On Sept. 8, 2023, I boarded a plane in Minneapolis, Minnesota, for London, England. Mike Hume, Rick Boychuk, and I were presenting papers at the Tyne Opera House and Theatre Conference: Victorian and Edwardian Theatre in Performance, Music & Machinery – Stagecraft & Spectacle, scheduled for Sept. 13-15.
We planned our itinerary to include a few historic theater stops, both before and after the conference. When all was said and done, we visited fifteen theaters over the course of ten days.
In London, the Globe Theatre was our first stop on the morning of September 10.
Mike Hume, Wendy Waszut-Barrett, and Rick Boychuk at the Globe Theatre, London, England.
The Globe Theatre, London.
Painted details at the Globe Theatre.
Painted details on the Globe Theatre stage.
More painted details.
The Globe Theatre stage.
The stage ceiling at the Globe Theatre.
Arriving a few days before the conference also gave me a chance to meet London-based scenic artist, Grit Eckert. Eckert and I virtually met in 2018. We both share a passion for historic scenic art and had been corresponding about people and processes for a few years. In addition to finally getting to meet Eckert in person, she was also presenting a paper at the conference. In fact, I was the chair of her panel on Sept. 15; a panel composed of Eckert, Jim Davis (Professor of Theatre Studies at the University of Warwick), and John Plunkett (Associate Professor, Department of English, University of Exeter).
Eckert is a PhD candidate at the University of Bristol. She started her professional life as a scenic artist in the workshops of a regional theatre in Germany. She moved to England to study Scenic Arts, and over the past two decades has examined scene painting practices from various different angles. Eckert both works as a scene painter and instructor. Like me, Eckert is fascinated with the history of the trade and those scenic artists who came before us.
Later in the day, we went backstage at the Theatre Royal, Drury Lane. Hume had arranged a private tour with Michael Biglad Burgess-Shaw, Head of Stage. With a little time to spare, we wandered around a bit, visiting the Tate Modern, peering into the paint shop windows at the National Theatre, passing through the central courtyard of Somerset House, wandering into the Savoy, and strolling by the Vaudeville, Adelphi, Coliseum, and Garrick Theaters. After all, it is the Theatre District. We made our way back to Drury Lane, and eagerly waited to meet Biglad at the stage door.
Mike Hume, Wendy Waszut-Barrett, Grit Eckert and Rick Boychuk.
On November 30, 2022, I received a FB message from Robert Van Dillen, a St. Louis-based scenic artist. He asked if I would consider being guest speaker for an upcoming scenic art event in St. Louis, tentatively scheduled for the beginning of 2023. Van Dillen explained that there was a group of local scenic artists who wanted to see the St. Louis Scottish Rite scenery collection before the building was sold. Unfortunately, the tentative date coincided with my trip to the Galveston Scottish Rite. We looked at a couple of possibilities, and then scheduled the event to coincide with my March trip to USITT.
My last visit to the St. Louis Scottish Rite theatre also coincided with USITT in 2017. This is a remarkable scenery collection delivered by Toomey & Volland, of St. Louis. I spent much of the conference documenting the scenery, stage machinery, and building.
Tomoey & Volland Studio stencil on the back of a Scottish Rite backdrop.
Just prior to the conference, I documented the gridiron with Rick Boychuk and Richard Nix.
High above the St. Louis Scottish Rite stage with Rick Boychuk and Richard Nix in 2017.
One of many photos from my trip to the St. Louis Scottish Rite Theatre in 2017.
On this trip, I arrived at the St. Louis Scottish Rite by 9AM on Sunday morning, March 19, 2023. I was accompanied by my close friend and colleague, Jenny Knott. Alessia Carpoca, Mike Monsos, and Martha (University of Montana – Missoula) soon joined us, as they had an early flight to catch; one that prevented them from staying for the entire presentation. From 9-10:30 a.m., we shifted furniture, set up the power point, and double checked the lines. I wanted to make sure that everything was in working order for my presentation. This also provided Mike, Alessia, and Martha, with the opportunity to see some of the drops before their early departure. I am very grateful to Mike for handling the operating lines during this time!
At 10:30 a.m., I gave a quick power-point presentation to provide some context, placing what we were going to see within the context of American scenic art and theatre history. By “quick” I mean thirty minutes! Then we brought in one scene after another for the next three hours. By 2 p.m. I called it quits, due my impending flight and grumbling stomach. We grabbed a quick bit to eat and then I was on my way to the airport.
The St. Louis Scottish Rite Theatre is a sight to behold. It is a three-thousand-seat auditorium that boasts a 90’-0” wide proscenium opening.
The St. Louis Scottish Rite auditorium. Looking up into the flies at the St. Louis Scottish Rite. Scenery by Toomey & Volland Studios, c. 1923.
The size and scope of this Masonic scenery collection is almost unparalleled, with the McAlester Scottish Rite from 1929 being a major contender. There are 147 line sets, with stage machinery and scenery produced by the Toomey & Volland studio in 1923. There are a few drops that pre-date the building, a couple more that were delivered in later years.
The Scenic Studio where the St. Louis Scottish Rite scenery was painted in 1923.
Sadly, this may be the last time I get to visit and examine this remarkable scenery collection. Like many massive Masonic buildings, it is up for sale. Rumors of a sale had already begun in 2017. This is not surprising, considering a series of obstacles faced by many fraternal organizations; challenges that range from declining membership and insufficient funds to high utility bills and a long-term practice of deferred maintenance. My only hope is that when the building is sold, the scenery is somehow preserved for future generations. This collection really needs to be professionally documented, complete with lights and props, before it disappears.
Many thanks to Rob for organizing this event. I also want to thank his wonderful colleagues who so warmly welcomed me to St. Louis. I am grateful that we were able to share this experience together.
Here are a few pictures from our day at the St. Louis Scottish Rite.
A painted scene at the St. Louis Scottish Rite. Scene by Toomey & Volland Studios, c. 1923.Metallic strips that make the foliage sparkle under stage light.My host, Rob Van Dillen behind a section of theatrical gauze.Scenic artists at the St. Louis Scottish Rite. March 19, 2023.Scene by Toomey & Volland Studios, c. 1923.Changing scenes at the St. Louis Scottish Rite. March 19, 2023.A few of the scenic artists who gathered at the Scottish Rite on March 19, 2023.Scenic Artists at the St. Louis Scottish Rite on March 19, 2023.Painted detail from the carpenter shop scene at the St. Louis Scottish Rite. Landscape backdrop at the St. Louis Scottish Rite. March 19, 2023.Painted detail from a landscape drop at the St. Louis Scottish Rite. March 19, 2023.Painted detail from a landscape drop at the St. Louis Scottish Rite. March 19, 2023.Painted detail from a drop at the St. Louis Scottish Rite. March 19, 2023.The Camp Scene at the St. Louis Scottish Rite. March 19, 2023.Scene by Toomey & Volland Studios, c. 1923.
My recent scenery restoration project at the Louisville Scottish Rite Theater began three years ago in 2019. These projects are often years in the making, and it really takes the right person to set the ball in motion. I have watched scenery collections crumble from both indecision and poor stewardship. Time is often of the essence when historic scenes start to fail. Scenery that survived decades against an upstage wall can rapidly deteriorate over the course of a few years if the conditions are right.
