membership of the lodge is 665 members. They have recently occupied their new club house, which cost $60,000 to erect.”

Cragg passed away only a short time later, on January 17, 1904. His obituary was published in Colorado Springs “Weekly Gazette” announced, “Leadville, Colo., Jan. 17.- James H. Cragg, a pioneer of Leadville, died here today of pneumonia, after an illness of almost two weeks. Mr. Cragg was a native of Kentucky, 56 years of age and came to Leadville to manage the Tabor Opera House for H. A. W. Tabor. After Tabor left, he looked after the latter’s mining interests here and at one time was manager of the Vendome hotel. Mr. Cragg was a prominent Elk and served several terms as exalted ruler of the local lodge. The remains were taken to his former home in Louisville for interment. In his earlier life Mr. Cragg was manager of many theatrical companies and is known to theatrical people all over the country” (January 21, 1904, page 2).

Cragg’s obituary was also published in the “Courier-Journal” in Louisville, Kentucky on January 18, 1904, home to his only sister Maggie. “James H. Cragg Dies in Colorado. Was brother of Mrs. J. M. Chatterson, of Louisville, Who Was at His Bedside. James H. Cragg, fifty-six years old, died at 4 o’clock yesterday afternoon of pneumonia at Leadville, Col. He had been seriously ill for two weeks, and his sister, Mrs. J. M. Chatterson of Louisville, went to Leadville last week and was with him when he died.

Mr. Cragg was prominently connected in this city and had a large number of friends here, He formerly owned a music store on Fourth Avenue, between Green and Walnut streets, and moved West fifteen years ago. He was well known and popular with musical and theatrical people, and his store was headquarters for visiting members of the profession. He had been successful in his mining ventures in the West and was preparing to close up his business and return to Louisville to live when taken ill. He was unmarried and is survived by one sister, Mrs. J. M. Chatterson.”

To be continued…

Travels of a Scenic Artist and Scholar: James H. Cragg and Annie W. Cragg of Leadville, Colorado

For quite some time I have been exploring the life of James H. Cragg, manager of the Tabor Opera House from 1882-1894. He was a musician, theatrical manager, and scenic artist. During the 1890s he was also the assistant manager for the Silver Circuit, as well as an assistant manager at the Vendome Hotel. Tomorrow, I will post quite a lengthy article about this fascinating man.
Cragg oversaw two stage renovations at the Tabor Opera House and multiple scenery additions, yet little is known about his personal life. In 1875, he married Annie W. Parmele and the two moved to Leadville by 1882.

In 1887, Annie passed away and Cragg fell ill. For a time, he sought solace with his family in Louisville. When he returned to Leadville, a lovely memoriam was written by his childhood friend in Kentucky and published in both Louisville and Leadville. It says so much about the couple and their deep love for each other.

“In Memoriam.

Mrs. James H. Cragg, died on March 1, 1887.

“On November 10, 1875 , I witnessed the marriage of Mr. James H. Cragg to Miss Annie W . Parmele, in the Broadway M . E . church in this city. The good Rev. Dr. Schon, whom death has long since removed from our midst, performed the happy ceremony in the presence of a large crowd of relatives, friends and acquaintances. A happier pair were never made—
“Two souls but with a single thought, Two hearts that beat as one-“
and a fairer and more beautiful bride than Annie never blushed before the altar of hymen, as she stood beside the man she loved, and the venerable minister solemnly joined them together in the holy bonds of happy wedlock. Together they started out upon the broad road of life, hand in hand and heart in heart, to share each others joys and sorrows, to live to love and cling to one another with fond affection true, until they were separated by the relentless and cruel hand of death. The bright sunshine of peace, love and happiness smiled upon them, and their pathway had never been shadowed by clouds of adversity and sorrow. They seem to have been born for each other, to live for and love one another. He kind, generous, loving and true; she generous, faithful, patient, warm-hearted, and blessed by nature with all the Christian traits of human character, that constitutes a true woman and makes her lovely and beautiful in the sight of God and in the eyes of man. But, alas! Death is no respecter of persons, and loves a “shining mark.”
The cup of happiness has been suddenly snatched from their lips by the relentless and cruel hand of the destroying angel, and, with a sad and sorrowful heart, the friend of my boyhood stands holding fragments in his trembling hands as he laments the loss of her he loved with fond affection true.
On the evening of March 1, 1887, just when the bright eye of day was closing in the distant west, when time, with its nimble fingers, had commenced pinning up the curtains of the night with the beautiful stars across the cheerful face of day, the light of the lamp of a beautiful and useful life went out, and the soul of Annie put on its wings of immortality, and winged its flight to God and Heaven, to dwell forever and forever with the angels. She died as she had lived – a true Christian.
The remains were brought from Leadville where she died, to Louisville, where she had lived, and her form now rests in its newly made tenement of clay, over which loved ones shed tears of sorrow to the memory of one whom to know in life was to honor, respect and love. Like the bird who has lost its mate, and returned to its nest home to find it vacant, so, the bereaved husband has returned to his house in Leadville to mourn the loss and absence of his loved one. It was a sad and cruel blow to him, but the angels smiled to know that God had called a wanderer home to dwell in Heaven with the angels who stand before the Throne of Grace. And sound their harps with tuneful lays. Who smile upon our Savior’s face. And sing their songs of sweetest praise.
To the lonely and bereaved husband whom I have known from his boyhood, I tender my sincere and heartfelt sympathy, and extend to him the consoling thought that what has been his loss is her gain. She has left him to battle with life alone, but she has also left him that which is as dear to his heart as her memory is sacred – her love. And as the bark of his life goes drifting across the stormy sea of Time, let him fear not, but look Heavenward, use that sacred love that will live forever with him, for his compass, and God will see that he lands safely in the harbor of eternity, and meet his loved one again in the port of Heaven – where there is no sickness, sorrow, death of parting – nothing but everlasting life, love and happiness.
Oh May some bright and dazzling star, Be as a frame hung up in space by angels from the “gates ajar.” In which you will see sweet Annie’s face.Dear friend, look up and be content, And don’t forget her dying prayer,You try and go where she went, She loved you here, she’ll love you there.
-Will S. Hays,Louisville, April 8, 1887.

*Marriage License and Certificate for James and Annie Cragg*, 1875

Travels of A Scenic Artist and Scholar: Harry C. Sprague (1861-1933) and the Tabor Opera House

*Harry C. Sprague in the Tabor Opera House listing of “Harry C. Miner’s Dramatic Directory” for the 1884-1885 season.*

H. C. Sprague was the second stage manager for the Tabor Opera House. He lived in Leadville, Colorado for approximately five years, from 1879 to 1884. Only Sprague’s home address changed over the course of this time, although he was absent from the City Directory in 1879 and 1882. In 1880, Sprague was first listed in the directory, working as a bill poster and lodging at 312 W. 6^th.

Although there were many men named Harry C. Sprague living in the United States during the late-nineteenth century, I think that I tracked down the right one.

Harold “Harry” C. Sprague was born on Feb. 2, 1861 in Ohio, the son of Charles Sprague and Jane Sommers, both born in 1835. Charles worked as a carpenter his entire life, a trade that was passed down to his sons. Charles and Jane married in 1855 and celebrated the birth of seven children: John E. (1858-1947), Harry C. (b. 1861), Emma J. (b. 1866), Florence (b. 1867), and Cornelia (b. 1869), Ida (1874-1913) and Belle C. (b.?). Their first child, John, was born in Toronto, with the remained children born in Ohio. The 1860 US Federal Census listed Charles, Jane and their infant son living in Youngstown, Ohio, with Charles still working as a carpenter. By 1870, the US Federal Census recorded that the Sprague Family was living in Youngstown, Ohio, due west of Akron, Ohio.

The “Leadville Daily Herald” included many articles that mentioned Harry Sprague during his time in town, providing a little insight into his life and career there. Ironically, it was Colorado newspapers that provided the greatest insight into this elusive personality.

In 1881, Harry C. Sprague was listed in the city directory as a “stageman” at the Tabor Opera House, likely a misprint for “stage man,” a directory abbreviation for stage manager. That year, Allen T. Wells Jr. was listed as the general manager of the Opera House. Sprague would have been in charge of the backstage area.

On August 23, 1882, a newspaper article initially brought Sprague into the public during the Tabor Opera House’s stage renovation. The article reported, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague, who has had extensive experience in the east, and was in Leadville before, in the early days. All these improvements will take until about the first of September to execute. As soon as the house is in perfect order, say about the fourth of September, J. Rial’s Uncle Tom’s Cabin troupe will commence an engagement of three nights” (“Leadville Daily Herald,” August 23, 1882).

