The Tabor Opera House on the morning of February 5, 2020.
On my third day in Leadville, Colorado, I decided to walk to the Taber Opera House. My lodging is less than a block away. It felt a little brisk out, but I thought nothing of it as the sun was shining and I enjoyed the stroll. At the time, I did not realize it was 20 degrees below zero. Arriving a bit early, I had a chance to enjoy coffee and wait for the crew.
The garden drop at the Tabor Opera House in Leadville, Colorado.
There were a few new faces, and after introductions, we discussed the day’s schedule. I wanted to finish all of the hanging scenery so that we could start on the interior sets tomorrow. Keep in mind that there are no counterweights to ease the burden of operating any line sets. We started with the heaviest piece, an unidentified framed drop that would take more than two sets of hands. From the stage floor we could tell that there was a medallion in the center, and my first thought was that it was an unfinished composition on the original paint frame for the stage. We soon discovered that it was a ceiling piece for the interior sets, complete with a hole in the center for lighting fixture. I have only seen historic set ceilings in photographs, never in person, so this was quite an exciting moment. It was wonderful to examine not only the painting but also the stage hardware. Also, at one point, the entire back had been backed with what looked like an advertisement poster.
The ceiling drop for interior sets at the Tabor Opera House in Leadville, Colorado. View from backside. The ceiling drop for interior sets at the Tabor Opera House in Leadville, Colorado. Painted detail. The ceiling drop for interior sets at the Tabor Opera House in Leadville, Colorado. Stage hardware for suspending ceiling drop over interior sets. Stage hardware for suspending ceiling drop over interior sets.
Other scenes that we catalogued yesterday
morning included a wood cut drop, wood border, garden drop, landscape drop, and
the front curtain. We enjoyed a
family-style lunch again at the Silver Dollar Saloon, warming up and visiting.
The wood drop at the Tabor Opera House in Leadville, Colorado.Painted detail. The wood drop at the Tabor Opera House in Leadville, Colorado.Painted detail. The wood drop at the Tabor Opera House in Leadville, Colorado.
After returning to the theater, we
completed all of the hanging scenes except one painted border. About three o’clock a voice called down from
the flies; Amy noticed a fabric roll attached the side of the pin rail and we
began to plan to lower it. As Carl began
rigging the drop, I began contemplating what the roll might be. A batten was
attached, but it was way too short for the proscenium opening. I began to speculate if it was the original
1879 front curtain, by why was it not upstairs with the rest of the painted
wings and borders. Not until I felt the roller, did I get pretty excited about
our discovery. The roller was quite old and the top batten made of 4-inch
rough-hewn lumber.
Sure enough, this was the same composition noted by Muriel Sibell Wolle
(1898-1977) as the “Palace Drop” in the
1933. This piece was documented as part of the Leadville Opera House Scenery
Project, 1933; the many materials now at the Denver Public Library. In 1933, a
group of students, a former Tabor stage manager, and professors documented the
opera house scenery. At this time, Wolle also sketched each set and made color
noted which were developed into large watercolor paintings. Here is a link to her rendition of the Palace
drop: https://digital.denverlibrary.org/digital/collection/p15330coll22/id/483 The 1933 project gives the
Tabor scenery collection an incredible amount of artistic provenance. It will also help determine what is missing
from the current inventory.
The same roll drop was documented in 1933 as part of the Leadville Opera House Scenery Project. In 1933, a group of students, a former Tabor stage manager, and professors documented the opera house scenery.The hidden roll drop and the volunteer crew on February 5, 2020, at the Tabor Opera House in Leadville, Colorado.
In
regard to the Palace Drop…I have mixed feelings about the painted composition
and its actual age. This original drop was purportedly lent to the Denver
Theatre for its opening of the famed 1932 “Silver Dollar” movie (https://immortalephemera.com/15370/silver-dollar-1932-edward-g-robinson/), a film was based on the David Karsner’s booko,
“Silver Dollar, the Story of the Tabors.” His publication told of the rise and
fall of Leadville’s Horace Tabor, and his two wives Augusta and Baby Doe.
Of
the Palace Drop: the roller, fabric, and batten are obviously old and pre-date
1900. The fabric is cotton sheeting, similar to the 1879 wing and shutter
scenery, with only a few pieces of linen. The Palace roll drop, however, does
not look like late nineteenth century stage scenery; there’s a “sharpness” to
the painting that I have not encountered in historic scenery from this period before.
My gut instinct tells me that the old drop was “touched up” while on loan in
1932, hence why much of it looks so new. There is a 1920s/1930s feel about it. In
other words, some well-meaning individual brightened the highlights, added a
few washes, and sharpened some of the painted detail. There is heavy-handedness
to the checkered floor that is simply odd. Overall, something just seems “off”
with the painting and everything is a little too clean for it to be that old.