My initial visit to the Louisville Scottish Rite was a side trip while attending USITT (United States Institute of Theatre Technology). Whenever I attend the annual conference, I try and schedule a visit to a nearby Scottish Rite theatre or historic opera house. These side trips provide me with an opportunity to learn and document “just one more” scenery collection.
Visiting the Louisville Scottish Rite during the USITT conference in 2019.The Louisville Scottish Rite Auditorium.The Louisville Scottish Rite.
The only day that I could photograph Masonic scenery while attending USITT in 2019 was on Wednesday, March 20. Preparations for the Scottish Rite reunion were scheduled to start the next day. I had from 9AM to 3PM to document as much as possible and make my way back to the convention center for a meeting.
I must have made an impression, as the Louisville Scottish Rite hired me that fall to assess the collection. I was contracted to compile condition reports, historic analyses, and replacement appraisals for each drop in the collection. My documents that December were so well-received that I was asked to visit Louisville and present my findings at a special event.
The Egyptian Setting for the 31st degree was one of six settings featured during my presentation on March 7, 2020.
On March 7, 2020, I was the guest speaker for Family night at the Louisville Scottish Rite. I gave a presentation about their historic scenery collection, tracing the history of Masonic scenery in the United States and placing the Louisville Scottish Rite scenery collection withing the context of American theater. At the time I was also asked to work as an historical consultant for upcoming interior renovations throughout the building. After speaking at the Scottish Rite in Louisville in March 2020, the pandemic put everything on hold.
March 2020 – May 2022
Eventually, I lost touch with the Louisville Scottish Rite and moved onto other projects, yet the Louisville Scottish Rite scenery collection continued to lurk in the back of my mind. Surprisingly, Randolph Starks, Secretary of the Louisville Scottish Rite, reached out again last spring. On May 2, 2022, I received the following text: “Hi Wendy. It has been a very long time since we spoke, but I have enjoyed seeing your Facebook posts, the reports of your travels, and the images of your beautiful artwork. I would like to renew our conversation about you providing advice and guidance on some renovation and painting of our Scottish Rite temple. Let me know when you would be available to schedule a phone call to discuss this.” I received this on the same day that my mother went into the ER, so our conversation was again placed on hold for a few more months.
Stark contacted me again on June 29, 2022, but for another reason.
I received a series of pictures of the Egyptian cut drop, with the text message, “Hi Wendy. We just discovered this damage to this scenery drop today. I don’t know how it happened. I would like to know if it would be possible to repair and restore it.”
Damage to the Egyptian Cut Drop at theLouisville Scottish Rite.Damage to the Egyptian Cut Drop at theLouisville Scottish Rite.
My response was, “Yes. You will need to take the drop down, or damage will continue- I am mid-project, but can chat tomorrow afternoon.” Realistically, I was in no position to take on another project and knew that I would have to mostly advise from afar. Starks gathered a team to lower the drop, and I then directed its preparation for short-term storage, until I could travel to Louisville that fall. We tentatively scheduled my visit for November. I would not only repair the scene, but also advise on some upcoming interior renovations. I was also scheduled to again speak about the history of the Louisville Scottish Rite scenery (another Masonic event on Nov. 10, 2022).
Repairing the Egyptian Cut Drop
Unfortunately, there were a series of obstacles to overcome before rolling and storing the cut drop to await my future repairs. The first obstacle was removing wood from the backside, as several “stiffeners” were glued to the cut edge. Many cut drop openings without netting for support curl over time. As a preventative measure, some scenic studios attached wood stiffeners upon installation. These stiffeners were frequently thin strips of pine that were secured to the drop with a strip of glued muslin. Removing an original stiffener is often simple, as the fabric and wood easily peel off of the fabric.
Over the decades, Masonic stage crews tried to replicate this technique. Unfortunately, instead of using thin strips of light-weight pine, they improvised, using a variety of hard woods and solvent-based or inappropriate adhesives. Over the years I have encountered oak strips attached with contact cement (Wichita, KS), lathe attached with wood glue (Fort Scott, KS), yard sticks attached with plaster of paris (Fargo, ND), just to name a few.
Patch on a cut drop at the Scottish Rite Theatre in Fargo, North Dakota.
In Louisville, however, an enterprising Mason opted for a black substance that looks like coal-tar pitch; this was a new one to me.
Photograph sent to me by Jordan Morgan, showing stiffeners attached with a black adhesive.Wood attached to the backside of many cut drops at the Louisville Scottish Rite.
In addition to the stiffeners, ¼”-thick black flexible foam was secured to all of the cut edges with spray adhesive. Sadly, I have encountered this before too, at the Scottish Rite in Cheyenne, Wyoming. Although it works in the short term, it wreaks havoc when repairs need to occur. In Louisville, a solvent-based spray adhesive was used, partially melting the foam and permanently affixing it to the backside of the drop.
Removing the flexible foam from the Egyptian cut drop.
And there was one more thing…
The original netting in the cut opening was replaced with plastic netting that was hot glued on.
Plastic netting attached with hot melt glued, placed over original cotton netting.
Although I feel like a broken record, constantly repeating myself, here goes…NEVER use hot melt glue on historic stage scenery. Hot melt glue has no place in historic preservation, as it severely damages fragile fabric, embedding itself in the fabric’s fibers. Often the hot melt glue is even visible from the front, marring a once beautifully painted composition. Attaching anything to historic scenery with hot-melt glue makes the repair irreversible and flammable. It is especially unfortunate if the new netting is plastic or poorly positioned in the cut opening. Both were the cases with the Egyptian cut drop at the Louisville Scottish Rite. When conducting the initial examination of the scenery, I recognized that the plastic netting would have to remain, as there was so much hot melt glue applied to the fabric that it is now permanently affixed to the cut drop.
The stiffeners, foam, and plastic netting prohibited any expedient storage of the scene last summer until my fall arrival. Fortunately, one diligent Masonic volunteer, Jordan Morgan, spent over thirty-hours removing both foam and wood. Despite his diligence, some areas were left for me to deal with once on site. As I expected, removing the foam and stiffeners could not occur without damage to the painting and fabric. Some of the foam remains firmly adhered to the cut drop.
Egyptian cut drop with flexible foam around cut openings.Removing the flexible foam.
My trip to repair the scenery was slotted for November. During my stay, I would not only fix the damage to the cut drop, but again speak as a guest lecturer and continued to function as a historical consultant for a few anticipated interior renovations.
On the afternoon of Nov 8, 2022, my plane touched down and I was off to the races. This was well after casting my vote at 7AM; it was election day, and I was thankful that the Minnesota polls open so early. After renting a car, checking into my hotel, changing into work clothes, and driving to the Scottish Rite, I began the slow process of setting up the workspace. Once everything was set, I carefully unrolled the damaged cut drop and assessed the damage, simultaneously planning my attack. Despite the dozens of pictures that were sent, nothing replaces examining the damage in person. I went to bed that night, weighing the pros and cons of various approaches to the damage.
The Egyptian cut drop on the stage at the Louisville Scottish Rite.Beginning the repair
Arriving at the Scottish Rite the next morning, I met my onsite assistant, Jordan, and we began the painstaking process of cleaning both the cut drop. This is necessary before any fabric repair.