Sprague was an instant success, and by Sept. 6, 1882, the “Leadville Daily Herald” reported, “Mention must also be made of the clock-work precision in the shifting of scenes, and upon inquiry as to the cause of the surprise, it was learned that Mr. Harry C. Sprague had returned” (Leadville Daily Herald, Sept 6, 1882).

Even 1883, Sprague was still credited with his stage settings used by the Goodwin Company during their visit that fall. On November 1, 1883 “Stage Manager Sprague, of the Tabor opera house, deserves favorable mention for his stage settings during the Goodwin season. All three of his pieces performed were carefully and handsomely mounted” (Leadville Daily Herald, Nov. 1, 1883, page 1). The scenery was credited specifically to Sprague, suggesting that he built and painted the pieces. It is important to remember that stage managers were also expected to paint scenes in smaller venues with minimal staff. If a scenic artist was not available to paint a scene for an upcoming production, that responsibility may fall to a backstage manager, such a Sprague. Sprague would continue a painting career after his stay in Leadville.

By 1884, Sprague was living at 202 W. 6^th and in 1885 at 121 E. 7^th. He seemed to have stay in an area home to other theatre professionals at this time. In 1884, Sprague is again listed as stage manager of the Tabor Opera House, but now residing at 202 W. 6^th.

Sprague was also mentioned again in regard to the 1884 appearance of the Frank Mayo company at the Tabor Opera House. Their play was “Davy Crockett” and newspapers noted, “The cast is excellent, and with the stage settings even upon the comparatively limited quarters of our opera house, it makes one of the strongest combinations and one of the most attractive plays ever seen in Leadville…Great credit is due Mr. Harry Sprague, the stage manager for the admirable manner in which the stage was set last evening, which compared favorably with any theatre in the east” (Leadville Daily Herald, Feb. 1, 1884).

One of the more interesting events with a specific mention of Sprague was Leadville’s Jewish Festival in 1884. Three hundred people participated in the event that year. An article published in the “Leadville Daily Herald” announced, “The Purim Bal Masque a Brilliant Social Success Last Evening.” The article continued to describe the event with special mention of Sprague: “The most brilliant social event of the season and one that has kept society on the qui vive for a month past culminated last evening. City Hall was a blaze of light and in this connection a thousand thanks should be tendered to Harry C. Sprague the Stage manager of the opera house for the excellence of the calcium lights which cast a most pleasant light on the parti colored costumes” (Leadville Daily Herald, 12 March 1884).

The next month, the Tabor Opera House featured Mr. and Mrs. Knight in “Baron Rudolph.” On April 5, 1884, the “Leadville Daily Herald” reported, “The stage setting was admirable and reflects much credit to Mr. Harry C. Sprague, whose work was made easier from the fact that Messrs. Monheimer Bros. kindly donated the rugs, draperies, etc. which were so much admired.”(Leadville Daily Herald, April 5, 1884). As with many shows, stage managers were responsible for acquiring the items identified on each show’s prop lists, send to each venue ahead of every touring production.

By summer 1884, Sprague was again credited for his contribution to an upcoming production of “’Patience.’ On June 22, the “Leadville Daily Herald” reported, “One of the attractive events of the coming seek will be the opera of ‘Patience,’ to be given at the Tabor Opera House tomorrow evening. Everything is now is readiness for the most perfect amateur entertainment ever given in Leadville. The costumes have been imported expressly for the occasion, and are marvels of the costumers art. The solo parts and choruses have been drilling for weeks, while Mr. Cragg, and his efficient stage manager Mr. Sprague, have exhausted their ingenuity and good taste in the matter of stage setting. The indications point to a crowded house and a grand success is assured, both from a musical and social standpoint.”

Unrelated to any theatre events, Sprague was listed with a group of individuals helped feed a stray dog in 1884. That summer Sprague contributed 25 cents to help feed “Bum,” a local mutt described as “the sad-eyed decrepit looking canine, who seems to belong to nobody in particular, but lavishes his licks impartially upon all the members of the gambling fraternity in town” (Leadville Daily Herald, June 3, 1884).

The last mention that I have located of Sprague’s time in Leadville was connected with a children’s operetta at the Tabor Opera House. On October 30, 1884 the “Leadville Daily Herald” reported, “Mr. Moody, assisted by Mr. Sprague, the regular stage manager of the house, had charge of the stage. Under their able supervision everything worked as smoothly as clockwork.” After this, Sprague fades from print in Leadville.

By 1885, Willie Moon was listed as the asst. stage manager at the Opera House, living at 121 E. 7^th, but Sprague was no longer in the city directory in 1885. It is likely that Moon was already working as an assistant in 1884. Sprague leaves Colorado at this point, and here is what I have tracked down about his return to the east.

Sprague left Leadville for Chicago, where he was married the following year. On Jan. 27, 1886 he married Sarah L. Lacy. At this time, Sprague transitioned to primarily working as a scenic artist, being listed as a “painter” in directories for the remainder of his life. This becomes more complex as there were multiple individuals with the last name of Sprague working in the theatre industry at this time, both as painters and carpenters. By 1889, the Harry and Sarah Sprague moved to Indianapolis, Indiana, where Harry continued to work as a painter. Harry C. Sprague was listed as a painter in the 1889 Indianapolis directory, living at 175 Riverside avenue. Sadly, in 1891, his wife Sarah passed away and was buried in Crown Hill cemetery. Nothing is known of the circumstances surrounding her death, but considering that she was young and the couple newly married, it is possible that she died in childbirth. At some point after the death of his wife, Harry returned to Illinois.

It remains unclear as to why Harry returned to Chicago, whether it was to mourn the loss of his wife or care for his aging parents. Regardless, Harry was living with his parents in 1900, He was 40 yrs. old. and still working as a painter. He was the only adult child of the couple living home; they were now listed as retired, each 65 yrs. old. By 1910, Harry’s mother had passed away. Both Harry and his father moved in with his sister Ida and her family, the Kirbys. The 1910 US Federal Census provides a little insight into this extended family living in Chicago. Ida’s husband Phillip was a manager at a metal works factory. Harry’s occupation was listed as a salesman, but with no specific industry. Harry was also listed as widower. Harry’s sister Ida passed away a few years later. In 1913, her obituary stated, “KIRBY – Ida E. Kirby, nee Sprague, 7736 S. May St., beloved wife of Phillip A Kirby, mother of Charles J. and Jennie C., daughter of Charles A. Sprague, sister of H. C. Sprague, John E., Florence G., and Belle C. Youngstown [O.], Elora [Ont.] and New Jersey papers copy. Funeral Wednesday, Dec. 31. Burial at Greenwood cemetery” (Chicago Tribune, 30 Dec. 1913, page 15).

I have yet to discover when Harry’s father passed, or he left Chicago. Sprague appears to have disappeared from print for the next two decades, but eventually ended up in painting in the Philadelphia area. His older brother also lived in the area. Harry C. Sprague passed away on March 9, 1933 at the age of 72 yrs. His obituary, reported, “Harry C. Sprague, aged 73, of Philadelphia, a retired painter, died in that city yesterday. He is survived by two sisters, Mrs. Florence Hults of Vineland and Mrs. Milton McGargle of Madison and a brother, John Sprague, of Philadelphia. Mrs. Charles Stickert of Vineland is a niece of the deceased. Funeral service will be held Saturday afternoon at 2 o’clock with burial in Siloam Cemetery” (“The Daily Journal” Vineland, NJ, 10 March 1933, page 3).

At the time of his passing, Harry’s burial expenses were paid by Mrs. Harry A. Brown of 1250 South 45^th Street and Mr. Wilcox of 1427 Catharine Street, both in Philadelphia. It seemed odd to me that it was not a family member who took responsibility for the body.

I have just started to look at possibilities of who Mrs. Henry A. Brown or Mr. Wilcox might have been. Interestingly, Harry A. Brown was a Chicago artist, working in the city the same year that Sprague returned and met his future wife – 1885.

To be continued…

Travels of A Scenic Artist and Scholar: Nineteenth-Century Stage Managers at the Tabor Opera House, 1879-1901

In 1884, “Harry C. Miner’s Dramatic Directory” listed that the seating capacity for the Tabor Opera House in Leadville, Colorado, was 800. The size of stage measured 34-ft. deep by 60-ft. wide, and the proscenium opening was 17-ft. high by 23-ft wide. The original scenery employed a system of grooves on stage to hold up the painted scenes. Grooves are a mechanical contrivance in which the scenes slide back and forth. Sets of grooves were positioned into divisions, such as one, two, three and four. Where the stage was extra deep, there were sometimes five and six divisions of grooves, equally spaced. There were four divisions of grooves at the Tabor Opera House, allowing four pairs of wings and shutters to slide on and off stage, forming specific stage settings. The height from the stage to the top of the grooves was sixteen feet, with an additional 3 feet above that to the rigging loft.