With
many questions remaining unanswered, we finished work a little early. It was
nice to have a few hours off before heading out that evening. I was asked to
say a few words at an Elks meeting when the Tabor Opera House Preservation
Foundation received a $2,000 donation; just a couple statements about the
scenery project. I had never been to an Elks Lodge room or meeting before, so I
was intrigued and agreed to go. I spoke briefly about the significance of the
scenery purchased by the Leadville Elks in 1902, placing it within the context
of Kansas City Scenic Co. and the construction of other Elks Theaters during
the early twentieth century. Nice and short, because it was a very full day and
I am slowly running out of steam this week.
Volunteer at the Tabor Opera House in Leadville, Colorado, on February 4, 2020.
We started our second day
cataloguing the remainder of rolled scenery at the Tabor Opera House. Our focus was to complete the stack of rolled
borders and small profile pieces along the back wall before starting the hanging
scenes. The biggest project remains the numerous
interior set pieces along the back wall.
A set piece at the Tabor Opera House in Leadville, Colorado.Painted detail. A set piece at the Tabor Opera House in Leadville, Colorado.A set piece at the Tabor Opera House in Leadville, Colorado.A set piece at the Tabor Opera House in Leadville, Colorado.When the Elks purchased the Tabor Opera House in 1901, it was renamed the Elks Opera House.
We had two projects occurring
simultaneously that morning. The first
was cataloguing the scenery as stated above. The second was removing two broken
battens from a rocky pass drop and a wood border. When we unrolled drops the previous day,
there were two with broken top battens. These ragged wooden edges were harming
the painted compositions and should not return to storage “as is.”. Although
not part of the project, I recommended that we remove the wood prior to
re-rolling. It was the perfect time to address the problem as we were slightly
ahead of schedule. It also gave the volunteers a chance to see how the sandwich
battens were assembled, a great learning experience for all.
The crew that handled the scenery in the morning.The crew that removed damaged battens that morning.
When the Kansas City Scenic Company
shipped the painted settings from Kansas City, Missouri, to Leadville, Colorado
in 1902, the wooden battens were not attached. This was a standard practice at
the time. The paint fabric shipped in vertical rolls, with studio labels on the
exterior edge, noting location and subject.
The fabric seams for each drop were also vertical; horizontal seams did
not replace their early twentieth century predecessors until the 1920s. This is
not to stay there weren’t any scenes with horizontal seams, but the major
studios during the late-nineteenth and early twentieth century were using 36”
wide bolts of cotton sheeting and vertical seams for the majority of the stock
scenery installations. At the Tabor Opera House we located a few of the
shipping labels to verify this – still visible along the side edge of the
fabric written in charcoal. These labels included easy descriptors such as “Leadville
Front Drapery” or “Leadville Sky B” (B is for border). The placement along the
side of the drop meant that it was easily identifiable during shipping and
installation on site.
Sandwich batten
The lumber also shipped with the
company, even in areas abundant with sawmills. Scenery battens was constructed
of white pine; the rounded edges allowed the drops to easily slip past one
another during scene changes if they happened to bump into a neighboring line. Shipping
labor insured quality, and quality is essential for a sandwich batten. Poor quality wood will warp.
To attach the battens to the painted
scene on site was a fairly easy process. The backside of each sandwich batten
was nailed into the stage floor with cleat nails, forming an arrow-straight
line that would not shift. The painted scene was then tacked to the board, face
side up, and would become sandwiched with another pine board. The tacks were
placed about 4 to 6 inches apart. The top part of the sandwich batten was then
attached with screws or nails, thus sandwiching the fabric between the two
boards. The completed batten was then pried up from the stage floor and the
cleat nails hammered over.
Tack that secured painted scene to sandwich batten.1/2″ hole in top of batten for manilla operating lines.
After the sandwich batten was loose
from the stage floor, ½” holes were drilled into it to accept the operating
lines. In the case of the Tabor Opera House, many of the drops had three holes
to accommodate the three operating ropes.
The biggest discovery of the day was
that some of the scenery delivered to the Tabor Opera House (then Elks Opera
House) by the Kansas City Scenic Co. was previously installed at another
location. While cataloguing several of
the border drops, I noticed that there were five holes drilled for operating
lines, yet only three needed for this venue.
They were too consistent to be mistakes, yet necessary because the length;
each of these battens were over 40 feet, much longer than the proscenium
opening.
This grand border at the Tabor Opera House was originally painted for another venue. It has five holes for operating lines to attach to top batten.Painted detail. This grand border at the Tabor Opera House.
Later that afternoon, we noticed
that the painted grand border was also much wider than the proscenium. As the
piece was gently lowered, a line snapped. Amazingly, we hear the wood crack, but
batten did not break in half. Instead, the stage right side hung like a loose
noodle, obviously unsupported by any operating line. After we lowered the painted
border to the floor, we soon learned the cause for the line failure. The operating line did not fail; it was a
bridle that failed. Although there were five holes for operating lines in the
top of the batten, there were only three operating lines supporting the piece.