Cleaning the backside of the fabric prior to repair.
I focused on the biggest damage, before tackling the dozens of small punctures. By midmorning, I realized that the project would go far beyond patching visible damage. I had to do some preventative care – placing vertical reinforcement strips on every seam and weak area. The culprit of the anticipated damage? Flame retardant.
Split seams caused from repeated applications of flame retardant over the decades.
A repeated application of flame retardant often causes the greatest damage to historic scenery; it is like giving the drop cancer. Applying different flame retardants over the decades creates a toxic environment for the fabric and the very fibers begin to break down. Therefore, I need to help support the fabric so that the weight of the fabric will not cause stress that results in tears.
Now, I was dealing with a few different problems. The central portion of the drop is much older than the top and the bottom; the oldest portion dating from the previous building, c. 1910. Toomey & Volland Scenic Studio records indicate that scenery was delivered to the Louisville Scottish Rite in 1910.
Original fabric (below) and fabric extensions (above) added in the 1920s.Original fabric (below) and fabric extensions (above) added in the 1920s.
These drops were later refurbished, enlarged, and installed in the current building during 1923. Over the years, there have been several alterations made to the collection. Initially, the top sandwich batten was removed and replaced with jute webbing and ties lines. This likely occurred when the 1910 scenery was refurbished and moved into the new building. The first-generation bottom sandwich battens were replaced with pipe pockets at this time too.
Flexible black foam attached to the cut edge with spray adhesive.
However, over time, as the pipe pockets failed, ripping off, second-generation pipe pockets were added, the latest being thick, clear plastic that was glued to the back.
Plastic pipe pocket glued to the back of a Louisville Scottish Rite backdrop.
Additional scenery was purchased from Volland Studios between 1951 and 1952, then again in 1968.
Additional repairs, fabric reinforcements and attempts to consolidate loose pigment occurred continuously over the decades. For example, olive green edging (similar to a coarse bias tape) was sewn onto the offstage edges. This was an early attempt to prevent tearing from contact. Although this has prevented some damage and deterioration, the actual sewing greatly damaged the painted surface and has weakened the fabric over time. Other drops have large pieces of mesh glued to the entire back, possibly an attempt to prevent rips. However, the added weight is now jeopardizing the top of each scene.
Mesh glued to some of the backdrops at the Louisville Scottish Rite.
Over the course of three days we cleaned, patched, and reinforced the fabric of the Egyptian cut drop. Paint touch-up of visible patches will occur on my return. I only transport my distemper palette by ground, and therefore will drive on my next trip.
On the morning of Nov. 12 (my fourth day), I supervised the hanging of the repaired cut drop. Everything looked perfect!
Front view – the repaired cut drop.The repaired cut drop, as viewed from behind.Details of repaired damage. Egyptian Cut Drop. Repair work Completed from Nov. 8-12, 2022.
I then assessed the remainder of the collection and began planning for the complete preservation of the entire collection.
Painted detail from another Louisville Scottish Rite scene.
By the afternoon I was on my way home, only 96 hours after my arrival. It was an action-packed trip that I have yet to recover from.
In regard to the history of the Louisville Scottish Rite scenery, my research indicated that Kentucky may have been the earliest state in the Southern Jurisdiction to use stage scenery for their degree work. Here is an excerpt from the document that I submitted in 2019 as it helps frame the significance of the scenery collection and my restoration project.
“The History of Degree Productions at the Louisville Scottish Rite.
Scottish Rite Valley’s bordering the geographical demarcation between the Northern and Southern Jurisdiction were experimenting with stages in Masonic Halls and common lodge room long before the first “official” Scottish Rite theater was constructed in the Southern Jurisdiction, c. 1890s. The earliest Scottish Rite stages frequently referenced in the Southern Jurisdiction are Little Rock, Arkansas and Oakland, California in 1896. Theatrical staging of degree work in Louisville, Kentucky, may have predated these two Valleys, signifying the inclusion of the earliest Masonic stage settings in the Southern Jurisdiction.
The Wilkes-Barre Times of Pennsylvania, the Arizona Daily Star of Tucson, and the Akron Beacon Journal of Ohio all published the following article in 1895:
“BIG SCOTTISH RITE DEDICATION. Louisville, Ky., Oct. 15 – The Scottish Rite Cathedral of the Ancient and Accepted Scottish Rite for the Southern Jurisdiction of the United States, at Sixth and Walnut street was dedicated today. This dedication surpassed anything ever seen in Masonic ceremonies in this city. It was open to the public, and conducted with all the pomp, which the occasion calls for. The remainder of the inaugural week will be given in reunion, during which all degrees will be conferred. The new cathedral in point of general magnificence is surpassed by only two in the United States, those being cathedrals of the Grand Consistories of Illinois, at Chicago, and of Ohio, at Cincinnati.” Both Chicago and Cincinnati boasted theatrical stages with elaborate scenery collections, but they were in the Northern Jurisdiction.
The article also notes, “All degrees will be conferred,” which translates to “all degree will be dramatically presented” aligning with the staged degree productions in the Chicago and Cincinnati Scottish Rite theaters at the time.
The Grand Consistory, Ancient and Accepted Scottish Rite, was organized in Louisville, August 21, 1852, with meetings being held on the Southwest corner of Fourth and Jefferson Streets. By August 1876, the Louisville Scottish Rite occupied the Courier-Journal Building, located on Jefferson Street, between Third and Fourth Street. In 1894, the Louisville Scottish Rite Bodies purchased the St. Paul’s Episcopal Church at Sixth and Walnut Streets. The church has been partially destroyed by fire when they acquired the building, and approximately $41,000 was spent on remodeling the facility. By 1895, it was dedicated as a Scottish Rite Cathedral. This predates what Little Rock and Oakland would do in 1896; remodel an existing space to include a Scottish Rite theatre to fully confer, or stage, the degree work. This Louisville Scottish Rite building was used until 1923, when their new home was constructed at Brook and Gray streets.
In 1910, Toomey & Volland business records note that they delivered a scenery collection to the Louisville Scottish Rite. This scenery would have replaced the original scenery installed in the renovated Episcopal Church space. Churches were perfect buildings to retrofit with theatrical stages for degree productions.
There is not yet a definitive indicator of the scenic artist or studio that first delivered the original scenery in 1895. However, it was not Toomey & Volland, as the firm was not established until 1901. Toomey and Volland delivered scenery to the Louisville Scottish Rite Cathedral in 1910, with many of their backdrops being refurbished and transported to the new building during 1923. This was a common practice throughout both the Northern and Southern Jurisdiction at the time. The Guthrie, Oklahoma, Scottish Rite even reused and transported their 1910 scenery collection to the new building during this same time.
The first Scottish Rite Cathedral in Louisville was a remodeled building. St. Paul’s Episcopal Church at Sixth and Walnut Streets was renovated for Scottish Rite purposes in 1895. From this moment forward, the Masonic membership in Louisville continued to grow at a rapid rate, as was common with many other Valleys that began producing degree work for the stage. By 1919, Louisville’s Scottish Rite candidate class size numbered 200, and the overall membership began exceeding the building’s capacity.