This method of staging was eventually replaced with more modern arrangements in 1902, Wings and Shutters were replaced with fly scenery and box interiors, supported with braces and connected by lash lines. This more modern method was purchased and installed the Leadville Elks purchased the opera house in 1901, renaming the venue the Elks Opera House.

During the nineteenth century there were three stage managers who worked at the Tabor Opera House, each constructing wing and shutter scenery for the venue, and each shifting early scenes in grooves. The three stage managers were William S. Barber (1879-1880), Harry C. Sprague (1881-1884) and William J. Moon (1885-1901). These three men were also went by others titles, such as stage carpenter and stage mechanic. Regardless of their title, each functioned as a ruler of the realm behind the footlights.

Barber was credited with the original construction and installation of the first stock scenery collection at the Tabor Opera House in 1879. He worked with James E. Lamphere, the first scenic artist to paint the original drop curtain and ten stage settings. W. S. Barber was listed as a stage carpenter for the Tabor Opera House in the 1880 Leadville city directory, living at 114 W. 6^th. That was the only year that he was listed in a Leadville directory.

Barber and Lamphere’s contributions to the stagehouse were less than adequate and short lived. The stage was completely renovated within two years, and Harry C. Sprague was credited with the new stage arrangements. Sprague was already living in Leadville at the time. He was listed as a bill poster in the 1880 city directory and a “stageman” in the 1881 city directory. In 1880 Sprague was residing at 312 W. 6^th, just down the street from Barber. The official bill poster for the Tabor Opera House that year was R. B. Brennet; there was enough work to support a few bill posters in town.

In 1881 Sprague was listed in the Leadville City Directory as “stageman” at the Tabor Opera House; Barber was no longer associated with any Leadville theater. It remains unclear if Barber and Sprague ever met while walking to their respective homes on 6^th street or while working backstage at the opera house. As a bill poster in 1880, Sprague likely worked for a variety of businesses in town, so their paths may have crossed at some point but it remains unknown. Regardless, sprague likely began working backstage at the opera house in 1880, especially if he was associated with the Tabor Opera House in the 1881 directory. Sprague was still working at the opera house when James H. Cragg was brought on board as a general manager.

On May 1, 1882, J. H. Cragg became the manager at the Tabor Opera House. The following day, the “Leadville Daily Herald” announced, “J. H. Cragg has been appointed manager of the Tabor opera house, vice F. T. Osgood resigned. He began his regime last night” (2 May 1882). In 1880, F. Thomas Osgood was listed in the city directory as a teller at the Leadville Bank, as well as briefly managing the new Opera House. The news of Osgood’s replacement quickly spread throughout the region, and by May 6, 1882, the “Gunnison Daily News-Democrat” reported, “Lieutenant-Governor Tabor has appointed Charles J. Rowell his general business agent at the Tabor Opera House, J. H. Cragg becoming the new manager” (Vol. 1, No. 280). To clarify, Cragg was manager, but had nothing to do with the backstage area.

Change was in the air by summer 1882 at Both Tabor theaters. In August the building, auditorium, and stage in Leadville were undergoing the massive renovation. As the work neared completion, an article appeared in the “Leadville Daily Herald” announcing, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague” (August 23, 1882). By September 23, 1882, “Leadville Daily Herald” announced, “All the seats in the Tabor Opera House are being changed in position and when the work is finished they will be much more advantageously arranged than in the past, and there will also be some standing room.” This, combined, with the raising of the roof for better acoustics was a substantial project, especially for a relatively new opera house.

Changes were also occurring in the staffing at the Tabor Grand Opera House in Denver. During the summer of 1882, the house scenic artist left for greener pastures in Utah. Setting his sights on Salt Lake City, Henry C. Tryon headed west and remained in Salt Lake City next few years, painting an entirely new stock of scenery for the Salt Lake Theatre, as well as working on other projects in the area. During the fall of 1882, Tryon was still identified as “Henry C. Tryon, Tabor Grand Opera House, Denver,” but by the spring of 1883 he was credited as the official scenic artist for the Salt Lake Theatre. Tryon’s departure from the Tabor Grand created a vacancy for another scenic artist at the venue. Enter, Henry E. Burcky.

Burcky was a previous associated with Tryon in 1881, when the two worked together at the Opera Festival in Cincinnati. This was before Tryon headed west with his little brother Spencer to paint in Denver. When the Tryon Brothers left the Tabor Grand in 1882, Burcky filled the void left by the pair. The 1884-1885 publication of “Harry C. Miner’s Dramatic Directory” listed Burcky as the scenic artist for both of Tabor’s venues. Information for this listing would have been submitted to Miner’s Directory well in advance, sometime during 1883 when the directory was compiled for publication.

Back to the Tabor Opera House in Leadville…

As previously stated, Lamphere was credited with painting scenery for the Tabor Opera House 1879, and likely adding settings throughout 1880. He was in town long enough to meet and marry a local girl. Not all parts of stock collection were delivered prior to the opening of a venue. Pieces were added on as the season continued, based on the needs of each production.

Lamphere left Leadville about the same time that scenic artist Robert Hopkin arrived to paint the drop curtain for the Tabor Grand Opera House in Denver. The stock scenery for the Tabor Grand Opera House was partly credited to Hopkin and his son in 1881. Additional stock scenery was painted by Tryon and his younger brother Spencer Tryon. It is possible that any, or all, of the scenic artists working at the Tabor Grand scenery also painted settings for the Tabor Opera House in Leadville during the renovation, but I have yet to verify this as fact. However, the second stage manager for the Tabor Opera House (Sprague) was also an artist, and may also have painted some of the scenery for the renovated Tabor Opera House in 1882, hence only crediting Sprague with the new backstage arrangements. When Sprague left Leadville, the remainder of his career was spent as a painter, albeit in relative obscurity.

In terms of Sprague’s early work as a bill poster in Leadville. It may have been quick work to simply pay the bills upon arriving in Leadville. Many scenic artists accepted other work as bill posters, sign painters and decorative artists to supplement their income. As a bill poster in 1880, Sprague would have pasted up theatre bills and placards on walls or billboards, in addition to completing other small advertising projects that required painted signage. Interestingly, some of the oldest scenery at the Tabor Opera House is covered in bill poster patches. This is the first time that I have encountered a consistent series of scenic repairs with poster material. Whether it was done by Sprague or a successor, bill posters were a readily accessible material in a small western town, especially after a show left for its next town. Yet, bill poster paper remains an unusual material for nineteenth-century scenery repair.

Large bill posters were used as patches on the back of some nineteenth-century scenery at the Tabor Opera House.

Patch detail.

By 1881 Sprague was listed as a “stageman” for the Tabor Opera House. “Stageman” is an odd listing for the time. I have to wonder if it was intended to be “stage man,” an abbreviation for stage manager, just as “stage carp” indicated stage carpenter.

Although Sprague was not listed in the 1882 Leadville Directory, he reappeared in the 1883 directory as a “stage manager” for the Tabor Opera House. In 1884 he was again listed as the stage manager, just now residing at 202 W. 6^th. Keep in mind that “Stage manager” suggested an intimate knowledge and experience with a variety of backstage tasks that ranged from construction and painting to shifting of scenes and lighting of the stage. The nineteenth-century role of stage manager is very different from our conception of a production’s stage manager today. Nineteenth-century stage managers had a thorough and comprehensive knowledge of the art of the stage mechanism.

Sprague was still listed as the stage manager for the Tabor Opera House in 1885, but now he had an assistant- William James Moon. “Willie” Moon was listed as the asst. stage manager for the opera house in the Leadville City Directory. Both Sprague and Moon were living at 121 E. 7^th in 1885, although William J. Moon was still listed as living with his mother at 318 W. 3^rd. By 1886, Sprague was no longer listed in the Leadville city directory, and by 1888 Moon was listed as the stage manager for the Tabor Opera House. I have written about Moon in a past post. For more information, visit https://drypigment.net2020/10/10/travels-of-a-scenic-artist-and-scholar-w-j-moon-stage-carpenter-and-stage-manager-at-the-tabor-opera-house/

I’ll write more about Sprague’s life and career tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1124 – Thomas G. Moses and the Edwin H. Flagg Scenic Studio, 1921

In 1921 Thomas G. Moses worked at Flagg’s studio in Los Angeles, California. Sosman & Landis rented the paint frames for Moses to finish a large project for an upcoming event.

