There is a variety of historic
scenery tucked away in the attic at the Tabor Opera House in Leadville,
Colorado. When the building was renovated, the stage was enlarged, and all of
the original wings and shutters were carefully tucked away above the auditorium
ceiling. This attic space was also once home to a few hotel rooms, divided by a
central sky hall that allowed natural light for each room.
Over the decades, the walls dividing
each hotel room were removed and the third floor became home to abandoned artifacts,
including theatre scenery, drop rollers, and much more. By the way, it is quite
a climb to the attic, over 70 steps in all. This climb, combined with an
altitude of 10,000 feet, certainly separates the locals from the flatlanders, like
me.
On the attic wall adjacent to the stage and above the proscenium arch is a loft. Well, not quite a “loft,” as there are no floorboards, just joists. We threw down a few planks to walk on.
Loft in the attic of the Tabor Opera House, Leadville, CO.Loft in the attic of the Tabor Opera House, Leadville, CO.
In this space are some additional wings, rolls, and shutters placed high above. I started my second day in the attic loft. This involved climbing up a wooden ladder with my camera, balancing my way across a few boards, and contorting myself to photograph a few dust-encrusted wings and shutters.
In the meantime, the crew started to
clean and remove some of the wings from the attic wall above the proscenium
arch. Several flats had been cut down and nailed into the wall above the proscenium
arch; no idea why this happened at all. The careful removal of 10’ wings involved
detaching the ladder that led to the loft and grid, as it partially covered one
wing. A team of three then carefully
carried each wing down the winding staircase to the stage.
Ladder to the loft in the attic of the Tabor Opera House, Leadville, CO. Painted wings were cut down and nailed to the wall.Removing the painted wings for documentation purposes at the Tabor Opera House in Leadville, CO.
Meanwhile, plans for the lowering
all other stage scenery commenced in earnest. The majority of pieces range from
5’ x 16’ to 12’ x 16’ – sizes too large to carry down the staircase. These pieces were lowered directly from the
attic by way of about fifteen feet above the pin rail. By the end of the day,
seventeen scenic pieces were lowered with this method. Although there were a
few rough starts, some frightening moments, and a couple panicked cries, each piece
made it safely to the stage floor. By
the end of the day, we established a system, and everything worked like
clockwork.
Lowering one of the scenes from the attic to the stage floor.One of the seventeen scenes lowered to the stage floor tonight.
Tomorrow we will set up two of the
scenes before lowering more. Due to size, we are saving the shutters for last, focusing
on interior sets these first few days. Despite
the hard work, it was a wonderful experience and a fantastic group of people to
work with. My sincere thanks go out to Carl, Mary Ann, Tammy, Greg, Kan, Curt, Michael,
Jane, and Bruce; such an outstanding group of individuals.
The volunteer crew for Day 2 at the Tabor Opera House in Leadville, Colorado.
Today was my first day on site at the Tabor Opera House. I am in town to document the historic scenery collections in the attic; last spring I documented the scenery collections on the stage. This is such a very important collection, in both in the scope of American theatre history and world theatre history.
Some of the volunteers handling historic scenery in the Tabor Opera House attic. Leadville, Colorado.
We spent much of the day cleaning and organizing about 75 pieces; shutters, drops, borders and other set pieces were placed in storage when the Leadville Elks purchased and renovated the stage and auditorium in 1901-1902. New scenery was delivered to the opera house and old scenery carefully tucked away. Much of it is still there, albeit a little worse for wear and covered in a century’s worth of dust.
Some of the scenery piles in the attic of the Tabor Opera House, Leadville Colorado.
I knew what to expect when we climbed steep steps to the third floor today and had my game plan. But there was so, so, so much more scenery than I expected; much more than anyone expected to find today. We uncovered and shifted scenic pieces produced in 1879, 1888, and 1890. This is on top of the 100+ scenic pieces from 1902 currently housed on the Tabor Opera House stage.
Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.One shutter, leaning against an attic wall at the Tabor Opera House, Leadville, Colorado.Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.
By the end of the day, the scenery was divided into piles, organized by setting, and I am starting to compile an inventory. We were also able to clean and lower some pieces to the floor. There were many big surprises; surprises included shipping tags and scenic art signatures.
Signature by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.
It was a delightful, yet exhausting, day for me; one that ended with a Colorado public radio interview. I’ll write much more tomorrow, but too pooped to pen any more now.
I return to my “Travels of a Scenic Artist
and Scholar” storyline today. Tomorrow I leave for Leadville, Colorado, departing
in the wee morning hours and driving to Denver. I am stopping by Des Moines to
pick up Michael Powers, and we will arrive in Leadville, Colorado, on Sunday,
September 20. My week-long project is to document all of the scenery currently stored
in the attic of the Tabor Opera House.
Originally built in 1879, the
building was later purchased by the Leadville Elks and substantially renovated
in 1901-1902. The renovation included enlarging the auditorium and stage. Previously
used roll drops, wings and shutters were replaced with new fly scenery from the
Kansas City Scenic Co. and Sosman & Landis Scene Painting Studio; Sosman
& Landis was subcontracted by the Kansas City Scenic Co. for this project. Much
of the original scenery never left the building it was simply tucked away in
the attic.
In 1879, ten stage settings were delivered to the Tabor Opera House. This was a standard a stock scenery collection at the time. Keep in mind that larger theaters would order as many as 25 to 35 sets. The height of the Tabor Opera Houses’ original grooves purportedly measured 16’-0,” accommodating painted wings and shutters. The height of the original proscenium was listed in theatrical guides, varying from 17’-0” to 20’-0”.
By 1884, “Harry Miner’s American Dramatic Directory” noted there were 12 sets of scenes, increasing the original installation by two sets. This was also common, as new theaters continued to increase their stock over the years, even within the first decade. I have verified that some additional scenery was delivered in 1888, painted by T. Frank Cox on site. There was also a signed piece by Cox on site that has helped verify the dates on a few other pieces.