Holes numbered one and two, as well as holes numbered four and five, were
bridled with well-worn ¼-inch manila rope. The operating lines are thicker. The ¼-inch rope between holes numbered one
and two failed.
Stage left example of what failed stage right.
At this point it was time to take a
break and discuss options over birthday cake; yes, it was the executive
director’s birthday. Our final project
of the day was removing the top sandwich batten from the grand border, so it
could be safely stored until a new batten is attached. We were all grateful
that the line failed when it did, as there is ample time to address the problem
before the season begins. This would have been tragic mid-performance, or
during a busy time. There was a crew on stage to handle the problem. Small
blessings.
My first day at the Tabor Opera
House in Leadville, Colorado, was full of delightful surprises. After adjusting
to the altitude the night before, I tried to show up bright-eyed and
bushy-tailed. On site that morning were a television personality and a
photographer; this may be the last time I leave the house without caring what I
look like. Our project will be featured as an early morning local news story on
a Denver TV station tomorrow (Wednesday, February 5). A local photographer is
also documenting the process this week, and this is a great addition to the
Tabor’s archives. The momentum seems to be rolling, but much has to do with the
executive director Mary Ann Graham-Best. She is a gem and has thought of almost
everything, including the little oxygen bottles for those of us who are
adjusting to the altitude.
We started the day with
introductions and a brief orientation before heading upstairs to the theater. The
upstage wall was packed with scenery and our first task was to unroll as many
drops in front of the flat stock as possible, understanding that these were
mainly painted border pieces, and may a drop or two. A few flats were also piled on top of the
rolls, compressing everything, so they were soon unloaded.
The first piece that we unrolled was
extremely small, beautifully painted and likely from the original 1879 scenery
collection. The ornate gold and glass
jewels suggested that this piece may have been the grand border for the Tabor
Opera House before the Elks purchased the property and renovated the stage it
in 1901. The Elks greatly enlarged both the auditorium and stage house, adding
a fly loft to the building.
Grand Border for the Tabor Opera House before the Elks renovated the stage in 1901.Painted detail. Grand Border for the Tabor Opera House before the Elks renovated the stage in 1901.Painted detail. Grand Border for the Tabor Opera House before the Elks renovated the stage in 1901.
The remainder of scenery that we
unrolled on that day dates from 1902. It is scenery by the Kansas City Scenic
Co., contracted by Fred R. Megan. Megan would later become Thomas G. Moses’
future business partner, forming Moses & Megan Studio. It is a wonderful
connection for my research and provides additional context for my writing.
Stencil on the back of many scenic pieces at the Tabor Opera House in Leadville, Colorado. Wood wing by the Kansas City Scenic Co. for the Tabor Opera House in Leadville, Colorado, 1902.Painted detail. Wood wing by the Kansas City Scenic Co. for the Tabor Opera House in Leadville, Colorado, 1902.Wood wing by the Kansas City Scenic Co. for the Tabor Opera House in Leadville, Colorado, 1902.Painted detail. Wood wing by the Kansas City Scenic Co. for the Tabor Opera House in Leadville, Colorado, 1902.
Now you have to understand about the
project’s environment. In winter, the Tabor Opera House is closed and bathroom
facilities unavailable. For our project,
a construction heater was rented and a “jiffy on the spot” secured. With
temperatures dropping into the single digits this week, I will be hard pressed
to not walk the extra fifty feet to the gas station when nature calls. The
stage house is quite warm, a balmy 54 degrees Fahrenheit. It is the perfect temperature
for our task, not too hot and not too cold.
The volunteer crew is a delightful
and I couldn’t ask for better help. The Silver Dollar Saloon across the street
is providing lunches this week, and is it great to relax in another historic
Leadville building that is nearby. So
far we are ahead of schedule. The only thing looming on the horizon at this
point is a series of winter storms. Hopefully the weather system will end
before me departure this Saturday.
Rocky Pass backdrop by the Kansas City Scenic Co. for the Tabor Opera House in Leadville, Colorado, 1902.Painted detail. Rocky Pass backdrop by the Kansas City Scenic Co. for the Tabor Opera House in Leadville, Colorado, 1902.
The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.
I last visited the Tabor Opera House in June 2018. The renovated building opened on Nov. 20 1902, featuring scenery by Kansas City Scenic. For the next five days, I will be cataloguing the scenery currently stored in the stage area. With a crew of volunteers, we will carefully go through the collection piece by piece. Some of the drops are hanging, but the majority of pieces are stacked against the back wall. Here are a few pictures of their lovely front curtain.
The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.The Tabor Opera House in Leadville, Colorado. Photograph from June 2018.
From February 3 – 7, 2020, I am cataloguing one of two historic scenery collections at the Tabor Opera House in Leadville, Colorado. Horace Tabor’s 1879 opera house was purchased and renovated by the Benevolent and Protected Order of Elks in 1901, with new scenery being delivered in 1902. The venue’s original scenery was then placed into storage. My previous visit to the Tabor Opera House was posted on June 19 and June 21 of 2018 (just keyword search “Leadville”). I examine the 1902 scenery collection next week.