*From Flagg, the “Los Angeles Evening Express,” Feb 19, 1921, page 75*.

Sosman & Landis was nearing the end of its existence by 1921. Even though Moses would soon purchase the firm’s name, it would never regain its former glory as a nationwide leader in theatrical manufacturing and supply. Sosman & Landis competitors continued to win projects by underbidding the Chicago firm; one project after another. The studio’s position as one of the largest scenic studios in the United States was rapidly slipping. By 1920 six employees left to start Service Studios, taking with them knowledge regarding the strengths and weaknesses of their former employer. In addition to their departure, many other scenic studios were run by former Sosman & Landis employees. Competitors used their intimate knowledge of Sosman & Landis to their advantage. All the while, Moses kept plugging along, hoping for a resurgence of work and continuing to set his sights on large Masonic contracts. He bet on the wrong horse.

Meanwhile, Moses still had to rely upon an existing network of scenic artists and studios. There is always an interesting balance between maintaining business alliances and being taken advantage of by your competitors. Such was the case between Sosman & Landis and Flagg Studios in 1921.

*Edwin H. Flagg pictured in the “Los Angeles Evening Post-Record,” on Mar 12, 1919.*

Edwin H. Flagg ran two scenic studios; one in Los Angeles and the other in San Francisco. In 1921 the firm advertised that “90% of all stage equipment on the coast was provided by their studio” (“Los Angeles Post-Record,” 10 August 1921, page 16). They marketed themselves as the largest scenic studio west of Chicago.

The theatre industry is fickle, often forgetting its visionaries or innovators associated with what may be perceived as passing fancies. Unless scenic artists or leading studios were written about in history books, they disappeared; future generations never even learned of their existence. The life and career of great individuals were lost as time passed, erased from all institutional knowledge. Such was the case with Edwin Harvey Flagg (1878-1927).

Flagg was at the top of his career when Moses rented his paint frames in 1921. At the age of forty-three years old, he was a theatre producer, movie producer, designer and artist, running two massive scenic studios in California. Both of Flagg’s studios would be destroyed between 1923 and 1924, an inconceivable loss. His lifetime of work simply went up in smoke within the course of a year and he never regained his footing. Only three years after this devastation, Flagg passed away in Hollywood on September 19, 1927. He was only 49 yrs. old at the time and his contributions were quickly, fading from memory. In short, his legacy was lost.

*From the “Los Angeles Evening Express, 1921, Nov 10, page 16.*

Flagg’s obituary provides only a glimpse into his life and career. On September 20, 1927, the “Los Angeles Times,” announced,

“Edwin H. Flagg Artist, Expires.

Edwin H. Flagg, scenic artist and president of the Edwin H. Flagg Scenic Company, died Monday afternoon at Hollywood Hospital following an illness of three months. He came here from Denver about eighteen years ago and built an extensive business. He made the scenery for some of the largest and most important theatrical productions and at one time produced scenic work for all the houses of the Pantages circuit of theaters. Flagg leaves his widow and a young son, besides Mrs. Genevieve Chain, a daughter, Mrs. Margaret Olinger and Mrs. Hattie Hyde, both of Denver, sisters, and J C. Flagg, a newspaper publisher of Baltimore, a brother, formerly of Los Angeles.The funeral and will be conducted in Los Angeles and arrangements will be announced later (page 18).

For the past week I have reconstructed the life and career of Flagg, as told in newspaper articles and historical records. In a very short period of time, Flagg created a national identity and studio that eclipsed many other firms across the country, including Sosman & Landis. Unlike some studio founders, Flagg was always looking towards the future and reinventing himself, peddling a popular product to the next generation of clients. He was continually adapting during a time of unprecedented change in the theatre industry. As fabric draperies increasingly replaced painted versions, he expanded his services to secure the best and most unique textiles available; suspending them and lighting them in unique ways. He embraced innovative technology and incorporated it into new stage systems. During WWI, many on his staff worked for the newly developed camouflage trade, thus securing additional work as other projects diminished. Flagg Studios dominated new theatre construction immediately after WWI, always keeping an eye out for other projects on the horizon.

*Flagg’s studios did camouflage work during WWI. From the “Los Angeles Times,” Sept 2, 1917.*

The story of Flagg becomes symbolic of many scenic artists, those born the generation after Thomas G. Moses. His generation had to adapt to the ever-changing times, in many ways much more so than the generations of scenic artists before him. He was born during a unique period in American theatre. Flagg was not paralyzed by the “before-and-after” mindset, the same that plagued Moses and many of his colleagues. Flagg represented of an ever-evolving artistic mindset, constantly adapting to new demands in popular entertainment and figuring out how to make even more money.

Flagg was born on June 29, 1879 in Point Edward, Ontario, Canada. He emigrated to the United States in 1891 at the age of twelve years old. Beginning his career as a scenic artist, Flagg soon moved into theatre management. By 1897, he was listed a manager in an advertisement for “Bridget O’Brien, Esq.” at the Lyceum Theatre in Salt Lake City (Salt Lake Herald, 5 May 1897, page 4). Not much is known of his early career at this time, but he primarily remained in the Chicago area. Newspaper articles until 1904 would note Flagg as a Chicago artist.

*Management – Edwin H. Flagg. From the “Salt Lake Herald,” 5 May 1897, page 4*.

Flagg’s early history is difficult to decipher at best. On Jan 11, 1899 Flagg married his first wife, Harriet Myrtle Shriner (1878-1976) in McDonough, Illinois. That same year the couple moved west to Colorado and celebrated the birth of Harriet “Genevieve” Flagg, born in Denver on October 12, 1899. Despite their move to Denver, Flagg was still listed as a Chicago artist until he took up residency in Alexandria, Louisiana in 1903.

The earliest mention that I have located of Flagg as a scenic artist is from the “Pomona Daily Review,” in 1902. An article in the California newspaper reported, “Edwin H. Flagg had just completed his scenery painting at the Pomona Opera house, after a week of artistic work in scene painting and the production of clever advertisements. He left with his wife for Chicago this morning (“Pomona Daily Review,” 6 Sept 1902, page 2). His drop curtain, “The Harbor of Venice,” was described in detail; a Royal Palace towering above a river, with marketplace and gondolas below. While in Pomona, Flagg also painted a drop curtain for the Armory house (“Pomona Daily Review,” 4 Sept 1902, page 1).

Between 1903 and 1904, the “Edwin H. Flagg Company” was credited with delivering scenery and stage machinery to both the Old Concordia Theatre and New Park Casino in Little Rock, Arkansas. In 1903, the “Arkansas Democrat” reported that the Edwin H. Flagg Company was putting the finishing touches on the Old Concordia’s new stage equipment during a renovation (Arkansas Democrat, 12 Jan 1903, page 2). Flagg would return to Little Rock the following year and paint scenery for the New Park Casino (“Weekly Town Talk,” Alexandria, Louisiana, 21 May 1904, page 7). As with many scenic artists at this time, he ricocheted from one project to another across the country, constantly on the road

By the fall of 1903, however, he worked at Louisiana theatre that would forever alter the trajectory of his career. That October, Flagg painted scenery for the Rapides Theatre in Alexandria, Louisiana. He painted an asbestos drop and drop curtain, as well as a street scene, palace interior, kitchen interior, parlor, plain chamber, prison, garden and wood scene; standard fare for a small theatre at the time (Weekly Town Talk, Alexandria, 24 Oct 1903, page 12). Jack Auslet was stage manager for the Rapides Theatre, but by 1905 Flagg was listed as lessee and the manager of the venue; a position that he would retain until 1908 (The Town Talk, Alexandria, Louisiana, 15 March 1905, page 8).