I first visited the Tabor Opera
House in June 2018, documenting some scenery on the stage and in the attic. My
49th birthday was spent carefully shifting scenery to get a sense of
what was in the attic. At the time, I
knew that this was a really special find, maybe one of the most significant
scenery collections in North America due to its scope. I returned this spring (February 2020) to document
all of the 1902 scenery on the stage. This was the first of two phases to
document all of the scenery on both the stage and in the attic. I have been hired to provide historical
analyses, conditions reports, replacement appraisals and final collections care
programs and management for the Tabor Opera House scenery. These documents will
help guide the future preservation and use of these remarkable artifacts.
In anticipation of this second-phase
project, I also painted historic replicas of some shutter scenes that are
stored in the attic. I referred to my 2018 images for color and some much older
slides (gifted from Ken Kurtz) for composition, creating small 8” x 10” acrylic
paintings. This step was solely to help convey was is currently stored in the Tabor
Opera House attic, hidden under a century’s worth of dust. It is difficult for
board members and the local community to understand these hidden treasures. I
am planning to paint many more scenes
after fully documenting the attic collection.
The interior of the 1879 Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a rocky pass setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a street setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a horizon setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.
My plan is to post scenes at the end
of each day, sharing many on site discoveries.
Keep your fingers crossed that all travel goes well, and we stay
healthy; the N95 masks are already packed!
Technical theatre history can pop up anywhere – even in a South Dakota Quonset building. In 2017 I stopped by the Heritage Hall Museum & Archives in Freeman, South Dakota. I was accompanying a colleague to see an advertisement curtain that needed some attention. While on site our Heritage Hall host mentioned a much older curtain stored in a nearby shed. Nothing could have prepared me for a series of Quonset huts, stuck in the middle of a field that hot fall day. After a brief struggle to find the correct key to open the massive doors, we wound our way past a series of antique cars and farming implements; this was off site storage for the Heritage Hall. At the far end of the Quonset was a tattered backdrop hanging from a warped batten. The influx of fresh air into the structure caused the old drop to rub against the corrugated metal. After all of these years, an old drop curtain had survived in this primitive building with a dirt floor and community of critters.
The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.
The opened doors at the far end provided just enough light for me to see the painted composition and a signature – Kaufman.
George J. Kaufman’s signature near the bottom of the drop curtain.Painted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. Kaufman
Heritage Hall Museum & Archive holds several fine art paintings by George J. Kaufman, as well as an advertisement curtain stored on site.
Detail of a painting by George J. Kaufman at the Heritage Hall Museum & Archive in Freeman, South Dakota.
George Joseph Kaufman was a well-known artist in not only Freeman, South Dakota, but also neighboring towns. Kaufman was known for his fine art, murals, theatre scenery and excessive drinking. In regard to local Freeman projects, Kaufman was credited with scenery delivered to the Freeman Opera House (later the Freeman City Hall) and all of the scenery for the Freeman college auditorium. He also produced local murals for the Bethel Mennonite Church and the Salem Mennonite Church, as well as painting the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls, South Dakota. In fact Kaufman painted a variety of scenes in numerous South Dakota Towns, starting in the second decade of the twentieth century.
Unfortunately, Kaufman’s hometown primarily recalls his struggle with alcoholism. Notes by S. Roy Kaufman, based on conversations with extended family members, paint this artist as the town drunk. Online biographies for the artist report, “It was said that he sometimes wasn’t paid for a commission until he had finished it for fear that he would begin drinking and fail to finish the work.” Maybe it was the death of his first wife in childbirth, his failed career as a scenic artist in Hollywood, or the Great Depression that pushed him to find escape in a bottle. It doesn’t really matter in the end, especially as so much of the tale remains based on hearsay. Only a drop curtain, an advertisement curtain, one newspaper clipping, and a smattering of fine art pieces remain to show the artistic potential that this young South Dakota scenic artist had in the early twentieth century.
This drop curtain by Kaufman was likely completed prior to his move to California; before his dreams diminished and the Great Depression settled in to stay.
Detail of drop curtain by George J. Kaufman.
Kaufman was born on Sept. 28, 1889, in Childstown, Turner County, South Dakota. The son of Joseph Kaufmann (1850-1926) and Francis Graber (1852-1917). The 1900 US Census lists that young George was one of five children living at home; the kids were Peter (b. 1872), Mary (b. 1875), Henry (b. 1883), Lena (b. 1888) and George (b. 1889). Census reports provide one perspective, a small glimpse into Kaufman’s private life and painting career. In 1910, George was still living at home and attending school. As he was 20 years old at the time, this suggests some continued learning or trade. He first entered his father’s trade as a jeweler.
Kaufman’s 1918 WWI Draft registration card describes his appearance as brown hair, brown eyes, medium build and medium height. At the time, he was listed as married and a member of the Mennonite Church. He was listed as a self-employed “Jeweler and Opthalmic.” The 1920 census noted that George was back at home, this time a widower by age 31. Local histories suggest that his first wife died in childbirth. Unfortunately, there are quite a few George Kaufmans who were widowed between 1911 and 1919, too many to positively identify any particular one.
Kaufman soon remarried a local Freeman girl – Martha Lea Edelman (30 Nov. 1899-Sept. 1965). The couple celebrated the birth of their first son, Owen in 1922. At the time, Kaufman was working as a jeweler, but must have been doing quite a bit of painting on the side. In 1925 he left the jewelry business to pursue his passion of painting in California.
On Oct. 30, 1925, the “Argus-Leader” announced, “Freeman Artist Plans to Go to California” (Sioux Falls, SD, page 4). The article continued, “George J. Kaufman, who has become a well-known artist in many parts of the state has decided to go with his family to Hollywood to devote his entire time to the study of his favorite work. Mr. Kaufman has sold his entire stock of jewelry and also disposed of all his household goods. He is now planning to leave in a few days for California. Mr. Kaufman deserves much credit for the work done in the Freeman college auditorium. He painted the entire stage scenery and the school and community is justly proud of the appearance of the stage. Mr. Kaufman also painted the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls. He has also done work in many other towns of the state.”