Here is an article recently published about the upcoming event in the “Leadville Herald” on January 20, 2020.
From February 3 to February 10, I will resume “Travels of a Scenic Artists and Scholar,” sharing my experience in Leadville at the Tabor Opera House.
On February 10, I will return to the life and times of Thomas G. Moses in “Tales of a Scenic Artist and Scholar.”
I return to the life and times of Thomas G. Moses tomorrow,
after almost a month on the road. Travel
in August brought me from Whitehorse in the Yukon to a small rural town near
Fargo, North Dakota. Unbelievably, cellular service was far better in the Yukon
than northern Minnesota – go figure. My final trip was to the Western Minnesota
Steam Threshers Reunion (WMSTR), a yearly exposition held every Labor Day
weekend near Rollag in Northwestern Minnesota. For 47 years, our family has attended the show. My annual trip to Rollag continues to fuel my
love and appreciation of history. There is nothing like seeing a tractor fueled
by steam slowly inch by, puffing all the way.
2019 at Rollag
My mother was the first person to make history come alive
for me. She has always excelled as a
storyteller, a skill that greatly helped her communicate information to not
only me, but also to her students over the years. The next greatest factor that
contributed to my fascination with history was the Western Minnesota Steam
Threshers Reunion, a unique type of living history museum that features a steam
locomotive, a pioneer exhibit, a horse-power farm, two sawmills, and a
multitude of engines powered by steam, kerosene and gasoline. People come from
across the country to see the power of steam and how it tamed the prairie. The
show has become the largest of its kind in North America.
The WMSTR Railroad’s 353The WMSTR Railroad’s No. 3, also known as the Porter Engine
My father was the first of our family to venture to this four-day event with his good friend and co-worker Ray Granstrom during the 1960s. He helped install the Corliss engine, a massive machine with a 17-foot flywheel.
The Corliss Engine at WMSTR
By 1972, my mother and I attended the show for the first time and instantly became hooked. I have only missed four shows since 1972. Two of those times were when my children were mere infants, and I refused to let their little lungs get a good dose of airborne particulates wafting from various steam engines.
Plumes of black smoke pour from hundreds of steam engines on the grounds at WMSTR
In the beginning, camping was primitive, with outhouses and limited access to running water. As a small child, this was an added bonus, no shower for almost a week! Our friends and family always knew that each Labor Day weekend we were working on the show grounds in some capacity. Over the years, our work changed as our roles shifted within the organization. My father started out in the Blacksmith shop, making little rings out of nails. He later ran the sound system in the Threshermen’s Memorial Building (TMB) before becoming the official Hobo on the WMSTR railroad.
Ray Waszut is the WMSTR Railroad Hobo
My mother started out doing a variety of thankless jobs that
no one wanted to do, including cleaning toilets. At the time, playing music on
the grounds wasn’t considered “work” and each member had to sign up for a
specific job. Progress was slow, but eventually the contributions of musicians
were recognized, sadly a little too late for many. My mother went from
borrowing Arne Gunderson’s accordion in 1972 to play in the Quonset building,
to running the entire music program on the grounds. The greatest lesson that I
learned from her over the years was how to make everyone feel respected and appreciated,
regardless of their skillset. She still
encourages young musicians, cajoles older ones, and makes sure that everyone
has a chance to be in the spotlight.
Lou Waszut and Donna Peterson grew up miles apart. yet did not meet until 1972. They played music for years and remain close friends. The two would eventually become honorary Steam Queens.
My mother now plays accordion in the Mercantile Building for
eight-hours every day of the show. My father is still a drummer, but now only
accompanies her on nursing home day. Over the years, my parents have played
with a variety of musicians on the show grounds, at parades, across the country
and at home in the Twin Cities. I grew
up listening to musical selections that spanned genres and decades. Whether is was polkas, waltzes, old time,
country, or pop, I intimately knew all of the melodies and lyrics for each.
There is something to be said about being an only child in a room full of
musicians. I spent countless hours sketching in the corner with laughter and
music in the background.
Our eldest child, Isa, singing in the Mercantile Building for the WMSTR. 2016
I watched friendships develop between musicians whose
political and religious views were diametrically opposed. Fights occasionally
erupted over a variety of social issues, but they would eventually subside, each
friendship continuing on as before. They all shared the common language of
music and this single commonality overrode a multitude of differences. I miss hearing
the peacemaking and an overall desire to respect each other despite their differing
views. Music bridges the gaps between individuals.
My own work on the grounds shifted over the decades
too. By the age of seven, I was scooping
ice cream and selling balloons. As a teenager, I worked alongside Maxine and
Edra in the Ladies Boutique, selling handmade trinkets and chatting with
visitors. These service jobs taught me how to handle both people and money, an
invaluable asset that would greatly assist me later in my career. Other jobs included
setting up and running the soundboard in the TMB under the direction of my
father, as well emceeing the style show.