During the 67th annual spring reunion in 1919, the president of the “Victory Class “of Scottish Rite candidates introduced a resolution. Dr. T. H. Tuley urged, “the Grand Consistory immediately to make plans for the erection of a [new] Scottish Rite Cathedral in Louisville which will prove a credit to the Rite and to the city.” The Courier-Journal reported, “the reading of the resolution was greeted with applause, and from the manner in which the proposition was received it seems possible some steps in this direction will be taken” (26 April 1919, page 4).
Previously, the Courier-Journal reported, “Largest Class in History of Consistory Attending Scottish Rite Meeting. 200 At First Dinner” (23 April 1919, page 9). The session opened at 10AM on April 22, with conferring the Lodge of Perfection degrees (4-14). The article noted, “For several months the Scottish Rite has been practically overwhelmed with applications for membership, every Masonic lodge in the State reporting unusually large numbers of initiates.
The result has been that for the first time in many years it has been necessary to hold two spring Scottish Rite classes, the first one having completed work only about ten days ago.” Capt. John H. Cowles, sovereign grand inspector general of the Supreme Council of the Rite, was interviewed by the Courier-Times. The newspaper reported, “He says unusually large classes are being accepted into the rite in all consistories of the southern jurisdiction. He was highly pleased with the showing made by the Louisville lodge, especially in view of the fact that he received his degrees here and is a native of Kentucky, having lived for many years in Louisville.” In 1919, the Louisville Scottish Rite premiered a four-page publication for attendees titled “The Reunion News.” It was published every day during the Scottish Rite reunion. Interestingly, the Scottish Rite once met in the same building as the local newspaper, the Courier-Journal.
Scottish Rite membership was explosive during the 1920s, and the influential power of the Freemasons was substantial. This is a moment in time when the Rite, especially the Louisville Scottish Rite, was very vocal about their activities and positions on both political and social issues. From the late-nineteenth century to early twentieth century, it was not unusual to find detailed information pertaining to daily activities at Scottish Rite reunions, a list of members, the history of the organization and their stance on public and political topics. For example, the views of the Rite regarding public education were published in the local newspapers for all to read. When a potential candidate thought about joining a particular Scottish Rite, there was no question in his mind about what the organization stood for and could determine in advance if it was a good fit. This may be why the Scottish Rite continued to gain ground and dominate the fraternal landscape of America during the late-nineteenth and early-twentieth centuries.
In regard to the construction of their new home, on May 11, 1923, the Courier-Journal published, “Scottish Rite Masons will begin a three-day campaign May 23, to raise the $300,000 necessary to complete their building fund for the proposed $750,000 cathedral at the southwest corner of Fourth and Breckinridge Streets. Ground for this structure will be broken in September, it was said. The cathedral will have four stories and basement, with an auditorium seating 1,350 persons. Solicitation will be from the 2,286 members in the State of which 1,200 are in Louisville, The campaign will be in charge if Benjamin S. Washer, Richard Priest Dietzman, Edward F. Metzner, Harvey White and Dr. E. L. Henderson” (page 18).
On June 27, 1923, the old Scottish Rite was sold, becoming the new R. E. Jones Temple, Methodist Episcopal Church. On September 9, 1923, the Courier-Journal announced, “The contract for the construction at Fourth and Breckinridge Streets will be awarded shortly after bids are opened about October 15” (page 34). The building was sold to the Methodist Episcopal Church, becoming the R. E. Jones Temple. Rev. Dr. Robert Elijah Jones (1872-1960), namesake for the new church, was also a 33rd degree Scottish Rite Mason. Within a year, however, tragedy struck the old Scottish Rite building. On May 27, 1924, the Courier-Journal reported “Five Firemen and a negro preacher were overcome by smoke last night when flames of undetermined origin ignited debris in the basement of the R. E. Jones Temple, formerly the Scottish Rite Cathedral at Sixth and Walnut Streets” (page 5).
There is one thing to consider about the original Scottish Rite stage and scenery when the Louisville Scottish Rite Cathedral changed ownership. When the building became the R. E. Jones Temple, it is highly unlikely that any fraternal artifacts or decorations were left behind. This means that the old scenery, stage machinery and other stage equipment was either returned to scenic studio (for credit on the purchase of a new collection), it was enlarged for their new stage, or it was sold to another Scottish Rite. To all indications, there remains a significant amount of scenery used by the Louisville Scottish Rite that predates the current building, c. 1910.
In 1910, the Louisville Scottish Rite purchased scenery from Toomey & Volland. Interestingly, Toomey and Volland advertisements from 1912 do not list Louisville alongside fifteen other Scottish Rite Cathedral installations by that time, suggesting that they may have only been adding to a previous purchase. Toomey & Volland could have simply expanded an earlier collection, possibly the one delivered in 1895. There is a distinct possibility that scenery was delivered by the precursor to Toomey & Volland – the scenic studio of Noxon & Toomey.
Thomas C. Noxon was a Freemason, and extremely active in the Shrine. Also, in 1895, Noxon & Toomey delivered stock scenery to Louisville’s Amphitheatre Auditorium. This may have been the crucial connection, a preliminary link with Louisville Masons and the scenic studio of Toomey & Volland. It would not be surprising to learn that Noxon visited the Scottish Rite while installing scenery for another theatrical venue; a common practice among scenic studio owners at the time.
It remains uncertain as to whether the major Scottish Rite scenery supplier to the Southern Jurisdiction at the time, E. A. Armstrong Manufacturing Co., delivered any scenery to the Louisville Scottish Rite Cathedral. Scottish Rite minutes may point to a specific vendor. If the theater work was contracted to E. A. Armstrong, Sosman & Landis were the preferred subcontractors in the mid-1890s, the scenic studio who manufactured and installed the scenery for this fraternal supplier. However, the Louisville Scottish Rite is not listed in a 1902 E. A. Armstrong advertisement that notes all the Consistories they had equipped since 1897. Keep in mind that was after the potential 1895 date of delivery. If it was manufactured at the Sosman & Landis studio, David A. Strong would have been the Masonic designer and primary scenic artist for the earliest Louisville collection due to his early Masonic affiliation. Strong was instrumental in producing much of Chicago’s Scottish Rite scenery for stages starting in 1873; this was the other Masonic theater that Louisville was compared with in 1895.
There are two other possibilities in regard to regional artists who may have created the original 1895 scenery collection Louisville Scottish Rite Cathedral –scenic artists E. T. Harvey or Henry C. Tryon.
Harvey was the scenic artist who designed, painted, and installed Scottish Rite scenery collections for Cincinnati in 1886 and Cleveland in 1901. In 1886, Harvey delivered eighteen sets of scenery to the Cleveland Scottish Rite Cathedral’s stage. Keep in mind that Louisville’s 1895 Scottish Rite Cathedral was compared with the Cincinnati Scottish Rite Cathedral in the newspaper article; “The new cathedral in point of general magnificence is surpassed by only two in the United States, those being cathedrals of the Grand Consistories of Illinois, at Chicago, and of Ohio, at Cincinnati.”
Tryon was the scenic artist credited with scenery and stage machinery at the Indianapolis Scottish Rite a few years earlier in 1883. Both Harvey and Tryon were close friends with Thomas G. Moses, who was in charge of the design, painting, construction, and installation of all Scottish Rite scenery at Sosman & Landis (Chicago) after 1904.”