The couple celebrated the birth of two more children after Owen; Betty Jean was born in 1926 and Virginia M. was born in 1928. Only Betty Jean was born in California, suggesting that the family had returned to Freeman by 1928 for the birth of Virginia Mae, or “Penny” as she later became known. By 1930, the US Census recorded that the small family was now living in Grandview, South Dakota. Kaufman was listed as a “painter” working in the painting industry.
I find it interesting that there are no records of Kaufman being called a scenic artist. This suggests a lack of adequate training that possibly led to his downfall in Hollywood. Based on his fine art and stage art, it is not of the same caliber as many other scenic artists at the time. Kaufman purportedly worked for a short time in Hollywood, painting sets before returning home to South Dakota. I have yet to confirm his work elsewhere.
George J. Kaufman passed away at the farm where he was born on 15 May 1958. He was only 68 years old. Kaufman is buried in Freeman Cemetery, a mile west of town.
The Tabor Opera House in Leadville, Colorado, has three distinct
scenery collections. Scenic artists who delivered scenery to the venue include,
Henry E. Burcky (1879), T. Frank Cox (1888), the Kansas City Scenic Co. (1902)
and Sosman & Landis Scene Painting Studio of Chicago (1902). In 1901, the
Elks purchased the Tabor Opera House that was built in 1879, remodeling the
stage house and adding a fly loft. The original wing-and-shutter scenery was
carefully tucked away in the attic, and new scenery purchased from Fred R.
Megan, representing the Kansas City Scenic Co. By the way, Megan and Thomas G.
Moses would later partner to establish Moses & Megan while they waited to
purchase the Sosman & Landis name after the company closed in 1923. In
regard to the Tabor Opera House, Kansas City Scenic Co. subcontracted some of
their 1902 project to Sosman & Landis Studio.
The Tabor Opera House in Leadville, Colorado, was built in 1879 and renovated in 1901-1902.
Two months ago, I catalogued all of the scenery stored on
the Tabor Opera House stage and have just finished creating conditions reports,
replacement appraisals and a collections care management document for 105
pieces. I am heading back this fall to do the same for the scenery in the
attic.
Some of the scenery on the stage of the Tabor Opera House in Leadville, Colorado, 1902.
While I was in the midst of creating the documents for the
scenery on stage, Kenneth Kurtz contacted me about a tray in his slide
collection. Years back he visited the Tabor Opera house with his wife and
photographed some of the scenery, especially a few shutters stored in the
attic. I also photographed some of the
scenery in the attic on my 49th birthday in 2018, and knew what treasures were
tucked away up there. In a very generous
move, Kurtz send his slides to me this month and I was able to photograph a few
projections that I have included with this post. I still have to digitize the
photos, but they have been incredibly helpful for me.
Slide tray gifted from Ken KurtzKen Kurtz and Mrs. Furman
The Tabor Opera House scenery collection is remarkable because it shows the shift of scenic art over time, as well as major players in the North American theatrical manufacturing scene. It is a treasure trove of scenic art examples. The collection also depicts a shift in stage hardware from 1879 to 1888 (the flat sheaves used on wings to slide onstage). It also depicts the shift in wing, shutter and roll drop scenery to and fly scenery and realistic interior settings. This is a wonderful theater that should be preserved for future generations. To learn more about visit https://www.taboroperahouse.net/
Scenery dating from 1888 in the attic of the Tabor Opera House, Leadville, Colorado.Scenic piece painted by T. Frank Cox in 1888.Signature on scenic piece painted by T. Frank Cox in 1888.Scenic artist and architect, Tignal Frank Cox (1854-1940) painted scenery for the Tabor Opera House in Leadville, Colorado, in 1888. He was touring Colorado as a scenic artist and performer, marketing his artistic skills on stage as a “Lighting Artist” and “Tramp Artist.”
Please consider donating to the preservation of this remarkable theatre collection. Here is the link to the Tabor Opera House Preservation Foundation: https://www.taboroperahouse.net/donate
Overlooking Turquoise Lake at the town of Leadville, Colorado.The Tabor Opera House as it appeared in June 2018.
In “The History of the Tabor Opera House, a Captivating History,” author Evelyn E. Livingston Furman described the first scenery delivered to Leadville’s Tabor Opera House in 1879. Keep in mind that H. A. W. Tabor was consistently purchasing the best for his first opera house in Leadville, Colorado. For most features he ordered the best that money could buy. One only has to only look at the opera chairs, complete with plush seats and hat racks beneath, top of the line from the Andrews Company.
Advertisement for chairs that were purchased for the Tabor Opera House in Leadville, Colorado.Original 1879 opera chairs at the Tabor Opera House in Leadville, Colorado.Original 1879 opera chairs at the Tabor Opera House in Leadville, Colorado.
The opera chairs, and everything else for the Tabor Opera House were purchased and transported before the railway stopped in this mountain community.
Railroad tracks on the outskirts of Leadville, Colorado.
I cannot imagine that the focal
point of the stage would have been treated any less. My guess is that the scenery cost was also
considered top-of-the line goods. Furman notes explains that one backdrop, a
scene depicting Royal Gorge, was purchased for $1000; that is the equivalent of
a $25,000 today. An interesting aside before I move on with the remainder of
the 1879 scenery: in 1880, “Western Magazine” mentions Royal Gorge as “located
on the Leadville branch of the Denver & Rio Grande Railroad” ( Vol. 4, page
176).
Furman explains that ten sets of
scenes were delivered to the Tabor Opera House in 1879. This was a standard size stock collection for
many smaller venues. Larger theaters ordered as many as 25 to 35 sets, while smaller
musical halls may only purchase four sets.
By 1884, “Harry Miner’s American Dramatic Directory” noted there were 12 sets of scenery, increasing the original installation by two sets. This is also common, as new theaters continued to increase their stock, even within the first decade. We also know that scenery was again delivered in 1888 by scenic artist Frank Cox. So how do we know what’s up in the attic? We don’t, not yet, at least.