Music program in the TMB at night.
It was the latter that shaped my public speaking skills and
ability to think quickly on my feet in front of a crowd. Beginning as a model at the age of four, I
was first handed the microphone as a pre-teen to describe my historic outfits. By
my late teens, I was co-emceeing of the style show and describing a variety of
outfits that randomly appeared on stage. By the age of twenty, I was sole
emcee, upping my game and providing historical context for the shifts in fashion. Instead of having models appear in random
outfits, I started to have groups come out, each representing the various
fashion trends for every decade, starting in the 1870s. We spruced up the stage and I donated some
backdrops. For years, my mother and Donna Peterson also rushed over to provide
background music, appropriate songs for each decade.
As the style show themes increased in complexity, so did my
preparation. Over the years themes included, a Century of Progress, Women’s
Rights, Courtship Through the Ages, World Fairs, Military Attire, and much
more. My husband became integral to the
style show, prompting other men to join in, always a very rare resource. Both
of our children also joined in. Our eldest, Isa, and Andrew performing duets
between decades. However, after twenty years of preparation, study, selecting
historic outfits for random individuals, pairing groups of models, and
emceeing, I passed the baton to another; I was burned out.
The style show strengthened my ability to discuss a topic
and improvise for almost two straight hours without any intermission. The whistle of the steam engines and noise
from the passing machines would compete with every show, training me to pause
and make sure the audience could clearly understand me. I learned not to rush and acknowledge those working
on the show, whether they were a dresser, model, musician, or sound technician.
WMSTR, 2017
I never used notes for the show, unless I was reading a specific
quote that pertained to the times. Occasionally an outfit was assembled without
my knowledge, a surprise that mismatched several eras at once. This opportunity trained me to think quickly
on my feet and not get flustered. In the end, I learned about American history
and how to communicate interesting information to others, all the while entertaining
them.
Times have changed on the grounds; the old time fiddle
jamboree has disappeared, replaced with more contemporary country music. There
are very few of the older musicians left.
The farmers who would dutifully show up with their fiddle to jam are a
rare sight. Yet, I still hear the echo of every musician that played with my
parents. Although many are no longer known or remembered, they are still part
every show for me.
Looking across Gunderson Lake at the WMSTR showgrounds
Wendy Waszut-Barrett, President of Historic Stage Services, and Jenny Knott, Rosco Project Manager, taught another painting class as part of the annual conference and trade show for CITT/ICTS Rendez-Vous 2019. In the past, we have taught historic and contemporary techniques for drapery painting and foliage. This year, we were inspired by Klondike history, teaching “All That Glitters is Not Gold: Painting the Magic.” We simultaneously explored historic gold-painting techniques and metallic finishes for decorative objects.
Our studio was the old Whitehorse Fire Hall, now a performance space. Located along the fast-flowing Yukon River, for short breaks, we were able to step outside and enjoy the view of old pilings that once supported the piers where riverboats stopped to deliver supplies.
The Old Fire Hall where the CITT/ICTS scene painting class took place.The Yukon River near the old fire hall in Whitehorse.Walking path along the Yukon River in Whitehorse.
After arriving in town and prepping for the workshop, Jenny and I were able to rejuvenate our batteries. Prior to my arrival in town, Jenny visited a local glass studio and bumped into the owner. An invitation was extended to Jenny; traveling north to kayak at her nearby cabin. I was fortunate to be a lucky recipient of the kindness, and the two of us paddled around a lake during the evening of my first full day in the Yukon.
Our visit to the rustic cabin, north of Whitehorse.Wendy Waszut-Barrett kayaking in the Yukon.Kayaking in the Yukon.Kayaking in the Yukon.A view on our trip back from the cabin in the Yukon.Fireweed in bloom.
There is something to be said about a gesture of kindness from a stranger, especially one at this magnitude. It immediately shapes your perception of the area and the people. The friendship and kindness extended by the local residents of Whitehorse is quite astounding, and humbling. The experience of kayaking on a serene lake, exploring the shoreline and hearing the loons was magical. I have not been so relaxed in years, with no solid plan or agenda. The beautiful log cabin had neither running water nor electricity, but there were welcome instructions, a gorgeous view, and the much-needed serenity. If ever I needed validation of being on the right track, doing the right thing at the right time, this was it.
Jenny and I ended up scheduling a “hot date” to create glass at Lumel Studios, our host’s company. We spent an hour, shaping and blowing glass in the shapes of paper weights, balls and bowls. What a transformative experience!
Wendy Waszut-Barrett making glass at Lumel Studio in Whitehorse.Jenny Knott blowing glass at Lumel Studios in Whitehorse.
I have never stopped being a student. I love learning and working with my hands. Whether it is tuck-pointing, landscaping, gardening, embroidery, or other crafts, there is an energy that emerges when completing the project. This is intensified when learning with phenomenal instructors. The hour spent at Lumel Studios was a golden moment, that is now stored in my treasure box of memories.