There is so much more that I could write about this project and the collection as a whole, but I need to pause here. For more posts about this collection, keyword search “Louisville Scottish Rite.”
He shared a CNN link from Jan. 27, 2022, that reported, “A couple renovating a 115-year-old building discovered two 60-foot-long hidden murals.” Below the heading was a photograph of a lovely landscape painting above construction debris. The color palette and stencil reminded me of several backdrops that I had encountered over the years, and my first thought was, “A scenic artist painted that.”
CNN story posted on Jan. 27, 2022.
John was just the first of many friends who shared the link that day, and each time I thought, “Looks like fun, but nothing I can deal with right now.” I had already cancelled my trips to teach at Cobalt in February and attend USITT in March. Familial obligations were pressing, and I was trying to stick close to home this spring.
However, the story was intriguing. After serving in the military, a young couple had returned home to take care of dying parent. In the midst of grieving and settling the estate, they decided to put down roots in the town. They purchased and began the renovation of an old movie theater. It was to be a bar and restaurant; a gathering place for locals. Early in January of this year, they decided to break through a section of plaster, just to see what was behind the wall. No one could have anticipated that there would be a huge landscape mural; one of two. Despite punctures from furring strips and water damage from plaster oozing between strips of lathe, the paintings were in great shape.
The very next day I received a FB message from Lisa Timm. I opened it and read:
“Hi, Wendy! My husband and I recently uncovered a 60ft mural from 1915 and are hoping to conserve it. I was wondering if you could offer any advice or expertise as it looks like a theatre backdrop. There are videos and pictures on our Facebook group (mural restoration at the historic Timm building.” Thanks so much.”
I scheduled a time to chat with her about the murals.
In the meantime, I decided to do a little research on my own. I started with the simple query: “Where in the heck is Okanogan, Washington?” After opening a Maps app, I started to peruse nearby towns. Okanogan was due north of Chelan, Washington. At that moment, half of the main curtain from Chelan’s Ruby Theatre was laid out on my paint frame. I had just started the process of bidding out a replica.
Detail of main curtain from the Ruby Theatre in Chelan, Washington.
Although I was swamped with work and had no intention of traveling out of state for the next few months, I began to contemplate the feasibility of a very quick trip west. After realizing that the same scenic studio decorated both the Okanogan and Chelan theaters, I booked a flight. There were too many signs pointing me in the direction of Washington.
Over the course of the next two weeks, Lisa and Nick Timm sent detail pictures of the murals and we began a series of discussions about possible options. I was still hesitant to take on another project yet fielded their questions. I also did my best to educate them about the painting process and options for removal, storage, repair, and restoration. We even scheduled a WhatsApp video chat so they could walk me through the space, and I could clearly examine how the mural was attached to the wall. We were in luck as the mural was the last of three layers.
Three layers: cotton sheeting, wall paper and mural.Detail of where furring strip was tacked to mural.
Initially cotton sheeting was tacked to the wall with a thick wallpaper layer pasted on top. When the theatre was renovated in 1915, a second layer of cotton sheeting was tacked on top of the wallpaper and primed. This effectively glued the fabric to the wallpaper, creating a backing for the mural. The mural was only visible for three years before a plaster wall concealed it for a century.
The layers: plaster, mural, wallpaper and cotton sheeting.Area behind a chimney showing lathe, furring strips and mural. The chimney was removed prior to my arrival.Detail of painting.Detail of stencil.
In 1918 the venue changed hands, the building was renovated, and the theatre was renamed the Paramount. During the renovation, furring strips were tacked to the murals. Then lathe and plaster entombed the landscape paintings. In the dark they patiently waited for another renovation; one that would not happen until early January 2022.
The renovated Paramount Theatre, c. 1918.Remnants of the Paramount theater walls. Some remnants will remain in place.
I flew into Spokane and drove three hours west to Chelan where I stayed for the remainder of the trip. In Chelan I met explored the Ruby Theatre space and gave a community presentation about their theatre. When I ventured north to Okanogan, I was accompanied by Larry Hibbard, local architect and Ruby Theatre owner. I could not have asked for a better host. It is an absolutely beautiful area, home to miles and miles of fruit orchards. Their biggest export remains apples. Hibbard operated an apple orchard for decades.
Scene just south of Okanogan, Washington.Scenery near Okanogan, Washington.Scene on my drive from Spokane to Okanogan.
My plan was to only take pictures and leave with memories. This was not a project that I could drop everything else and take on in March. I was in the midst of several restoration projects, an opera design, and recognized that I was already overextended. Little did I know that everything was about to change.
The old Hub Theater in Okanogan is easy to miss. There is not a fly tower nor ornate façade to announce that it was once featured movies. The building looks more like an old hardware store than any temple of entertainment. If the Timms had not been standing outside, shouting and waving their hands, we would have missed it entirely.
The old theater is sandwiched between an automotive repair shop and a law firm in Okanogan.
Upon entering the building my heart sank and I knew that there was very little time to save these murals. The relentless drip of water accentuated the dampness of the space. The drips both hit and missed a series of buckets lined up on the floor between the two murals. In previous conversations, the Timms had mentioned their concern of snow melt and a leaking roof. I had no idea it was this bad. I knew that it was just a matter of weeks before the murals would be entirely destroyed. That was when I began to game plan about their immediate removal. There would be plenty of time to plan the conservation of each painting, but there was minimal time to remove the murals from a leaking building.
Water leaking from the roof from rain and snow melt.
I could not extend my stay but could return within the week. In the meantime, the space needed to be cleared, prepped and necessary supplies ordered.
The first mural came down in two hours, the second in less than an hour. Nick, Lisa and their crew of four helped stabilize the painting as I separated the wallpaper from the first layer of cotton sheeting.
One of the two murals prior to removal.I inched along behind the mural to loosen the layer of wallpaper from the original cotton sheeting tacked to the wall.
I am breathing a bit easier today, and happy to report that both murals have been successfully removed from the walls. In the end, the thick wallpaper backing helped support the long artworks throughout the process. Each mural will be transferred to a climate-controlled storage room until I am able to restore them.
After the first mural was down and prior to rolling.
These murals come with their own artistic provenance and shed a little light on American Theatre in the Pacific Northwest. J. M. Deeds Scenic Studio, of Spokane, secured the contract to paint the murals in 1915. By this time his firm had already decorated Chelan’s Ruby Theatre and the Wenatchee Theatre, located south of Chelan. I’ll share the story of J. M. Deeds tomorrow.
Map showing the location of Okanogan, Chelan and Wenatchee, Washington.
It is another fantastic article about the Tabor Opera House scenery and the venue’s sole full-time employee, Tammy Taber! Tammy’s institutional memory of the building is astounding, as she began working under the leadership of Evelyn Furman. To me, she is not only the heart and soul of the building, but also a dear friend.
Tammy Taber looking at the scenery. Photograph by Carolyn Paletta for the Vail Daily.
The easing of many COVID-19 restrictions this summer opened a floodgate for work for me. Feast or famine; I really wish that it could be a just steady stream of work and not the unexpected deluge. I began to travel again, resuming projects put on the back burner during the spring of 2020. One project overseas finally came to fruition, and I scheduled a trip to the West Flanders region of Belgium.