Signed scenic piece by scenic artist and theatre architect, Jesse Cox, at the Tabor Opera House in Leadville, Colorado.
The original 1879 pieces are purportedly stored in the attic, but with an ever-expanding collection before the 1901 renovation it is hard to know what comprises the original collection. There is wing and shutter scenery, as well as roll drops, in the attic that pre-dates the 1902 Kansas City Scenic Co. scenery; of that there is no question. I dug through much of it and documented what I could on my 49th birthday. I know, without any doubt at all, that the wing and shutter scenery in the attic pre-dates the 1901 building renovation, and I can easily identify the 1902 scenery, as it is too tall for the original stage, and many pieces even included studio stencils on the back.
Studio stencil by the Kansas City Scenic Co. on the 1902 scenery at the Tabor Opera House in Leadville, Colorado.
In theatrical guides, the height of
the original grooves for the Tabor Opera House stage was listed as 16’-0”. The
height of the proscenium varied in publications from 17’-0” to 20’-0”. All of the
1902 scenery is 18’-0” tall.
Other 1879 scenery mentioned by
Furman include a forest scene, a garden scene, a palace scene, a plain chamber
scene with a balcony, and a prison scene. Amazingly, we uncovered what is
likely the original balcony last week, albeit in very poor shape. It seems to
be the appropriate age, complete with rough-hewn lumber and very unlike the
1902 scenery. Our roll drop discovery with the Palace composition was also
constructed of rough-hewn lumber.
Palace arch roll drop and volunteer crew at the Tabor Opera House in Leadville, Colorado.
Furman also recorded a set of double-painted flats: one depicting a New England Kitchen and the other a Baronial Hall scene on the other. I knew exactly what she was talking about as two of those flats were on stage last week; I knew that the rest were in the attic. However, we noticed that the Baronial Hall side (a Gothic interior) was over painted. Although it was an identical composition below, the flat had been repainted. This absolutely fascinated me, and I took several photographs of the under-painting that depicted an identical composition with slightly different coloration. Although exciting, it throws a wrench into the works. It will be harder to determine what is original painting.
Under and overpainting on historic flat at the Tabor Opera House, c. 1879-1888.Grand tormentor discovered on site at the Tabor Opera House in Leadville, Colorado, c. 1879-1888.Painted detail from grand tormentor discovered on site at the Tabor Opera House in Leadville, Colorado, c. 1879-1888.Painted detail from grand tormentor discovered on site at the Tabor Opera House in Leadville, Colorado, c. 1879-1888. Notice the thick coat of paint, suggesting multiple layers from repainting of the theatrical flat.
Theatre scenery was, and remains, ephemeral in nature. Repainting and replacing are all part of our process; stock sets were never intended to be permanent. Those that remain are really the anomaly.
Finally Furman mentions three sets of wood wings for the exterior scenes and a mountain stream scene. I located the mountain stream scene shutters, and it is beautifully painted.
Painted detail from mountain stream scene shutter discovered on site at the Tabor Opera House in Leadville, Colorado, c. 1879-1888.
I also located a few wood borders. What I did notice about the collection in the attic, is how quickly the painting falls apart. It was during this time that the American scenic art wars were in full swing; those who used a series of glazes to paint stage settings versus those who used opaque washes. Opaque washes were employed in many Midwestern scenic studios and their artists, and condescendingly referred to as “slap dash.” Looking at the scenery in the attic, slap-dash certainly comes to mind. Unlike the refined techniques employed on the Sosman & Landis interior settings below, the wings, shutter, and borders in the attic appear in stark contrast. This is a fascinating time to examine the aesthetic shift that was occurring n the American stage.
Painted detail of “slap dash” painting found on a scenic piece at the Tabor Opera House, c. 1879-1888.Painted detail of “slap dash” painting found on a scenic piece at the Tabor Opera House, c. 1879-1888.Painted detail on Sosman & Landis interior setting piece at the Tabor Opera House, c. 1902.
In the attic during 2018, I noticed there was a grand border and two matching torms, complete with marble columns and draperies. I caught glimpses of fancy interiors, Gothic exteriors, garden walls with colorful vines, brilliant wood borders and so much more. The Tabor Opera House is a treasure trove of scenic art and stagecraft. Their collection shows the delightful transition from itinerant artists employing the slap-dash on site to mass-produced scenery produced at a major scenic studio and shipped from a distant location. I am left with great anticipation to catalogue what’s in the Tabor Opera House attic this spring.
Painted detail, wood border at the Tabor Opera House, c. 1879-1888.Painted detail, wood border at the Tabor Opera House, c. 1879-1888.Stencil detail, interior set piece at the Tabor Opera House, c. 1879-1888.
The Tabor Opera House in Leadville, Colorado, on February 7, 2020.
By 5:30 P.M. on February 7, 2020, we had catalogued over 95
scenic pieces, as well as setting up four interior settings. The snow was coming down harder than ever as
we crossed the street to the Silver Dollar Saloon. Over the course of five days,
we shifted, documented, and reorganized all of the historic scenery on the
Tabor Opera House stage, with the exception of the contemporary stage settings.
We did not have an opportunity to document those painted after 1980.
Cottage delivered to the Tabor Opera House by Kansas City Scenic Co. 1902Painted detail. Cottage delivered to the Tabor Opera House by Kansas City Scenic Co. 1902Two city buildings, one from 1888 (left) and one from 1902 (right). The one on the left has wheels for also using in grooves as wings.Bottom of city flat picture above on left.
The 1902 historic settings that we assembled included a center
door fancy, Gothic interior, plain setting and prison scene. There were partial
collections that we did not have try to assemble this time. This number does
not include any of the original scenery delivered to the opera house before the
renovation in 1901, pieces that are currently stored in the attic.
Of all the historic scenery collections in the United States
that I have encountered, this is the most unique. There are others that are
larger and more impressive, as well as others that have been moved to off site
storage units to preserve their posterity. But the scenery at the Tabor Opera House
spans decades and remains on site despite new owners and building renovations.