I cannot stress enough how wonderful CITT/ICTS is for my spirit. Kindred spirits and positive personalities that celebrate the moment while planning for the future. It is always an impressive and inspirational event.
I am taking a break from posting photographs of historic scenery until early September, as I am out of the country again. I am teaching a scene painting class with Jenny Knott of Rosco for CITT/ICTS (Canadian Institute of Theatre Technology).
This year, the national conference is in Whitehorse, a small city of 30,000 citizens in the Yukon.
Whitehorse, Yukon, Canada
From here, I venture south to Canmore and Banff, and then west to the Fargo-Moorhead area for the Western Minnesota Steam Threshers Reunion. To keep me busy on my travels, I am transcribing the last four handwritten diaries of scenic artist Thomas G. Moses (1856-1934). See you in September with a new backdrop theme!
Until then enjoy today’s my post to FB Page Dry Pigment, where I daily post images and painted details of historic scenery. Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923. These posts will also resume in September.
Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.Backside of backdrop. Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.
After returning from the League of Historic Theatres’
national conference, I immediately was on the road again. I ventured east to Manitowoc, Wisconsin,
where I had the opportunity to visit a lovely theater in the midst of another
renovation. Manitowoc has a population of 33,000 people and is located just
south of Green Bay, Wisconsin on the shores of lake Michigan.
Originally constructed as Ascher’s Capitol Theatre, the
venue opened on June 16, 1921. It was a combination house, featuring both
vaudeville and film. Brothers Arthur and John George were responsible for the
endeavor, the two well known as owners of a local wholesale grocery store.
Ascher’s Capitol Theatre, 1922
On July 17, 1921, the “Herald News” reported, “You will gasp
with astonishment at what has been erected for your entertainment.” The article
continued, “You will hardly recognize that you are in Manitowoc. It will remind
you of big-city stuff. The lighting the effects, the music, the program, all
will combine to force the conviction that George Bros. have spared no expense
or effort to give Manitowoc and vicinity the most wonderful amusement palace in
the entire northwest.”
Interior of Ascher’s Capitol Theatre
The theater is now known as the Capitol Civic Theatre, or
Capitol Civic Center. I toured the
impressive building on August 2, 2019, with the executive director as my guide.
The auditorium is currently undergoing a 3.5 million dollar
restoration that includes the complete replacement of all theater seating,
slightly reducing the overall capacity to include larger seats. The space is
lovely, has a beautiful flow and ample room for patrons during pre-show and
intermission times. Renovation on this historic space began in earnest during
1987 after the Capitol Civic Center, Inc. was established in Manitowoc to focus
on the old theater. Ron Kaminski spearheaded the endeavor with support from
local individuals and groups, such as of members of the Masquers. The renovated
space opened on October 30, 1987, complete with a new Clancy rigging system.
Ascher’s Capitol TheatreAscher’s Capitol TheatreCurrent Clancy system at the Capitol Theatre
In addition to the original theater, there are many other
spaces that take up a substantial footprint on the downtown block. The Capitol
Civic Center, Inc. complex currently includes total seven individual buildings.
The website reports, “The West Auditorium (renovated in 2013 with campaign
support from The Manitowoc Company), is enhanced by the Capitol Grand Lobby
(the Mertens Family Lobby/Kadow Movie Museum and the Salutz Family Lobby just
off the Box Office). The annex houses the administrative offices, the technical
department, the green room, and loading dock facilities. Capitol Studios,
expansive storage, and a non-operational
historic pub and boarding house complete the properties.
Five full-time and five part-time employees, as well as over
170 volunteers staff Capitol Civic Centre, Inc. Now a successful enterprise, the
organization received the Chamber Manitowoc County’s Non-Profit of the Year
award in both 2007 and 2014. Now noted as an “anchor for activity in the heart
of downtown Manitowoc,” approximately 40,000 individuals attend performances
each year.
The renovated auditorium and new gathering areas are lovely,
each serving as a tribute to the past. So what about the material cultural and
history beyond the architecture and renovated spaces? The history of the stage appears sporadically
throughout the complex, such as the historic lighting board, now serving as a
decorative element in the new lounge and bar area. There area also a couple of
historic scenic pieces tucked away in storage areas.
Once used for stage lighting, it is now a decorative element in a lounge at the Capitol Theatre
Until recently, the original painted fire curtain completed
the architectural ornamentation of the auditorium. Citing the expense of
encapsulation to preserve this painted piece, the historic artifact was
disposed of and replaced with a non-descript and modern fire curtain. This was
the last painted element hanging above the stage. The executive director shared
images of the painting on his computer. Although it was not the most ornate
composition that I have encountered, it unified the auditorium space,
completing the fourth wall of the theater. I have encountered many similar
designs in the Performing Arts archives at the University of Minnesota
libraries and elsewhere over the years. 1920s asbestos curtains often continue
the auditorium’s color scheme and painted décor. Once this painted ornament is removed from
the auditorium, the entire dynamic of the space shifts.