Kortrick, BelgiumSchouwburg Kortrijk, Belgium, The Municipal Theatre was built in 1913.
My involvement with the municipal theater (Schouwburg) in Kortrijk began in 2018. I was contacted by Bruno Forment, now a research fellow at the Orpheus Instituut (https://orpheusinstituut.be/en/orpheus-research-centre/researchers/bruno-forment). I first met Forment in 2016 when he organized an OISTAT Research Committee workshop in Stockholm, Sweden. OISTAT is the International Organization of Scenographers, Technicians and Theatre Architects (https://www.oistat.org/). I attended the event with Rick Boychuk and my husband Andrew Barrett, giving a presentation on historic theatre scenery at Scottish Rite theaters in the US. This event became a turning point for me, as I immediately connected with many of the attendees. One of my close friends surmised the encounter with the statement “You found your peeps!” Although I really dislike the term “peeps,” she was spot on. Despite our various nationalities, occupations, ages, and career trajectories, we were all trying to preserve the theatrical past for future generations.
Two years later, in June 2018, Forment contacted me about a historic scenery collection at Schouwburg Kortrijk, asking, “How crazy would it be for you to spend time in Belgium working on these rare materials? There aren’t that many experienced specialists like you around, even in Europe.” I was extremely honored to even be asked and immediately accepted the offer.
Bruno Forment, Wendy Waszut-Barrett and Alexander Ververken, 2019.Bruno Forment and Wendy Waszut-Barrett in front of Albert Dubosq backdrop during 2019 visit to Kortrijk, Belgium.Painted detail from backdrop. Forêt asiatique backdrop for Lakmé produced by Albert Dubosq’s studio.Painted detail from backdrop. Forêt asiatique backdrop for Lakmé produced by Albert Dubosq’s studio.
The Forêt asiatique scene consisted of fifteen pieces, a small fraction of a much larger scenery collection delivered to the venue between 1913 and 1936. Here is a link to the entire scenery collection at Shouwburg Kortrijk: (https://beeldbank.kortrijk.be/index.php/search?q%5B%5D=zwanenzang&view=). Numbering over 400 pieces in all, the scenic artifacts included backdrops, borders, wings, and profile pieces, all from the studio of Albert Dubosq (1863-1940). Here is a link for more information about Dubosq as he is absolutely fascinating: https://en.wikipedia.org/wiki/Albert_Dubosq.
The project interested me for a variety of reasons, far beyond any restoration project. First and foremost, Dubosq was a contemporary of Thomas G. Moses (1856-1934) and many of the other nineteenth-century American scenic artists that I have written about at www.drypigment.net. Both Moses and Dubosq began their careers as gilders for decorative art firms, soon transitioning to the world of scenic art. Each became extremely well known and eventually ran a large scenic studio. Near the end of their respective careers, both Dubosq and Moses focused on scenic design, with their own scene painting falling far behind their managerial duties at the studio. The variety of scenic output from Dubosq’s studio was very similar to that produced by Sosman & Landis in Chicago, Illinois. Moses was the last president for the firm, having started at the studio in 1880. In fact, the painting techniques and color palette of Dubosq and Moses are almost identical. I planned a trip to Kortrijk in 2019 to see the scenery first hand, one that coincided with the Prague Quadrennial (Prague, Czech Republic) and Stage|Set|Scene (Berlin, Germany).
Forment wrote a book about the history and significance of Kortrijk’s scenic collection, entitled “Swan Song of an Illusion: The Historical Stage Sets of the Municipal Theatre of Courtrai” (Zwanenzang van een illusive: De historische tonneeldecors van der Schouwburg Kortrijk). Here is a link to his publication: http://www.erfgoedzuidwest.be/nieuws/zwanenzang-van-een-illusie-de-historische-toneeldecors-van-de-schouwburg-kortrijk He has recently published another book about Belgian scenic artists and stage illusion entitled “Dream Landers: Wizards of the Painted Stage Décor” (Droom Landers: Tovenaars van het geschildrede toneeldecor). Here is the link to his publication: https://www.standaarduitgeverij.be/boek/droomlanders-9789022338186/
Publications by Bruno Forment.
In addition to identifying the significance of the collection, Forment actively worked to secure a storage facility for the large framed pieces in the scenery collection. A large archival and research complex, named the Tresoor (after the French word trésor), is located a short drive from Schouwburg Kortrijk. Just like buried treasure, however, many artifacts housed at the facility are difficult to extract from their storage. Much of the collection is neatly stacked in a vertical shelving system, with a loading dock at the end of a massive bay. Unfortunately, it is a logistical challenge to remove any one item from the Tresoor and transport it to Schouwburg Kortrijk. Throughout the transportation process, loose pigment floats to the ground; a colorful dust cloud contaminating everything it passes. Storing historic scenes off site is often necessary but takes a toll on the actual pieces.
Historic wings stored at the Tresoor, also referred to as the Depot. Photograph from 2021.Backdrops stored under the stage at Schouwburg Kortrijk. Photograph from 2021.Backdrops stored under the stage at Schouwburg Kortrijk. Photograph from 2021.
The discovery of the Dubosq’s scenery was so well received by the Belgian government that five of the settings were identified as Flemish treasures, including the Forêt asiatique. This meant that these artifacts now fell under the guidance of a governmental heritage organization named the Topstukkenraad. The organization was established to protect a variety of artifacts integrally inked to Belgium’s heritage. But this prestige and financial assistance came at a cost. Although the settings are now preserved under a ministerial decree and recognized with the title of “Flemish Top Heritage,” their handling, restoration and future use are extremely restricted. In addition to limiting handling and display, the designation inadvertently placed the scenery into a fine art category, permanently changing its primary function.
Everything becomes complicated when historic stage settings are solely perceived as fine artworks. First and foremost, theaters do not share the same financial support or staffing resources as museums and archives. To many art historians and conservators, stage scenery is simply considered a large-scale painting, yet it is radically different from artworks that hang on a gallery wall. A painting in a museum is stoically viewed under fixed lighting. Such is not the case with historic scenery for the stage. Few individuals outside of the theatre industry understand the true metamorphic quality of scenic art, specifically how it partners with stage lighting systems. Scenic art, regardless its age, remains part of an interactive artform intended to withstand the handling of many. Scenic shifts are necessary in many productions. This means that standard conservation techniques do not always work for historic stage scenery, as they cannot withhold the demands of a scene change.
When stage scenery is identified as fine art, many methods selected for repair and preservation are based on traditional methods employed in art conservation, not those familiar with theatre history or stage technology. Therefore, the conservation of each drop follows strict conservation guidelines without considering the funtion. Accepted conservation practices are not always appropriate for the stage. Many art conservation materials are solvent based, posing fire threats as accelerants. The standard film for fabric repair, BEVA 371, immediately ignites when it comes in contact with flame; it is not an appropriate material, yet is repeatedly cited for scenery conservation. Furthermore, original flame retardants on historic scenery, such as alum, can interact with application of contemporary conservation materials.