Flagg settled in Alexandria, Louisiana between 1903 and 1904. He initially invested in a publishing company while continuing to paint. Alexandria’s News Daily listed Col. John C. Tipton as the editor and Mr. Edwin H. Flagg as the publisher for the new firm. (Weekly Town Talk, Alexandria, 28 1903, page 4).This is not really a surprise, as his brother, J. C. Flagg, also entered the publishing profession early on. At the time of Edwin’s passing in 1927, his brother was still noted as a newspaper publisher in Baltimore, Maryland. The News Publishing Company, Ltd. Of Alexandria was listed as a company specializing in the printing of newspapers, books and other works (Weekly Town Talk, Alexandria, 1 Dec 1903, page 1). This speaks to Flagg’s continued desire for diversification in work; an aspect of his career that would continue for the remainder of his life. This had also been the key for Sosman & Landis Studio from 1890 to 1900. Both Joseph Sosman and Perry Landis invested in a variety of endeavors, including lighting companies, stage machinery, touring productions. In a sense, Flagg picked up where Sosman & Landis left off, soon setting his sights on California. In hindsight, the future of Sosman & Landis was in California, but the company remained firmly planted in the Midwest. Even Moses recorded the pull, writing, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.”

Flagg, however, did make the plunge. In 1908, Alexandria’s “Town Talk” reported, “Mr. Edwin H. Flagg formerly manager of the Rapides Theatre, now of Los Angeles, Cal., was in the city last night and left this morning for New Orleans. (25 July 1908 page 6). Flagg moved to California and immediately invested in a scenic company, and then did the unthinkable; something that should have resulted in the end of his career.

In the spring of 1909, Flagg became a major shareholder in the newly incorporated Thompson Scenic company. He then immediately established a competing firm. In Thompson’s company was incorporated in April 1909. Shortly after incorporation, Flagg ceased active participation in the business and organized Edwin H. Flagg Scenic company. By Dec. 23, 1909, Thompson was ousted as president of the Thompson company, also establishing another firm – Charles F. Thompson Curtain Company. Both the Edwin H. Flagg Scenic Co. and Charles F. Thompson Curtain Co. were direct competitors with the Thompson Scenic Co., while still holding controlling interest in the firm (Los Angeles Herald, 26 Jan 1910, page 5).

A. J. Charlotte and J. D. Pitts sought an injunction against Edwin H. Flagg and Charles F. Thompson to prevent them from holding a meeting of the board of directors while engaged in completing businesses. However, within a year A. J. Charette was employed at the Edwin H. Flagg studio, representing the firm and even closing a drop curtain contract with the Pastime Theatre in New Mexico (“Albuquerque Journal,” 9 Feb 1911, page 6). In two years, the Edwin H. Flagg scenic company was one of the best-known scenic studios in the country, installing over $100,000 worth of theater scenery a year and employing a workforce of 30 artists.

Worked poured into Flagg’s studio and the company completed a series of contracts, decorating theaters and delivering stage scenery and stage fittings across the country. Projects included San Bernardino’s new playhouse, the Duval Theatre (Jacksonville, Florida), the Daisy Theatre (Montgomery, Alabama), the Pantages Theatre (Winnipeg and Oakland), Modesto Theatre (Modesto, California), Kinema Theatre (Los Angeles), Strand Theatre (Portland), New Billings Theatre (Montana), the Rialto (Phoenix), the Nile Theatre (Phoenix), the New California Theatre, and the New Yost Theatre. He also began working as a producer, establishing the Edwin H. Flagg Musical Company Stock organization at the Hip theatre, investing in a series productions elsewhere too.

Flagg completed projects and life at a rapid pace, even while driving. On October 18, 1913, the “Los Angeles Evening Post-Record” reported, “When Flagg isn’t manufacturing breath-snatching extravaganzas he’s doing some breath-snatching auto driving. As a result, he claims the record of having been pinched 57 times for speeding in 48 states” (page 12). Newspapers also reported that Flagg drove a Buick (Bakersfield Morning Echo, 22 May 1913, page 3). There is nothing quite like living life in the fastlane, until you encounter that first major bump in the road that results in a catastrophic accident.

The period of 1919 to 1921 was a highpoint for Flagg and his studios. He married his second wife, Patricia Manners. Manners was a musical comedy star and pupil of Mme. Aldrich (Los Angeles Times, 29 Dec. 1919, page 20). She was part of Flagg’s production “Did Doris Do It?” starring alongside Eddie O’Brien, Phillis Gordon and the Rader Bros. Manners also starred in Flagg’s “Too Many Wives” and “Maid of Waikiki” during 1919 (Long Beach Press, 7 Aug 1919, page 8). She was advertised as “the girl with an angel voice,” a stunning coloratura soprano. Flagg’s divorce from his first wife remains shrouded in mystery, but their daughter remained in the spotlight.

*Patricia Manners. From the “Long Beach Press,” August 7, 1919, page 8.*

In 1921 Miss Genevieve Flagg married James Delmore “Dell” Chain (1887-1963). Chain was a performer and one of the principals in the cast of “Sun-List.” (“The Town Talk,” Alexandria, 19 Oct 1921, page 1). Dell’s career continued to flourish in the 1920s, with frequent mention of his famous father-in-law. The same cannot be said for Flagg and his studios, as his life began to implode.

In 1923, Flagg’s Los Angeles studio was destroyed by fire. Two boys lit a small fire that grew, burning down an entire city block (“Sacramento Bee,” 14 July 1923, page 7). Flagg’s second studio went up in flames the next year, when a grass fire got out of control. Ironically, this second fire was intentionally set by city firemen (“Santa Cruz Evening News,” 4 June 1924 page 1). What’s the possibility of two unrelated and accidental fires destroying your life’s work? Three years after the second studio fire Flagg passed away. He was in the midst of rebuilding his enterprise but ran out of time.

*Flagg Studio advertisement in 1922. From the “Los Angeles Evening Express,” Feb 27, page 71.*

His work for the Rialto Theatre in Phoenix, Arizona, in 1921 deserves mention as it says a lot about Flagg and his business. For the 1921 project, newspapers reported that Flagg was given carte blanche with the venue(Arizona Republic, 2 July 1921, page 18). The article additionally noted that Flagg pulled his best, Ted Lange, from a Marcus Loew project at Seventh and Broadway, to work at the Rialto. The article reported, “Flagg took him off the job and sent him out to Arizona to get the Rialto up in shape so that his old-time pals “Rick” and “Harry” could say, “Boys, this is a Flagg House.” The article continued, “Edwin H. Flagg started life as a scenic artist so long ago…But Ed Flagg has not lagged behind all these years. He has kept abreast of the times, and 1921 sees him as the biggest decorator and stage expert in the west. Flagg even goes to Europe to show them how to equip stages. That’s the kind of man the R. and N. [J. E. Richards and H. L. Nace] firm brought in to add his bit to make a real theater…Edwin Flagg takes a lot of pride in what he has done for the success of the new house and the local firm is loud in their praise of him and his firm” (Arizona Republic, 2 July 1921, page 18).

*From the “Arizona Republic, July 2, 1921, page 19.*

To be continued…

Travels of A Scenic Artist and Scholar: John C. Alexander, Frank R. Alexander, and the Broadway Theatre

John Charles Alexander (1843-1908) worked as both a stage carpenter and stage manager at the Tabor Grand Opera House in the Denver venue during the 1880s and 1890s. Some credited him as the Tabor Grand’s master mechanic. Alexander’s knowledge about stage machinery and scenic appointments was critical for other Colorado theaters I the region, especially those that became part of the Colorado Circuit (later known as the Silver Circuit). John C. Alexander and his son, Frank R. Alexander, not only worked at the Tabor Grand, but also worked at other Denver theaters, including the Broadway Theatre, Orpheum Theatre, Denver Theatre and Elitch’s Gardens. The Alexanders worked in a variety of capacities and were listed with various titles, including property man, fly man, stage carpenter, and stage manager.

It is impossible to tell John’s story, without including that of his son, and vice versa. Even four years after his father’s passing, Frank’s story could not be told without mention of his father. On November 14, 1912, the “United Labor News” reported, “Frank Alexander, stage carpenter of Elitch’s Garden, has just returned from Larimie, Wyo., where he installed a full equipment for the new theatre in that city. Frank is the son of J. C. Alexander, who built the stage of the Tabor Opera House, and is one of the best carpenters in Local No. 7 of the Stage Employes. More power to you, Frank (“United Labor Bulletin,” Vol. 8, No. 41, May 16, 1914).

*John C. Alexander’s son, Frank R. Alexander (center) , working as a stage carpenter*

Building was in the Alexanders’ blood.