An example of an Asbestos curtain design in the Performing Arts Archives, University of MinnesotaAn example of an Asbestos curtain design in the Performing Arts Archives, University of MinnesotaAn example of an Asbestos curtain design in the Performing Arts Archives, University of Minnesota
The executive director could not have been more
accommodating during my visit, taking time to share historic images of painted
scenes where once a prominent part of the stage house. We wandered into a
storage area, so I could examine an extant wing and a tri-fold set piece. The painted
wing composition was standard affair for a late 19th century
tormentor, complete with painted drapery, ornate column and pedestal. The other
set piece depicted a fancy interior with some lovely gold ornament. I was allowed to to photograph details of the
painting techniques. Examples that I will use in the upcoming professional
development work shop with Jenny Knott this month. We are again partnering to
teach a painting class at CITT/ICTS Rendez-Vous Annual Conference. This is the Canadian
Institute of Theatre Technology, similar to USITT. One week from today, I
journey to White Horse, a remote town in the Yukon where the conference is
being held this year.
Painted detail of an extant set piece stored at the Capitol TheatrePainted detail from an extant wing at the Capitol Theatre
After looking at the painted flats, I was guided up a long
flight of stairs to see a historic drop. In a previous phone conversation, I
was told that one rolled-up backdrop had survived and was neatly tucked away in
an upper lever. I was not expecting to
unroll anything, but wanted to see the wooden battens and quality of fabric,
hoping to date the piece. In fact, there were three rolled up scenes, resting
on a series of metal bars above a long hallway at the top of the stairs. In
many ways, this is an ideal location for access to the drops, even though one
would stop traffic if they were removed from the building.
Three drops in storage in a building adjacent to the Capitol Theatre
The wooden battens and fabric of the pieces suggest that all
three pre-date the venue and were likely delivered to another theater. It is
possible that the scenes were refurbished and sold to the Capitol Theatre in
1921, but more likely the scenes were “adopted” over time, finding their way
over from a nearby opera house. Manitowoc
was home to several theaters over the years, including the Manitowoc Opera
House, located on the 400 block of North Eighth Street.
Unfortunately, I was unable to verify that any of the rolled
backdrops were those depicted in the historic photos. It was obvious that one
was a foliage composition, either a border or leg drop, as the piece was once
netted. In regard to the other two, it is impossible to identify any subject matter.
I would be curious to see the painted compositions and if
there are any studio markings to identify origin. However, these historic artifacts remain very
low on the theater’s list of priorities and I doubt they will be unrolled
anytime soon. At least they are safely tucked away where they may be forgotten,
inadvertently preserving this history.
On my return trip home from the League of Historic American
Theatres conference in Philadelphia, I stopped by the Egyptian Theatre in
DeKalb, Illinois. While examining the
old fire curtain, I spotted not only the Union stencil, but also a stencil with
“National Theatre Supply Company” above it. Over the years, National Theatre
Supply Co. has popped up on my radar, time and time again.
The Egyptian Theatre in DeKalb, IllinoisThe fire curtain for the Egyptian Theatre in DeKalb, Illinois, painted by William Lemle Co. and delivered by the national Theatre Supply Co.
As I peered at the faint type above “National Theatre Supply
Company” on the asbestos curtain, I first made out the word “Lemle,” and then
“Painted by William Lemle Co.” The Egyptian Theatre fire curtain is extremely
significant in the course of American Theatre history for this stencil alone,
as it links together two significant scenic studios in 1929.
Back of Egyptian Theatre fire curtain noting, “Painted by William Lemle Co. in Chicago for National Theatre Supply Co.”
I immediately thought of another project delivered by the
two studios the same year, a second Egyptian-themed theater that was built in
McAlester, Oklahoma. National Theatre Supply Co. and Wm. Lemle Co. delivered
one of the largest Scottish Rite scenery collections in the United States to
the Scottish rite Theater in McAlester, Oklahoma. In a newspaper article from
November 1929, Moses was noted as a representative for both the Lemle Co. and
the National Theatre Supply Co. in regard to the McAlester Scottish Rite
project. Moses designed and painted the entire collection, recording that the
stage settings were 40’-0” high by 60’-0” wide and the stage was 140’-0” deep.
While researching these two studios in 1929, I encountered a
letter sent to Moses at “Wm. Lemle Co., Chicago, Ill.” Penned by William H. Fuller,
Venerable Master of the Albert Pike Lodge of Perfection in McAlester, he
mentions that the scenery was damaged en route to the McAlester Scottish Rite
theater, and specifically requests for either the Lemle Co. or the National
Theatre Supply Co. to write a letter recording their grievance.
So what do we know about the National theatre Supply Co. and Moses’ involvement with the firm? Let’s start with the end of Sosman & Landis in 1923. That year the studio is liquidated, their space rented to another firm and the name sold. Moses partners with Fred Megan of the Kansas City Scenic Co. and they attempt to purchase the name of the company. Before they are able to legally use the name “Sosman & Landis,” they work under the studio name Moses & Megan. Hoyland and Lemle purchased the Sosman & Landis studio contents at that same time. Later William Lemle Inc. would use the old Sosman & Landis studio space.