I have written extensively about the resale of scenery collections throughout
the late-nineteenth and early twentieth century, using examples across the
country. Used scenery ended up in new locations for many reasons. For example, used scenery was left at the
final destination after a touring show closed. Used scenery from touring shows
was purchased by smaller venues in need of stock scenery, or those expanding
their original stock. Used scenery was
retrofitted and sold to new theaters without their knowledge. In other words, the
purchase of used scenery was not an uncommon practice. In the past three decades, I have repeatedly
identified used scenery collections still in use at various venues.
In many ways the Tabor Opera House exemplifies what occurred
across the country during the late nineteenth and early twentieth century. Like
many other performance venues, they continued to update their stock scenery,
yet never really replaced it. What makes the Tabor collection remarkable,
however, is that everything is still on site despite the venue changing hands
and undergoing extensive renovations and structural changes. Even scenery that
was manufactured for a previous stage, one without a fly loft, was retained
after a remodel. I cannot wrap my mind around the fact that the
wing-and-shutter scenery was not thrown away, given away, sold, or repurposed.
This is extremely atypical, as their old scenery designed for grooves was not ever
retrofitted for the new fly system, just kept.
Hand-carved for city flat with wheels for grooves in 1879 stage before fly loft was added.City flat delivered to the Tabor Opera House in 1888.
Keep in mind that the entire building was renovated in 1901,
both the auditorium and stage house were enlarged. The roof was ripped off and a fly loft added;
yet the smaller scenery designed for grooves remained on site, unaltered and
tucked away. For what purpose, and why
did they just store it in the attic? Sentimental attachment? Too hard to dispose of at the time? We may never know the reason as to why the
original scenery was kept.
I have often referenced used scenery collections, such as the
1901 scenery and stage machinery at the Scottish Rite Theatre in Little Rock.
Two decades after the original installation of this collection by Sosman &
Landis, it was transported and installed at the Scottish Rite theater in
Pasadena, California, where it is still used today. That scenery was manufactured around the same
time as the Tabor Opera House’s center door fancy set. Other examples of used
scenery collections that I have explored include Salina, KS, Yankton, SD, and
Deadwood, SD. Used scenery and stage machinery were carefully transported,
refurbished and installed in second, and sometimes third, venues. We were an
industry built on the repurposing of not only ideas, but also artifacts.
And then there is the sheer volume of scenery at the Tabor
Opera House in Leadville, Colorado. There are almost 100 historic pieces on
stage and dozens more in the attic, representing a scope of American scenic art
in one venue that is unheard of. The Tabor’s 1879 through 1902 scenery
collections that I examined this week did not include all of the modern scenery
manufactured for melodramas and community productions after 1980.
The Tabor Opera House is a living history museum, unlike any
of its kind in the United States, with wonderful examples of the ever-shifting stage
aesthetic, all situated in one place. This is a destination location for theatre
historians, practitioners, and art enthusiasts to visit. But the venue needs
financial help, here is the link if you want to contribute to a good cause, as
volunteer labor can only do so much: https://www.taboroperahouse.net/donate
Double-painted scene. Front has plain interior and back has prison scene.Double-painted scene. Front has plain interior and back has prison scene.Three sets of folding wood wings to accompany exterior settings at the Tabor Opera House in Leadville, Colorado. These pieces were produced by the Kansas City Scenic Co. in 1902.
Then we top off this remarkable collection with its
extensive artistic provenance and stewardship. In 1933, the 1902 scenery collection
was catalogued, by theatre folk who knew what they doing; the project was led
my Muriel Sibell Wolle. The fact that this 1933 documentation is digitally
accessible to the general public is also unusual in its own right. We have
dozens of performing arts collections across the country that are almost
impossible to access for general research without a site visit.
The preservation of the Tabor Opera House’s physical
structure and artifacts were later spearheaded by a Minnesota school teacher,
who purchased and began the preservation of the building in 1955. Then her
daughter, Evelyn E. Livingston Furman, included the history surrounding the
construction of the Tabor Opera House in a series of books.
The United States has thousands of examples of historic
scenic art collections located in opera house, social halls, cinemas, fraternal
theaters, and other performance venues.
We have examples of painted scenery that range from fraternal ceremonies
to famous film sets, yet nothing can compare to what is owned by this small
mountain community in Leadville, Colorado, when considering historic scope.
Two flats at the Tabor Opera House dating from 1902.Six jungle flats stacked against the upstage wall at the Tabor Opera House in Leadville, Colorado.
The Tabor Opera House scenery collection has been stored in
less than ideal conditions, complete with roof leaks and renovations. That
being said the low humidity and high elevation helped a lot. The scenery has also
seen plenty of use over the past century; maybe this is why the collection has
been treasured and kept over the years.
In many ways, what is the point of preserving historic scenery if it is
never used again? For a painted scene to remain on a roll, or tacked to the
wall of a lobby diminishes the overall significance of a piece. It is like
taking off the original frame of an artwork, one carefully selected by the
artist to display his work. The theater’s environment is intricately linked to
the scenic art; these pieces were designed and manufactured to be viewed on a stage,
placed a specific distance from the viewer.
To observe them up close in a museum destroys the illusion and purpose
of each piece.
Painted detail above door on plain interior setting at the Tabor Opera House in Leadville, Colorado.Painted detail above door on plain interior setting at the Tabor Opera House in Leadville, Colorado.Plain interior setting at the Tabor Opera House in Leadville, Colorado.
I have a month’s worth of work left to go to complete the
documentation of the piece that have been catalogued, each page based on my site
notes and photographs. The easy part of the project is done. There are condition reports, historical
analyses, replacement appraisals, and a collections care document to prepare. It is a daunting task, especially knowing
that more clues remain hidden in the attic of the Tabor Opera House. The last
time the collection was catalogued was in 1933 and I have big shoes to fill. At
that time, the sets were documented in their entirety, but the individual state
of each artifact was not examined. Muriel Sibell Wolle looked at the big
picture, and this was very important for all research that would follow. Her
“big picture” provided a guide map for those wishing to understand the history
of scenery at the Tabor Opera House.