John Charles Alexander was the son of Robert Alexander (1804-1855) and Rebecca Russell (1807-1873). Born on July 4, 1843, John Alexander grew up in Toronto Municipality of Ontario, Canada. He was the seventh of nine children born to the couple, with his siblings being Eliza (1830-1848), Agnes (1833-1921), Samuel (1834-1864), Frances “Frank” W. (1837-1913), Robert (1838-1900), James (1839-?), Rebecca (1847-?), and Eliza Jane (1853-1909). Robert Alexander was a carpenter and four of his five sons followed him in the profession. John, Robert Jr., Frances, and James all emigrated to the United States and all entered a building profession. In 1884, brother Frank W. and John C. were listed in the Denver city directory. At the time Frank was a pattern maker for a foundry, a handy connection to have if your brother is stage mechanic, designing and building stage systems in the region. Keep in mind that stage mechanics were integral in the planning and construction of performance venues.

When John Alexander was eighteen yrs. old, he moved to neighboring York. In York he married Ann Louisa McClusky (b. 1850-1888) and by 1870 and the two were living in Chicago. Interestingly, US Federal census reports list 1865 as John’s initial year of immigration to the US. By 1872, Alexander was working in Chicago as a carpenter, likely a stage carpenter. John and Ann celebrated the birth of their first two children in Chicago: Francis R. (1870-1924). Anna Mae (1873-1954). The small family briefly returned to Toronto where their third child was born 1877, Ethelia “Etta” Rebecca (1877-1958). By 1880 the US Federal Census listed John and Anna L. living with their three children in Buffalo, New York. Alexander was again employed as a stage carpenter. Within two years, the family moved west and was living in Denver, Colorado. The 1882 Denver City Directory listed J. C. Alexander as the stage carpenter at the Tabor Grand Opera House, residing at 266 Weston. John C.’s brother, Frank W. Alexander, was also listed in the directory, now working as a “doortender” at the Palace Theatre. John and Ann’s fourth child, John Milton Alexander, was born in Denver in 1883.

For the next five years the Alexanders moved from one Denver residence to another. Despite the series of moves, Alexander continued to work at the Tabor Grand Opera House from 1882-1889, with his title changing from that of stage carpenter to stage manager. The Alexanders’ life changed dramatically, however, in 1888 when Ann died in childbirth. At the time, she was 37 yrs. old. Her newborn daughter, Anna L. McCloskey Alexander, also passed away only a few weeks later. This must have been a devasting blow to the close-knit family.

Her obituary was placed in the Rocky Mountain News on March 22, 1888:
“Anna Louise Alexander died on the nineteenth instant, after a brief illness. She was the wife of Mr. John C. Alexander, the stage manager for the Tabor Grand opera house. In her demise a most estimable lady is lost to a large circle of friends. She was a loving and faithful wife, and her motherly ministrations extended far beyond the portals of her own household. She was always generous and charitable, and her image will ever be held dear to those who were so fortunate as to have known her. She will be sadly missed by the employes of the opera house, who were wont to gather ’round her table and partake of the good cheer and hospitality which none better than she knew how to provide. She was 37 years old at the time of her death, and had been married sixteen years. She was the mother of three promising children, the youngest of which is four years old. She could look back on her sixteen years as a wife and mother as years of joy and happiness.”

John’s son, Frank R. Alexander, entered the theatre profession around this time and was officially listed as a property man at the Tabor Opera House in the 1889 Denver City Directory. For the next ten years, father and son often worked together at the same venue. However, between 1890 and 1891 there was a brief pause, a momentary parting the Tabor Grand. I believe that they left to work for William H. Bush during the planning and construction of his new hotel and theatre complex. Bush’s Metropole Hotel and the Broadway Theater opened in August 1890. On January 10, 1890 the “Solid Muldoon” reported, “Col. W. H. Bush’s Broadway Theatre and Apartment House, now being erected in Denver, will not be excelled or equaled in the Western country for a decade or two to come. The building will be ready for occupancy by August 1890, and then Denver can ‘point with pride’ to the grandest and most thoroughly appointed temple of amusement between the two oceans. The opening night should be made an ovation and benefit to Mr. Bush, whose energy and enterprise the ‘Queen City’ owes much more than so ordinary a demonstration calls for.” When it opened, Colorado newspapers proclaimed, “Good judges declare it one of the handsomest theatres in the world” (Delta Independent, 26 August, 1890, page 1). The “Delta Independent” described, “The interior finish and the furnishings are beautiful and the appointments are the most modern” (12 August 1890). The Broadway Theatre was in direct competition with the Tabor Grand. Bush and Tabor had a history.

The planning of the Tabor Opera House in Leadville began with William Bush, then owner of the Clarendon Hotel. Tabor was simply an investor. When Bush ran out of money, he asked Tabor for an additional investment. The final result was Tabor buying Bush and naming the new theatre the Tabor Opera House. Tensions increased between the two when Tabor built the Vendome Hotel in Leadville. The Vendome was a direct competition with Bush’s Clarendon Hotel.

Turn-about is fair play, and Bush funded a competing performance venue in Denver. The Metropole Hotel and Broadway Theatre complex directly competed with the Tabor Grand Opera House.

*Metropole Hotel and Broadway Theatre, Denver, Colorado.*

*Drop curtain painted by Thomas G. Moses for the Broadway Theatre in Denver. Denver Public Library Digital Collection.*

Sparing no expense on his hotel and theatre complex, Bush brought in a band of Chicago professionals that specialized in performance venues and stage technology. Designed by Col. J. M. Wood (1841-1907), the Broadway Theatre was advertised as the first fireproof theatre in the west. Similarly, the Vendome Hotel was advertised as the first fireproof hotel in the west. I have explored the career of Wood in past posts, as well as his establishment of the architectural firm Wood & Lovell in 1891. For more information, visit: https://drypigment.net2019/01/09/tales-from-a-scenic-artist-and-scholar-part-610-theatre-architects-col-j-w-wood-and-sidney-lovell/. By 1892, Wood was credited with having “devoted a great deal of time and study to the comfort, convenience, acoustic qualities and effect in the design and arrangements of opera houses, theaters and concert halls” (“The Bay of San Francisco,” Volume 1, 1892). Wood had repeatedly hired and worked with Sosman & Landis, specifically selecting Thomas G. Moses from the firm. The team took Denver by storm, and another link connected the Queen City with the Windy City. Although Alexander lived in Denver, he also had roots with the Chicago theatre community. It would have made sense for all involved to bring Alexander and his son onboard for the Broadway Theatre project.

Interestingly, John C. Alexander was not listed in the Denver Directory during 1890, and by 1891 he was simply listed as a bartender. This may have been a calculated listing at the time. The John C. Alexander listed as a bartender in the 1891 Denver Directory is the same as the stage carpenter, simply based on his home address. In the same 1891 directory, however, Frank R. Alexander was listed as the stage carpenter for the new Broadway Theatre. Whatever the reason for both Alexanders to not being associated with the Tabor Grand in 1891, both were back by 1892.

The 1892 Denver Directory listed John C. Alexander as the Tabor Grand’s a stage manager with his son as a stage carpenter, Their work for the venue was short-lived and by 1897 both Alexanders were back at the Broadway Theatre, each working as stage carpenters. John C. Alexander became the stage manager for the Broadway Theatre in 1898. Keep in mind that the Sherman Silver Purchase Act was repealed in 1893, financially crippling Tabor and forcing him to eventually his theaters.

I have explored the history of Denver’s Broadway Theatre in past posts, as Thomas G. Moses painted the original scenery. For more information, visit https://drypigment.net2017/10/07/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-231-thomas-g-moses-and-the-broadway-theatre-in-denver-color/

More about the Alexanders tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1121 – Thomas G. Moses and Balaban & Katz, 1921

In 1921 Thomas G. Moses wrote, “Some good work for Balaban and Katz gave us a variety.” I bet; Balaban & Katz movie palaces were in a league all their own.

Sam Katz, Morris Katz, Barney Balaban, and Abe J. Balaban joined together in 1916, establishing Balaban & Katz. The firm became well known for constructing a chain of ornate heaters for motion picture. In 1921 Chicago papers ran advertisements for “Balaban & Katz Wonder theatres – The World’s Foremost Amusement Palaces.” By the spring of 1921, the firm ran theaters in the north, west and south sides of Chicago. The Central Park Theatre was located at Roosevelt Road (12^th St) and Central Park Avenue; the Riviera at Broadway and Lawrence, and the new Tivoli at Cottage Grove and 63^rd Street.