Moses & Megan lease the Fabric Studio in Chicago, the
same company that delivers the Joplin Scottish Rite scenery. Moses & Megan
produce the 1926 Salt Lake Consistory scenery, as well as the 1927 Oakland
Scottish Rite scenery. Moses and Megan would continue working together until
1931, but Moses would also begin representing both the William Lemle Co. and
the National Theatre Supply Co.
Why is Moses so adamant to retain the studio name? Because
Moses has been a major player in Sosman & Landis scenery production since the
very beginning. The studio name is synonymous with quality and Moses is
integrally linked to the company. One could even surmise that Moses was the
face of the company, as his reputation was intertwined with their work since
1880. In 1904 after Moses returned to Chicago after a successful career in New
York City (Moses & Hamilton), he assumed all control over all Sosman &
Landis design, painting, construction and installation. He becomes the
vice-president and was even rewarded $5,000 in stocks in addition to control
over production. He later becomes company president after the death of studio
founder Joseph S. Sosman. Moses had an incentive to remain connected with the
studio name until quite late in his career. In later years, he is listed as the
artistic director of Sosman & Landis.
However, there are a few things to keep in mind as National
Theatrical Supply is established in the shadows of Sosman & Landis’s close.
In 1920, six Sosman & Landis scenic artists leave to form Service Studios.
Many of the black and white photographs in their sales books are exact replicas
of Sosman & Landis Masonic models. In other words, they are peddling the
same designs without the Sosman & Landis name. Service Studios is soon sold and becomes ACME
studio. The ACME studio also uses the Sosman & Landis designs in their
sales catalogues.
This all happens after a big upset at Sosman & Landis. Two
key figures responsible for the Scottish Rite connection pass away just before
WWI; founder Joseph S. Sosman and M. C. Lilley representative Bestor G. Brown.
Their passing causes the alliance between a major regalia company and a
significant scenic studio to cease, allowing another studio takes the reins of
Masonic degree production – Toomey & Volland. Under the leadership of Hugo
R. Volland, St. Louis Scottish Rite backstage director and president of Toomey
& Volland, this St. Louis-based scenic studio is awarded dozens of Masonic
contracts in the post-WWI years.
Now back to the another firm delivering Scottish Rite
scenery in the 1920s – the National Theatre Supply Co. Founded in 1926, the
National Theatre Supply Company advertised as the “largest theatre equipment
and supply service organization,” with “31 well managed, well stocked branch
store in operation throughout the country, doing a volume of business
considerably in excess of what was transacted when the field was being served
by individual dealers. And, too, more dependable and satisfactory service is in
evidence on every hand.”
Their advertisements explain, “chain store operation in
other American industries is one of increased efficiency in service and
pronounced economy in merchandising, reacting directly and favorably to the advantage
of those who buy. This condition is being exemplified in the operation of the
National Theatre Supply Company.” This paragraph is hard to read without
thinking of the massive theatrical complexes targeted by this new company and
not think, “Super-size me.”
In 1927, the National Theatre Supply Company noted that a
new scenery and drape department was formed under its direct supervision. The new department was paced under the
direction of Mr. P. L. Landis, “a specialist in stage technique with headquarters
in the general offices of the Company in Chicago.” Landis was credited with
being “well known to the trade, having been a member of the original Sosman
& Landis Company in Chicago. With 12 years of experience in all braches of
scenery production and stagecraft, he is particularly fitted to head the new
department.” When Moses was elected
Sosman & Landis Co. president in 1915, Arthur Sosman was elected vice-president
and Perry Landis treasurer.
National Theatre Supply Co. advertisements note the following:
“The National Theatre Supply Company manufacturers nothing,
nor has it any direct control over factory costs or factory list prices of any
article it sells. It is strictly a sales organization and service
representative of a majority of manufacturers of theatre equipment and
supplies. It is therefore obvious that the establishment of selling process is
not within its power, except insofar as quantity purchasing and increased
consumption are concerned. Quantity production and distribution governs the price
of everyday commodity or service, regardless of its nature. The same conditions
apply to the theatre supply industry and any readjustment of prices must
necessarily result from the patronage and support. And when manufacturers are
given a suitable volume of business, their products serviced promptly and
reliably and their bills paid in accordance with terms there s very little
likelihood of an increase in price of these products.”
The same National Theatre Supply catalogue included a
photograph with the caption, “Spacious scenic studio of William Lemle Inc. of
Chicago, the entire output of which will be distributed through national
service.” The problem is that the photograph actually depicted the Sosman &
Landis studio prior to WWI, complete with Joseph Sosman in the center and Moses
painting one of the drops. The Lemle company was simply using an old photograph
of the space.
Image brought to my attention by Bob Foreman, courtesy of Rick Zimmerman