Without her studies, my work this week would have been difficult at
best; I would have been working “blind.”
In addition to Wolle’s contribution is the continued stewardship
of those who followed her, including volunteers for this project. The careful
documentation and cataloguing of all on site artifacts is just one more chapter
in the Tabor Opera House history. One small example of this stewardship
included the actions of volunteer Robyn; she found an old stage brace marked “Tabor
Opera House” at a local antique store, purchased it and returned it home to the
theater. All of the artifacts are finding their way home, as if drawn by a
magnetic force.
The preservation of the old theater has remained a community
endeavor since its inception. Even in the 1890s, when Horace Tabor had to let
his prized possession go, there were those in the community who took over the
care of his grand building. The Tabor Opera House, Augusta Tabor, Baby Doe and
the Matchless Mine are all entwined with the captivating history of Leadville.
Both Leadville natives and transplants have equally contributed to the
preservation of this remarkable building.
Painted detail on folding wood wing at the Tabor Opera House in Leadville, Colorado. This piece was painted by scenic artists at the Kansas City Scenic Co in 1902.Painted detail on folding wood wing at the Tabor Opera House in Leadville, Colorado. This piece was painted by scenic artists at the Kansas City Scenic Co in 1902.
I began our final day at the Tabor Opera House in a bit of a
panic, as there was still so much left to catalogue. By the end of the previous
day, we all realized that there was much more flat stock than anyone
anticipated. There is nothing like thinking this is the last flat against the
wall, and they just keep coming. My initial hope was that we could assemble all
the interior settings, but soon realized that I would have to settle for three at
most. Some of the settings were incomplete due to repainting too, so I was
unsure if there were complete sets.
…and then there was the weather…
View out my front door after the first snowfall in Leadville, Colorado.
Leadville, Colorado, was in the midst of a huge snowstorm
that would deposit up to to 51-inches of snow in neighboring areas. Just trying
to get out of the house that morning was a challenge, as I waded through snow
up to my knee to the car. I had been walking the half block to the opera house,
but accepted the ride offered in anticipation of the weather the night before.
A few of us decided to meet a little early and photograph
the grand tormentors that we discovered the Thursday evening, getting a head
start. The grand tormentors matched the first piece we examined on Monday – the
grand border. The classic red draperies framing the marble columns matched
those documented earlier that week.
Stage left grand tormentor. Draperies were added to match the original red detail in the painted ornament below.
There are six pieces with the same red draperies: the two folding
grand tormentors with doors; three grand borders, and the front drop curtain.
All four elements are not of the same vintage. Before looking at the individual
pieces, here are the technical specifications for the venue listed in Julius
Cahn’s Official Theatrical Guide for the 1903-1904 Season: Width of proscenium,
30’-0”; height of the proscenium 24’-0”; distance from the curtain line to
footlights, 5’-0”; height to rigging loft 41’-0”’and the depth under stage,
12’-0”.
Grand border that pre-dates the 1901 stage renovation by the Elks in Leadville, Colorado.Grand border that pre-dates the 1901 stage renovation by the Elks in Leadville, Colorado.Painted detail on grand tormentor, pre-dating the 1901 stage renovation by the Elks in Leadville, Colorado.Painted detail on grand tormentor, pre-dating the 1901 stage renovation by the Elks in Leadville, Colorado.Painted detail on grand tormentor, pre-dating the 1901 stage renovation by the Elks in Leadville, Colorado.Painted detail on grand tormentor, pre-dating the 1901 stage renovation by the Elks in Leadville, Colorado.
The largest red-drapery grand border is over 44-feet long, much too large for the proscenium. This piece
has five holes for operating lines. Common installation practices at the time for
a proscenium this size, such as the Tabor Opera House, would only demand three
holes for three operating lines.
The second matching border with red draperies is similar,
but shorter; an appropriate length for the 30’-0” wide proscenium.
Shorter border with red draperies and grand tormentor. The red draperies on both of these are a later addition.
The third red drapery border is too small for the proscenium
and the oldest. It has the similar red curtains, matching the two highly ornate
grand tormentors that we photographed in the morning. These three pieces are stunning.
The front curtain (drop curtain) was initially created without
the red draperies. Upon close inspection, it is obvious that the red draperies were
added after the entire drop was complete. The painting style for the red
draperies on the front curtain is quite crude in comparison to the rest of the
composition.
It is a challenge to appropriately date all of the pieces. I
think that the oldest pieces are the latter three mentioned, the matching
ornate border and grand tormentors. These pieces were delivered prior to the that
were addition of the fly loft The side doors allowed promoted action to occur
downstage of the plaster line while a scene change was occurring upstage.
The painting of the matching border and tormentors are
stunning, a much higher quality than the two other borders, yet the red
draperies were also added here too. The tassels at the top of the tormentors
are not of the same quality or technique as those incorporated into the bottom
ornament.
Note the crude painting technique for the red draperies. It is incosistent with the rest of the quality on the side tormentors.Note the quality of the gold and how it differs from the gold fringe on the red draperies.
I believe that the really long border, shorter border and
draperies on the front curtain were added at the same time, 1902 or slightly
later, but a scenic artist working on site at the theater after the delivery.
These latter three pieces were painted to match the original tormentors. In
fact, I think that the tops of the grand tormentors, the drop curtain draperies
and the two borders (large and small, not highly ornate) were painted at the
same time.
The quality of painting is all over the map at the Tabor
Opera House. I am still stunned that we
uncovered three distinct collections – 1879, 1888 and 1902. The 1902 scenery
delivery included used pieces from an unidentifiable venue, but one previous to
1902. The 1879 collection (which will be catalogue later this spring) and the
1888 collection were created prior to the enlargement of the stage and addition
of the fly loft. The 1879 and 1888 scenery were produced for a stage with
grooves. The 1902 scenery was produced for a stage house with fly loft.