*Balaban & Katz advertisement for the Tivoli Theatre, Riviera Theatre and the Central Park Theatre in Chicago, from the “Chicago Tribune,” 19 Sept 1921, page 13.*

When Moses mentioned work for Balaban & Katz at the beginning of 1921, he was likely referring to the Tivoli. Announcements for the new venues elaborated: “Tivoli Service, you are entitled to it! That’s the Balaban & Katz slogan which greets you from the screen of the wonderful Tivoli Theatre. And it means exactly that. Courtesy, comfort and care are dominating features of the Balaban & Katz theatres – the Central Park, Riviera and Tivoli.” Advertisements elaborated, “Fifty-three energetic ushers, nattily clad and in perfect esprit de corps, assist the thousands of visitors of the Tivoli theatre to commodious seats. Their conduct is precise and gentlemanly. They’re college and high school youths, for the most part, drilled by a military and theatrical expert to meet all emergencies” (Chicago Tribune, 7 March 1921, page 6).

*The Tivoli Theatre stage with settings by Sosman & Landis Studio of Chicago*

The 3,500-seat Tivoli Theatre at 6329 Cottage Grove opened on February 16, 1921. Designed by the architectural form of Rapp & Rapp, the theater was two stories high and fashioned in a French Baroque style, decorated and furnished by the Mandel Brothers with draperies of rose silk plush, and velours. There was even gold cloth with heavy applique work and studded jewels. The colors of magenta, turquoise, green, cream and gold tones were found throughout the lounge, mezzanine and promenades. The lobby’s ceiling mural was even intended to resemble the Sainte-Chapelle at Versailles. Marble and gold leave permeated every nook and cranny of the space, living up to the purported $2,000,000 price tag.

That fall Balaban & Katz opened the Chicago Theatre on October 26. Of the $4 million endeavor, newspaper advertisements billed the Chicago Theatre as “Wonder Theatre of the World.”

Larger than the Tivoli Theatre, the Chicago was a 5,000-seat venue that operated as a combination house. There was a full stage with complete scenic and lighting systems. The presentation department prepared elaborate prologues and other scenic effects for motion picture presentations. Here is a link to some lovely photos and a write up about the Chicago Theatre by Mike Hume at historictheatrephotos.com (https://www.historictheatrephotos.com/Theatre/Chicago-Theatre.aspx).

These opulent stages embraced the use of sumptuous fabrics and dimensional details for not only the building, but also for the stage. In many ways their appearance signaled the definitive shift from painted ornament to dimensional ornament in stage art. Although scenic studios still produced an abundance of painted illusion, change was in the air, as the largest projects began to embrace the skills of the interior decorator much more so than the scenic artist. There is a notable shift from scenic art to scenic craft for many projects by the 1920s. The “variety” that Moses mentioned about the Balaban & Katz projects in 1921 would permeate the industry and become standard.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1101 – Henry C. Tryon and the Salt Lake Theatre Renovation, 1883

The Salt Lake Theatre renovated their stage in 1883, adding a fly loft. Henry C. Tryon left the Tabor Opera House in Denver and traveled south to Utah for this and other projects.

Salt Lake Theatre ticket from 1883. Utah Department of Heritage and Art, Theatre Programs Collection, 1866-1995.
https://collections.lib.utah.edu/details?id=549570

On Feb. 2, 1883, the “Deseret News” presented “important interior improvements” at the Salt Lake Theatre. (page 3). The article reported “Everything is being reconstructed in harmony with the latest and best metropolitan ideas. The immense stock of scenery is being duplicated on new materials. There will be painted 45 “pairs of flats,” 172 wings and set doors, 50 “borders” and “set Pieces ad infinitum. The mere matter of canvass alone will cost over $2,000 and the entire expense will be more than sufficient to build an ordinary theatre. A new “rigging loft” is now being built 15 feet higher than the [resent one, and as soon as it is finished the old one will be torn out and the entire height will be great enough to raise the new drop curtain bodily up without rolling. Everyone of the scenes put upon the stage will have a height of 15 feet greater, and apparently the difference will be still more.”

This was a monumental project and the article continued, “In order to arrange the mechanism and thus gain these advantages, much must be done, and in this case, owing to the necessity of rearranging all the girders, beams and supports of the roof, it requires some nice mechanical calculation, which the ordinary observer even would perceive were he to see the work in progress.” Local architect Henry Grow (1817-1891) was selected for the task, and assisted by William Ridd. He was a Latter-day Saint builder and civil engineer, responsible for the Salt Lake Tabernacle.

The managers of the theater were J. T. Caine, H. B. Clawson and David McKenzie. Of the renovation project, the article noted that Mr. Clawson was personally attending to the work. And, here is the interesting paragraphs to read… “Mr. Clawson is personally superintending all this work and, seeing clearly the result ahead, has entered into it with enthusiasm and vim. He is really the motive power in the affair, and it will be found to be only another example of the fact that he does not trouble himself about small matters, but carries important ones to their full and proper conclusion.”

Three month later the “Salt Lake Herald” announced that Tryon “was given carte blanch to follow his own sweet inclinations,” in regard to the scenery and stage machinery renovation on stage (12 May 1883, page 8). From January until May of 1883, Tryon transitioned from freelance scenic artist to the scenic artist on staff at the Salt Lake Theatre. While painting for the nearby Springvale Music Hall, the San Francisco Opera offered Tryon a scenic art position. Tryon shared this offer with the local newspapers, as well as the Salt Lake Theatre. Although Tryon had worked on new scenery for the Salt Lake Theatre since fall 1882, he had no official position at the venue: this changed in early 1883.

On May 12, 1883, the “Salt Lake Herald” reported:

“STAGE EFFECTS.

How the Stage of the Theatre has Been Metaphised.

Since the coming of Mr. Henry C. Tryon, to Salt Lake, the patrons of the theatre have enjoyed a series of the most agreeable and delightful surprises, which have crowded upon each other in rapid succession. These surprises being the many superb scenes from his masterly hand. But one portion, however, of Mr. Tryon’s labor and suggestions have been invisible to the public, until last night., when, the “snap” was given away, and the work which it has taken months to accomplish was displayed to the public. This at once became a matter of general conversation and all expressed their admiration of the marvelous change that had been wrought. A brief description, however, will be of as much interest to the public at large and afford the same pleasure it did to those who were present last night. It may be well to state right here, that this new feature makes the Salt Lake Theatre the equal to any building in the country for the production of scenic effects and magnificent displays.”

And here is the description of the renovation that is worth noting:

“The stage of the theatre in width and depth is one of the largest in the country, but a portion of this great space has heretofore been practically useless, owing to the fly gallery projecting more than was necessary, thus materials cutting off the width of the scenery. At the back of the stage was a wall partition with an opening in the centre and the space in the rear was used as a storage room for the storage of scenery not in use. These partitions have been torn down and the depth on the stage increased by twenty feet.”

“A serious defect under the old arrangement was that fact that fifteen feet in height (immeasurably important in scenic manipulation and effect) was rendered valueless by a plaster ceiling. This desirable space has been entirely lost to the stage and scenic equipment. By cutting out the ceiling referred to, a height of sixty feet from the stage has been obtained, which is not only sufficient to give room in which to take up the drop curtain (to be painted) bodily, without rolling, but affords ample room for any stage purpose whatever. If the audience sat at the theatre last night, who saw the enormous foliage borders which, starting from the tops of the wings, filled up the space visible through the lofty proscenium opening, will consider the height necessary to pull them up and out of sight, they can readily understand the value and necessity of a rigging loft. In building this there were some peculiar mechanical difficulties to overcome, owning to the fact that the roof, in great measure, was supported by beams from the former ceiling. These supports had t be entirely readjusted, and Mr. Henry Grow carried this part of the work to an entirely successful conclusion. To sum up there has been the entire change in the arrangement of everything connected with the stage, the management wisely concluding that everything had been wrong and nothing right; while now there is not a theatre in the land with features of any great importance not possessed by this.

“The same sweeping changes have been made in the scenery have been made and are now being made in the scenery and by the time the management call the house complete, not a foot of old scenery will remain, and the Salt Lake Theatre will be as thoroughly equipped in amount and in artistic quality as any other. The credit for pushing these improvements to so successful an issue is due to General H. B. Clawson, whose instructions to those employed have been to make everything as complete as the most perfect theatre can boast.