I was initially brought into the Forêt asiatique restoration conversation in 2018 to propose and explain alternative approaches; scenery restoration methods that not only preserved stage artifacts but also facilitated their continued use. The intent was to begin a dialogue with all scenery stakeholders: theatre managers, art conservators, and heritage representatives. By December of that year, Ververken asked me to provide a formal proposal to restore the Forêt asiatique setting, working with local volunteers. I identified restoration materials, techniques, layout, and labor. I submitted the proposal by January 2019, identifying various options for cleaning, paint consolidation and repair. My estimated timeline for the project was a little over a month. There were many areas that intentionally remained vague in my proposal, as there are differing levels of conservation. Methods could vary from basic cleaning and stabilization to full restoration. It was up to the Topstukkenraad to determine the extent of restorative work on the Forêt asiatique scenery. After receiving the submission of my initial proposal, Topstukkenraad representatives advised that they would directly supervise my work on site, immediately stopping a process if they believed the artwork in jeopardy. Each method was to be presented, discussed, and approved throughout the duration of the project, then re-evaluated as it commenced. Realistically, this meant that any estimated timeline could immediately quadruple mid-project. As with any project moderated by a third party, we began to play a game of telephone, exchanging ideas with crucial buts of information being lost along the way. I continuously responded to a battering of queries and comments about my approach, yet we pressed on.
The main issue with my involvement throughout the duration of project has remained timing; I was brought on a little too late. One scene, identified as the Palais Roman setting, became a test piece in 2018. It was treated with standard conservation materials and techniques, the work completed by Griet Blanckaert. Blanckaert is the manager at Rocockx Restoration EBVBA, as well as a professor at the University of Antwerp and Staf Vos. Explaining to this regional expert why alternative methods may work better for future scenery restoration projects is like trying to balance on a tightrope in a tornado.
Regardless of restrictions and past testing, we continued to advance with a plan to commence the Forêt asiatique restoration project during the summer of 2020. Restoration spaces were selected, I assembled potential material suppliers, and the selection of assistants began. And then COVID-19 cases spiraled out of control worldwide. When the United States went into lockdown, I realized that all of my travel plans for the foreseeable future would be cancelled. At first, we bantered around alternative dates for that fall and winter, with my explaining that this could become long and draw-out political foray in the US. The remainder of 2020 was then spent as a series of quick exchanges, with long pauses in between. We all monitored COVID-19 hot spots, travel restrictions, and safety protocols. The project continued to shift focus, with new goals being implemented for 2021.
Despite restoration delays, there was still hope that the Forêt asiatique setting would be displayed in 2021 as part of the theater’s delayed centennial celebration. The new goal was to exhibit select pieces from Forêt asiatique during the 2021 triennial for contemporary art, entitled “Paradise Kortrijk 2021.” By March 2021, the Topstukkenraad approved the use of unrestored scenery for the city-wide exhibition. Parts of the stage setting were incorporated into a contemporary art installation designed by Sarah Westphal, entitled Forêt océanique.
Sarah Wesphal’s Forêt océanique art exhibit, featured an underwater film projected on a screen in place of the original backdrop.Scenery from Albert Dubosq’s Forêt asiatigue were used for Sarah Wesphal’s Forêt océanique art exhibit, part of Paradise Kortrijk 2021.Painted scene by Albert Dubosq with projection screen as a backdrop.Painted detail from Forêt asiatique scenery. From Lakmé setting produced by Albert Dubosq’s studio.Painted detail from Forêt asiatique scenery. From Lakmé setting produced by Albert Dubosq’s studio.Painted detail from Forêt asiatique scenery. From Lakmé setting produced by Albert Dubosq’s studio.
The exhibit of this temporary display also prompted a new directive from the Topstukkenraad in regard to the Forêt asiatique restoration. On March 5, 2021, I received an email, stating, “We would like to organize a workshop with you and other experts during the exhibition. We find your restoring method very valuable and want other experts to hear about it from you in person. It is inspiring to share the different perspectives with each other, and we hope that others will also be inspired by your method.” In summary, the Topstukkenraad advised Schouwburg Kortrijk to organize a meeting with heritage counselors and restoration experts to debate the scenery treatment proposal. August was selected, as the Forêt asiatique setting would be available for examination on stage as part of the triennial art exhibition. In other words, I was being invited not only to present detailed examples of my restoration techniques, but also field impromptu questions from Topstukkenraad representatives. Keep in mind, that at this point, no one from the Topstukkenraad had ever examined the actual scenery in person. Up until this point, the agency had based all their directives on photographs and Blanckaert’s reports.
The restoration workshop was scheduled for August 20, 2021. The findings of this meeting would recommend specific techniques for not only restoration of the Forêt asiatique setting, but also other settings in the collection. Although I confirmed my willingness to participate in the August workshop, I did not finalize any travels arrangements until three weeks before the event. My overall hesitation stemmed from shifting travel restrictions and the increased spread of the Delta variant. Getting into Belgium wasn’t my primary concern, it was getting back home. I was also swamped with work. Even short-term travel delays could be disastrous for my other projects. In the end, my travel overseas was scheduled from August 16 to August 24. A preliminary meeting and presentation occured on August 18, with formal presentations on August 19 and 20. In regard to my continued questions, it appeared as if everyone was on vacation until the day I stepped on a plane. It was a leap of faith for me, with the only reassurance that I had Belgian friends who could house me if everything fell apart. Travel overseas was a complicated, and a negative COVID-19 test was required 1-3 days, necessary before boarding a plane, both to and from Europe.
I spent a month on preparation for my presentations in Kortrijk. In addition to presenting findings from past restoration projects, I did a series of case studies, assisted by Jenny Knott. We documented the handling of dry pigment, hide glue, cleaning, consolidation of loose paint and fabric repair. For a week, Knott helped me photograph and film my methods for historic scenery preservation.
The scenery restoration workshop was the first of its kind; an international gathering of specialists to discuss how historic settings for the stage should be categorized, repaired, and handled. In additional to Topstukkenraad representatives, the group included CEMPER representatives (Center for Music and Stage Heritage, https://cemper.be/), Alexander Ververken (managing director Schouwburg Kortrijk), Heleen Allary (public relations at Schouwburg Kortrijk), Griet Blanckaert (manager at Rocockx Restoration EBVBA), Bruno Forment (research fellow Orpheus Institute), Chris Van Goethem (Erasmus University, Brussels), Raphaël Masson (Director of Conservation and the head conservator at Château de Versailles), and me. The outcome: another test has been requested. This time, I am to be onsite with Blanckaert to look at alternative restoration techniques.
Bruno Forment and Chris Van Gothem after the workshop at Schouwburg Kortrijk on August 20, 2021.
My greatest hope for the workshop was to foster a constructive dialogue, one that could be shared internationally and used as a resource by many others in charge of historic scenery collections. In that sense, it was very successful. Schouwburg Kortrijk is just one example of many scenarios playing out worldwide. We are living at a time when record numbers of historic theaters are planning or undergoing renovations. During these projects, many historic stage artifacts are resurfacing, emerging from decades of storage. Tucked away in off-stage nooks or attics, many pieces remain hidden in plain sight. All the while, those directing the work have no real understanding of stage scenery or the cultural significance of painted illusion, stage machinery and lighting systems. Scenic art was designed and delivered as part of a whole, partnering with specific machinery and lighting systems. There are no guidelines to direct the handling and conservation of these stage artifacts, and that is wherein lies the problem. There needs to be an intercontinental league for the preservation of historic stage scenery.