The majority of 1879 wing and shutter scenery is in the
attic of the Tabor Opera House. A few elements of the 1888 scenery by Frank Cox
are stored on the stage, identifiable by the strap sheaves on the bottom of
rolling flats, intended to accompany the original grooves.
The 1902 scenery is all on the stage and includes several
interior settings. These set flats are interchangeable and lashed together.
Some of the scenes have been repainted over the decades. The 1902 collection includes a yellow center
door fancy, a pink center door fancy, a green Gothic interior, two plain
interiors and a prison. The prison scene is back-painted on one of the plain
interiors. In addition to these interior settings are large set pieces that
include wood wings, rustic huts, garden balustrades and city buildings. Only
three set pieces stored on the stage currently roll, dating from 1888; a tree
profile and two city wings were constructed to slide in grooves.
Some of the scenery against the back wall at the Tabor Opera House in Leadville, Colorado.
The volunteer crew returned to the Opera House after eating at the Silver Dollar Saloon on the afternoon of Feb. 6, 2020. The fancy door interior setting assembled that morning was slowly replaced with a gothic interior.
Travels of a Scenic Artist and Scholar author, Wendy Waszut-Barrett, opening the functional door of the Gothic setting at the Tabor Opera House in Leadville, Colorado.Gothic interior setting at the Tabor Opera House in Leadville, Colorado, 1902.Painted detail. Gothic interior setting at the Tabor Opera House in Leadville, Colorado, 1902.Painted detail. Gothic interior setting at the Tabor Opera House in Leadville, Colorado, 1902.Painted detail. Gothic interior setting at the Tabor Opera House in Leadville, Colorado, 1902.
As we “oohed” and “awed” each piece coming out of the pile, nothing could prepare us for the repainted flats. As we started to open one large tri-fold flat the group shouted in unison “Noooo!” The historic scene had been painted over with white latex, spattered with an array of colors. In other instances, the historic flat retained the original painted molding and cornices, but the walls were repainted with bright pink and dark blue stripes. Odd art adorned the repainted walls too, ranging from cupids and satyrs to old photographs and illustrations of an ear. One flat had been used for masking when painting something else brown. It seemed just tragic, and I feared that we would continue to encounter repainted piece after piece. I am sure that the individuals who painted over the original artwork had no idea of their significance.
Partially repainted flat at the Tabor Opera House in Leadville, Colorado. The pink and blue stripes are not original.Partially repainted flat at the Tabor Opera House in Leadville, Colorado. It looks like the flat was used for masking when something was painted brown.
In the end, we were unable to set up the Gothic scene due to
missing pieces and feared that the missing flats had fallen victim to an
amateurs brush, yet there were piles of flats to go. With fifteen of us helping,
we eventually uncovered a jungle scene, three sets of wood wings, street
setting flats, cottages, rustic interiors, plain interiors, stone interiors and
so on; all as originally painted.
Profile piece painted by New Orleans artists and architect Frank Cox, 1888, for the Tabor Opera House in Leadville, Colorado.Back view of profile piece painted by New Orleans artists and architect Frank Cox, 1888, for the Tabor Opera House in Leadville, Colorado.
The greatest discovery, however, was a tree profile. Heavy and cumbersome, it overshadowed the
Sosman & Landis tag discovery on the previous day. On the back of the tree
flat was a cartoon depicting a scenic artist at work. The little artist, dressed in overalls and
holding a brush included a caption: “Frank Cox Scenic Artist Jan 88.” This was a huge discovery, as it meant this 1888
piece was likely part of a collection that was added to the 1879 scenery.
Cartoon of the artist on profile piece painted by New Orleans artists and architect Frank Cox, 1888, for the Tabor Opera House in Leadville, Colorado.Painted detail. Profile piece painted by New Orleans artists and architect Frank Cox, 1888, for the Tabor Opera House in Leadville, Colorado.Painted detail. Profile piece painted by New Orleans artists and architect Frank Cox, 1888, for the Tabor Opera House in Leadville, Colorado.Painted detail. Profile piece painted by New Orleans artists and architect Frank Cox, 1888, for the Tabor Opera House in Leadville, Colorado.Bottom rail of tree profile piece allowed it to roll in grooves on the stage. This was intended for the original 1879 Tabor Opera House. In 1901, the grooves were removed and a fly loft installed when the building was purchased by the Elks.
It was common for theaters to continually purchase scenery
over the decades, replacing drop curtains, flats and backdrops. What is
remarkable about this cartoon is that Cox became a very well known theatre
architect. I have written about Frank Cox and the Cox. Bros. Studio in the past
(see post # 310). Cox began his career as a New Orleans scenic artist,
transitioning into theatre architect by the 1890s. In 1890, Cox was still working as a scenic artist, decorator
and architect in the New Orleans area. He continued to work as a scenic artist
throughout the remainder of the nineteenth century and was credited as delivering
scenery to the Temple Theatre in Alton, Illinois (1899) and Klein’s Opera House
in Seguin, Texas (1903-1904). I had never encountered any examples of Cox’s
work until now.
In 1894, Cox designed the New Lyceum Theater in Memphis,
Tennessee. Thomas G. Moses provided the scenery for this venue, writing, “the architect insisted
on my work.” At the time, Moses was not working at Sosman & Landis. It was
only with Cox’s recommendation that Moses received the contract and not his
previous employer Sosman & Landis.
In regard to
the famous Cox family of scenic artists…
Frank, Eugene,
and Clark Cox who operated a scenic and fresco business known as Cox Bros. in
New Orleans. However, it was referred to
as “Frank Cox’s Studio at New Orleans,” him being the eldest and most
experienced. They had quite a large
staff by 1891 that included the scenic artist Emile Nippert and stage machinist
James A. Kee (Fort Worth Daily Gazette 11 August 1891, page 2). The Cox Bros.
studio was located in the Grand Opera House of New Orleans. Frank withdrew from the partnership in 1896,
but the partnership continued to operate under the same name of Cox Bros.,
despite Frank’s public declamation that the firm was dissolved. Eugene and Clark published a rebuttal,
wanting to make it “thoroughly understood” that they would continue to operate
the scenic and fresco business under the name Cox Bros. By the way, there appears to be no immediate
familial ties to the Jesse Cox Scenic Studio of Estherville.