Of course we say nothing here of the improvements that are to be effected in the auditorium, as this will be palpable to the public from time to time as they progress. The management of the Theatre is to be complimented no less of the energy and liberality with which it has had the work here referred to prosecuted, than in the choice it has made of the person by whom these improvements have been brought. At the time Mr. Tryon came here the improvements were contemplated and already commenced, but he so thoroughly entered into the idea of the management and showed such consummate knowledge of stage machinery as well as scenic effects, that the task was immediately resigned into his hands and he was given carte blanche to follow his own sweet inclinations. How well Mr. Tryon has acquitted the task assigned him, every patron of the Theatre and every lover of art already knows. Such effects as have already been wrought by his brush have never been seen here, and rarely anywhere else. He is essentially a scenic artist – a genius in his line – an indeed he is an artist in the highest sense of the word, his superior taste and unerring judgement being recognized no less by his associates as the Theatre than by members of the art fraternity of this city. It is not surprisingly therefore, that a man possessing his unusual talents, and having withal so large experience, should be capable of working such rapid changes, that the troupe now performing at the Theatre, which here about three weeks ago – expressed the utmost astonishment at the wonderful alterations that had been effected in the theatre during so brief a period. The delicate taste, the blending of colors, the peculiar character which belongs to each scene and which marks it from every other scene, all give evidence of the master hand and of the thoughtful artist; and cause his handwork to be admired by those who, unlearned in the details of the glorious art, are nevertheless sensible to its beauties, as well as by those cultivated taste and of experience.”

By the time Tryon’s drop curtain was unveiled, his notoriety had increased substantially throughout the western region. His drop curtain for the Salt lake Theatre was pictured in George D, Pyper’s 1937 book, “The Romance of an Old Playhouse.”

*Henry C. Tryon’s drop curtain for the Salt Lake Theatre, included in Geo. D. Pyper’s book, “The Romance of an Old Playhouse.”*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1091 – “A Reform in Scenery” by Henry C. Tryon, 1884

Yesterday’s post included an article written by Henry C. Tryon and published in the “Chicago Tribune” on Dec. 28, 1884 (page 14). The headline was “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago.” On Dec. 19, 1884, Tyron wrote penned a response to a letter entitled “Violations of Taste in Scenery. His response was published on Dec. 21, 1884, the “Chicago Tribune” in the Amusements section (page 24). Enjoy.

AMUSEMENTS.

Why Scenery in Chicago Theatre is Shabby and in Bad Taste.

THE DRAMA.

A Reform in Scenery.

An article on the subject of scenery which was published in these columns last week protested chiefly against outraging the fundamental principle of dramatic art by mingling real with unreal conditions, and incidentally pointed out other violations of taste in matter of stage accessories. In this connection a local scenic artist writes an interesting letter wherein he supplements criticism by facts from the workshop and throws light upon the practical phases of an aesthetic question. From what he says it must be plain that artistic scenery is likely to be revived only with the stock system, and that many of the present abuses are to be attributed to the vulgar ambitions of mercenary motives of managers. Any idea that will occur to many after considering his statements is that the names of scenic artists should be put on the programs of the theatres. The letter, which in the opening sentences draws the inferences that are somewhat strained, is as follows:

“Chicago, Dec. 19.-[Editor of the Tribune]-

“As there was nothing in the dramatic line during the last week which calls for particular attention – no plays worth discussing and no acting of any consequence- the subject of scenery must be lightly touched upon.”

This is the introduction to an article in the amusement column of last Sunday’s Tribune, headed, “Violations of Taste in Scenery,” which reads as though the writer did not consider the matter of scenery to be of sufficient importance to be noticed on its merit, but simply as a means of filling his space, lacking other material.

It seems too bad that so important an element of theatrical representations should be considered to be so little of general interest, but it is a sign hopeful for scenic improvement that he has taken occasion to write on the subject whatever the cause of his doing so. He has evidently given it considerable thought, and in the right direction too. The points he makes are all true, but he possibly errs in his location of the responsibility for “violations of taste in scenery.”

He says that “since Mr. Irving’s tour through this country managers have awakened to the importance of providing the stage with suitable accessories,” and regrets “that so laudable an intention cannot be fully carried into execution.” Why not? Who is to blame? If the managers are desirous of mounting plays in an elegant manner, why don’t they do it? Because the public don’t appreciate it. And as managers conduct their business for profit, they are naturally not disposed to spend money in producing art work which will not be noticed by the public or by the press.

For eight years at one of the theatres in this city plays were mounted in a manner superior to that of any house in America and the painting was not excelled in the world. Yet it is doubtful whether 5 per cent of the play-going public of Chicago were aware of the fact – well known and universally conceded by the entire theatrical fraternity. Probably not 1 per cent of the patrons of that house knew the name of the artist or cared. The newspapers certainly took no great pains to direct attention to him or his work.

Every person in this country at all interested in theatre, whether he has ever been in New York, or not, from frequent newspaper repetition is familiar with the fact that plays are magnificently mounted at the Union Square Theatre. Here is a case where the newspapers and the public value genuine art work, and the management, finding that it is looked for an appreciated, is willing to spend the money necessary to produce it; and the artist at that house, with his three or four assistants (each a competent artist), has three months, and sometimes more, in which to get up the scenery of a piece. How is it in this city? Three or four days is the usual time left after the ‘scene plots’ are placed in the artist’s hands, and he considers himself lucky if he gets a full week.

But this is not the worst difficulty of the artist. Canvas and lumber are expensive, and the manager is not willing to provide them; consequently, the artist is obliged to use the old stuff. A general overhauling is made of the stacked-up scenery, and anything will do which is near the size of what is required – the shape doesn’t matter. It is put on the frame and it is the artist’s business to paint a row of tents on a square piece of stuff and get along the best he can. Of course, no artist can alter the form of the set piece to deceive the public. It is still obtrusively a square piece of framework and canvas. The same set pieces have done versatile duty in most of the theatres here for years.

Again, the traveling combinations get most of the money that comes into the house, and if they cannot draw on their own merits the manager feels that it is not justifiable business policy to increase his expenses when this will not add proportionately to his receipts. How can the public expect proper scenic mounting under such circumstances?

If the newspapers in this city would notice scenery in detail, giving proper credit to the artist, naming him when he does something well, and condemning him if he does something badly (if it is his fault, which the dramatic critics should take pains to ascertain) they would soon and that the public eye would be turned in the same direction, and managers would then be glad to do what your dramatic critic thinks they are now anxious to do, but which they are not.

As long as the public pass unobserved as artistic production and applaud a trick, managers whose business it is to cater to the public will give them what they want. Audiences will clap their hands with delight at a skillful mechanical change of scene or an illuminated boat crossing the stage on “set waters” with the wheels turning around; a locomotive running across the stage, or the moon passing behind the clouds with the flicker on the water – mechanical tricks which have nothing to do with art. They don’t care anything about art. They don’t know it when they see it. Was Malmsha appreciated here while he lived?

A boxed-in parlor, with a multiplicity of angles loaded with “properties” like a bric-à-brac shop, pleases the public, therefore pleases the manager, and consequently has to please the artist. It goes that way, anyhow, whether he likes it or not.

An artist may paint an arch ever so characteristic and beautiful. Nine time out of ten his manager or the manager of the visiting combination will insist upon hanging curtain in front of his architectural work. The draperies borrowed from some furniture store and the elegant brass rods which sustain them must be displayed to their best advantage, and the protests of the artist are unheard.

No matter how an interior may be painted, if it is literally covered with elegant borrowed furniture, covering all the character in the scene, the “set” delights all. No matter how elegant and artistic the scene may be, without this trumpery it attracts no attention from anybody, and this is the first time any newspaper in Chicago has noted this. The artists are glad of it, even though it has been made the occasion for an undeserved attack upon their taste.

In Europe and in the leading theatres in the East the scenic artist has entire charge of everything that makes up the stage picture, limited only by the requirements of the “business” of the play. This properly and naturally, should be the case in this city, but practically he is overruled just enough to call forth the objections of right-thinking and discerning critics. Your dramatic editor has got the correct idea, and he has only to note violations of taste and encourage managers and artists by also noting exhibitions of taste as they occur, and he will influence the theatre people to take such care as in the Eastern cities.

Could the managers be assured of the same recognition of true art work as the Union Square Theatre constantly received there is no doubt but they would be glad to make the same efforts here, and the public would then find that the artists are here, and have been all the time, and it is not their fault nor their lack of ability that has prevented the proper mounting of plays heretofore. If the artists now in Chicago could have the opportunity of producing anything like what we are capable of doing the discerning public would be astonished at their artistic ability, now practically latent.

It is undeniable that our people have made great strides in art culture in the last few years, and if their attention is properly directed in the matter there is no doubt but that they will soon become as appreciative of true art in stage pictures as they are now in home decorations.

-H. C. Tryon

On the same page of the “Chicago Tribune” article above, an announcement reported, “Apropos of the subject of scenery, The Haverly Theatre recently burned a large number of old “sets,” their destruction being the only guarantee that they would not at some time be pressed into service.” (21 Dec 1884, page 24).

To be continued…