I took a pause after spraining both wrists on May 1, 2021. It has been a long recovery, and if I could just sit still, they would probably heal faster. I wish that there was a wonderful tale to tell, but I simply tripped and fell in my driveway. Yes, I was going too fast and was preoccupied at the time. No, the injury has not slowed me down. However, the accident greatly limited my ability use the track pad on my laptop or move the mouse for my computer. Typing was also challenge.
Fortunately, this injury occurred after submitting my 1300-page report to the Tabor Opera House Preservation Foundation, detailing the historic scenery and stage machinery at the venue. In the end, I divided the scenic artifacts into fourteen distinct theater collections, compiling conditions reports, replacement appraisals and an historical analysis of each piece. Some of the collections were founded on scenic artists, some on stage hardware, and others on textile manufacturers. This document far surpassed my doctoral dissertation, which says a lot. There were too many moving parts, too many pieces to juggle, cross-reference and illustrate. And yet, I continued to write my daily blog about the life and times of scenic artist and studio owner, Thomas G. Moses (1856-1934), entitled “Tales of a Scenic Artists and Scholar.”
In hindsight, my sprained wrists gave me permission to take a break from my blog and solely focus on a few major projects and my family. After all, since the fall of 2016, I had dutifully posted daily about historic scenic art, theatres, and theatre technicians. Then work started pouring in this spring as COVID-19 restrictions were lifted; everyone resumed projects that were placed on hold in 2020. Feast or famine.
As several of my projects received a green light, I began traveling again. In July, I headed to Colorado with one of my historic rigging advisors, Michael Powers. Our Colorado stops included Trinidad, Leadville, and Aspen.
The Leadville stop was to meet New York Times reporter Elisabeth Vincentelli, and photographer Benjamin Rasmussen. At the time, I couldn’t explain why I was staying in Leadville. While on site, however, I took the opportunity to further examine the historic wings and shutters still trapped above the attic loft.
I spent yesterday afternoon in Aspen, Colorado, at the Wheeler Opera House. This was a trip instigated by Ziska Childs; a project that took advantage my visit to the Tabor Opera House in Leadville this month. I was fortunate to share my on-site discoveries with Jenny Knott, Michael Powers, and Tammy Taber. After an in-depth examination of the Wheeler drop curtain, we suspended it from a downstage line and admired the scenic art from the house. Shortly after the unveiling, my preliminary findings were presented to the Board of Directors. I am currently in the process of developing an historical analysis, condition report and replacement appraisal for the piece.
The current drop curtain for the Wheeler Opera House was delivered by Tiffin Scenic Studios, Inc. in 1983. It is the same subject matter as the drop curtain first delivered to the Wheeler Opera House when it opened in 1889. The original drop curtain for the Wheeler Opera House was painted by Henry E. Burcky, a scenic artist for the Tabor Opera House in Leadville and Tabor Grand Opera House in Denver. Prior to relocating west, Burcky was also a scenic artist at Hooley’s Theatre in Chicago and also painted for the Cincinnati Opera Festival in 1881. I have written about him quite a bit in the past. On March 26, 1889, the Aspen Times interviewed Manager Weill of the Wheeler Opera House who described the new drop curtain as “a representation of the Brooklyn Bridge painted by Burke [of the Chicago Opera House] from sketches obtained in this city and is one of the best pieces of work of the kind I have ever seen.”
That same year that Burcky worked for the Wheeler Opera House, he also painted a drop curtain for DeRemer’s Opera House in Pueblo, Colorado.
Burcky first came onto my radar while researching a set of painted cut wings at Tabor Opera House in Leadville, Colorado, c. 1890. From 1884-1890 Burcky painted scenes for Tabor’s opera houses in both Leadville and Denver. During this time, Burcky and master mechanic J. C. Alexander renovated numerous Colorado stages for the Silver Circuit, their projects included those in Aspen, Leadville, and Pueblo.
The extant drop curtain at the Wheeler Opera House by Tiffin Studios is either a painted replica of the original drop curtain, or one inspired by Burcky’s work. I am currently on a quest to track down the history for this particular piece.
Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.Painted detail. Drop curtain Wheeler Opera House, Aspen, Colorado. c. 1983 Tiffin Scenic Studios, Inc.
There is still an astounding amount of historic scenery tucked away at the Tabor Opera House in Leadville, Colorado. When the building was renovated in 1902, the stage was enlarged, and all of the original wings and shutters (c. 1879-1900) were placed above the auditorium. This space is now considered the 3 ½ floor, seventy-steps above street level. Last September, I led a crew of volunteers to remove the scenery from the attic space to the stage floor. Here is a link to a previous post: https://drypigment.net2020/09/23/travels-of-a-scenic-artist-and-scholar-day-2-at-the-tabor-opera-house-september-22-2020/
The 3 ½ floor, now referred to as the attic, once consisted of several hotel rooms. Over the decades, the walls dividing each room were removed and the enlarged space became home to abandoned artifacts. Stage artifacts included wings, shutters, and painted profiles.
I returned to the attic yesterday, fully prepared with my N95 mask and work gloves. My focus was on the scenery above the rafters. There are several shutters and wings trapped in a web of ceiling joists and electrical wires. I needed to ascertain what was left to plan their removal and cataloguing.
Here are a few pictures of what I discovered yesterday; the many hidden treasures, with much concealed under a layer of soot.
Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.Scenery still stored above the attic at the Tabor Opera House. Leadville, Colorado.
The Fox West Theatre came onto my radar in February 2020. While cataloguing the scenery at the Tabor Opera House in Leadville, Colorado, I was contacted by Gregory Friesen, owner of CSNA Architects. He is involved with the Fox West Renovation in Trinidad, Colorado. Friesen drove up to Leadville and took me out to dinner at one night after work. He shared the scope of this massive renovation project.
The Fox West Theatre opened in 1908 with a full stock of scenery delivered by the Kansas City Scenic Co. This certainly piqued my interest. Although much of the historic scenery at the Fox West remains rolled up and tucked away on a paint bridge, there is a beautifully olio drop still hanging. It is a lovely example of early twentieth century scenic art.
Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.Kansas City Scenic Co., 1902. Tabor Opera House, Leadville, Colorado.
The Kansas City Scenic Co. was the same firm that delivered scenery to the Tabor Opera House in 1902, subcontracting a portion of their work to Sosman & Landis. Over the past year, I have traced the history of the Kansas City Scenic Co. and assembled a database with various installations delivered by the firm between 1887 and 1912.
Painted detail. Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.Painted detail. Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.
While planning my trip to Leadville this month, I decided to stop in Trinidad instead of Denver. Spending a night at 6,000+ feet really helps adjusting to the much higher altitude in Leadville. In Trinidad, I was accompanied by my rigging consultant Michael Powers. We toured the Fox West Theater yesterday, exploring all of the nooks and crannies in this stunning building. It is an absolute delight to participate in ongoing discussions about the stage, scenery and decor. This is such a special place, and the team guiding the renovation has certainly done their research. The history page is extremely well written and the team’s passion for the venue is extremely contagious.
Here are a few photographs from our adventure yesterday. For more information about the history of the venue and the upcoming 2021 telethon on September 26, visit https://www.foxwesttheatre.com/