Returning to
the tree profile piece, Frank Cox also put his name on the front. “Carved” into the painted tree is “F. Cox, W.M. and J.C.”
In terms of
“W.M.”, scenic artists that I know of who were working at that time include W.
Marshal, William Minor, William Mitchell, and William Morris. In terms of “J.C.”, scenic artists that I know
of who were working at that time include J. P. Cahill, John A. Collins, John
Constantine, J. H. Connolly, and Jesse Cox. It will be fun to uncover where the
artists may have been working in 1888.
The volunteer crew at the Tabor Opera House in Leadville, Colorado on February 6, 2020.
We started the fourth day full of ambition. It was the first of two days to set up all of the interior settings. In the deep layer of flats against the upstage wall was an estimated four scenes. By that afternoon we would realize there were many more. Blissful in my ignorance that morning, I figured we would set up two scenes per day. We first set up the “Center Door Fancy,” being the first in the pile. It was a lovely series of flats depicting floral garlands on every wall panel.
the center door fancy at the Tabor Opera House in Leadville, Colorado.
While lashing the final flats together, one volunteer (Doug from Breckenridge) mentioned that there was a tag on the back of one flat. I raced over to the stage-right flat; full of excitement and knowing it was a shipping label. Expecting to see a Kansas City Scenic Co. tag, I was shocked to read “Sosman & Landis.”
Sosman & Landis shipping label found on the bottom of one flat. Painted detail. The center door fancy set at the Tabor Opera House in Leadville, Colorado.
What makes this find such a big deal for me is that Sosman
& Landis was deeply connected to both New York Studios and Kansas City
Scenic Co. They shared artists, designs
and projects. Having read about the regional affiliation between the studios, I
had uncovered very little concrete evidence beyond brief notes in Thomas G.
Moses’ memoirs and a few newspaper articles.
New York Studios was advertised as the eastern affiliate of
Sosman & Moses.
Kansas City Scenic Co. was listed as a western regional
office of Sosman & Landis.
Former Sosman & Landis employee, Lemuel L. Graham,
initially left Sosman & Landis to form Kansas City Scenic Co. in the
1880s. Former Sosman & Landis
employee, David H. Hunt, established New York Studios in 1910. There were
connections everywhere to accommodate the ever-increasing demand for painted
illusion.
New York Studios stencil on flat at the Thalian Hall in Wilmington, North Caroliina.
I had always wondered how they handled the scenery being
manufactured and shipped from one studio while contracted with another. Even though the Elks Opera House (Tabor Opera
House) in Leadville, Colorado, contracted with the Kansas City Scenic Co. in
1902, a large chunk of scenery was shipped from the Sosman & Landis Studio
in Chicago. We discovered multiple shipping labels, and it is possible that
each piece came with two’ one on the top and one on the bottom. Salesman Fred
R. Megan, representing the Kansas City Scenic Co., handled the contract for the
Leadville delivery. At this time the firm was making inroads to the western
market. Megan later partnered with Thomas G. Moses, the final president of
Sosman & Landis, to form Moses & Megan Studio.
Interior of the Sosman & Landis Studio, 1910.
The American scenic studio system was one large family;
sometimes they quibbled and sometimes they shared, but all stayed within a
network beneficial to everyone. Theatre work was plentiful in 1902; demand
outweighed supply and much of the competition between studios was friendly.
Even though competing studios vied for the same projects, there was always more
work around the corner if one lost out to a competitor. Also, when too much work came in at once, it
was beneficial to have close ties to these same competitors when work needed to
be subcontracted, thus affiliations and regional connections were established.
I believe that this is what was happening from 1901-1903
with the Kansas City Scenic Co when they manufactured the scenery bound for
Leadville. In looking at the various
projects rolling into the Kansas City studio, the firm had more work than they
could handle and reached out to Sosman & Landis. The Sosman & Landis
flat construction for the center door fancy is identical to many of the other
scenes with the “Kansas City Scenic Co., Kansas City, MO” stencil.
Kansas City Scenic Co. Kansas City, Missouri.
Regardless of the scenery manufacturer, the center door fancy is absolutely stunning and completes the auditorium. The sheer beauty of the set, despite the visible deterioration and water damage, mesmerized the crew. In looking at the center door fancy and seeing my crew’s reactions, I realized that this was a wonderful marketing opportunity for the Tabor Opera House, so I decided to both video and live stream the moment. This is such a special venue, and I urge donations to their Tabor Opera House Preservation Foundation.
The Tabor Opera House has only one staff member who also gives tours; everyone else is a volunteer. There are two internationally significant scenery collections at this venue, and we are only uncovering one this time.
There is something magical about entering a historic stage
scene, whether you are a performer, technician or theatre enthusiast. Being surrounded by beautiful painting with
footlights before you and staring at the ornate auditorium is spellbinding. You
think of all the performers who stood in that exact same spot, surround by the
same within interior setting. Wile setting up all the scenery I contemplated
the various personalities who handled these same flats. Stepping back in the
past is a transformative experience. You are transported to another time and
share a moment with those who came before, some more famous that we could ever
imagine and others who changed the world.
And this was not the biggest discovery of the day. I will
describe what occurred after setting up the center door fancy tomorrow.
Painted detail on the center door fancy setting at the Tabor Opera House in Leadville, Colorado.Painted detail on the center door fancy setting at the Tabor Opera House in Leadville, Colorado.Painted detail on the center door fancy setting at the Tabor Opera House in Leadville, Colorado.Painted detail on the center door fancy setting at the Tabor Opera House in Leadville, Colorado.Painted detail on the center door fancy setting at the Tabor Opera House in Leadville, Colorado.
