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The History of the
Historic Elsinore Theatre
Written by Elaine K. Sanchez
On May 28, 1926, on a former livery stable site, the magnificent
Elsinore Theatre first opened its doors to the public. Developed
by George Guthrie, an entrepreneur and lover of art, the theatre
was designed to resemble the castle in “Hamlet,” Shakespeare’s
greatest drama.
Believing the Salem community deserved and would support a
splendid theatre, Guthrie contracted with the Portland
architectural firm Lawrence and Holford to create a Tudor Gothic
structure that would become the showplace of the Willamette
Valley. Ellis F. Lawrence, who later became the founding dean of
the School of Architecture at the University of Oregon, was the
project’s principle architect.
Under the supervision of general contractor Cuyler Van Patten, a
meticulous man who sought nothing less than perfection, excavation
began in 1925. Skilled laborers and gifted regional artisans were
hired to do the basic construction as well as the plasterwork,
ironwork, ornamentation and painting. Originally estimated to cost
$100,000, it was rumored that Mr. Guthrie was headed toward
bankruptcy when the price exceeded $250,000.
When the Elsinore opened its doors, Mr. Guthrie’s dream was
realized, and it quickly became recognized as the finest theater
between Portland and San Francisco. A capacity crowd attended the
opening show, Cecil B. DeMille’s, “The Volga Boatman,” a silent
movie accompanied by “Finlandia,” on a mighty Wurlitzer, 900-pipe,
13-rank organ.
For several years audiences enjoyed two weekly performances of
“Fanchon & Marco,” a vaudeville circuit that started in Los
Angeles and traveled north to Seattle. Many promising new
performers, including Edgar Bergen and Charlie McCarthy, Otis
Skinner, Clark Gable and the John Phillip Sousa Marine Band also
performed on the Elsinore stage.
In 1929 the Elsinore was leased to Fox Theaters, and was converted
to accommodate the newest technological advance in entertainment –
talking movies. One year later, owner George B. Guthrie leased the
theatre to Warner Brothers Theaters, who ran it as a movie house
until 1951.
Every Thursday during the 1930’s talented young people would line
up at the Elsinore to audition for Zollie’s Mickey Mouse Club
Matinee. The best singers, dancers, and musicians would be
selected to perform the following Saturday. Created and hosted by
teenage impresario Zollie Volchok, the show featured a group of
“regulars”, including Salem’s own pianist Donnie Edwards and the
talented young trumpeter, Doc Severinsen. Audiences were treated
to a 45-minute live stage show, cartoons, movies, and pipe organ
music from the mighty Wurlitzer. A few of Salem’s finest citizens
still carry their membership cards bearing the Mickey Mouse Club
Creed:
“I will be a square shooter in my home, in school, on the
playground, wherever I may be. I will be truthful and honorable
and strive always to make myself a better and more useful citizen.
I will respect my elders and help the aged, the helpless and
children smaller than myself. In short, I will be a good
American.”
In 1954 the Elsinore was sold to Foreman Brothers, and during the
next twenty-five years the forces of time, nature and audience
abuse took its toll. The theatre’s ownership changed two more
times. Tapestries had to be removed from the reach of vandals. The
badly damaged stained glass windows in the upper lobby were
boarded up, and in 1962 the magnificent Wurlitzer Organ was
dismantled and sold for parts.
By the late 1970’s the theatre once billed as “The Showplace of
the Willamette Valley” had lost its appeal even as a second-run,
discount movie house. In 1976 the theatre’s fiftieth anniversary
passed without notice.
In 1980 plans were being made to demolish the Elsinore and replace
it with a parking lot. A group of concerned citizens, appalled at
the thought of losing this local, historical treasure, formed the
grassroots organization called the “Save the Elsinore Committee.”
They worked hard to build support with the public as well as with
the city’s political leaders.
<Continued from ABOUT ELSINORE page
The Elsinore was included in a study of multi-purpose center
sites, conducted by the City of Salem. The consultants reported
that the Elsinore had limited usability, but concluded that it was
“worthy of a major preservation effort.” They said, “If at all
possible, the Elsinore should be restored to its former grandeur
and devoted to community use.”
In 1981 two ballot measures went before the community: one measure
provided for the purchase and renovation of the theatre, the other
one provided for long term annual operating funds. Both measures
were defeated.
Disappointed but not willing to give up, the Save the Elsinore
Committee launched a campaign to create awareness and build
excitement for the theatre. In 1983 they hosted “Elsinore Week
Live,” seven days and nights of free performances that drew over
12,000 people into the theatre. Following that success, the
committee negotiated with owner Tom Moyer for the use of the
theatre 18 days a year. During the next six years more than 75
different events took place at the Elsinore with attendance
exceeding 75,000.
In 1985 another group formed with the goal of building a new
2,000-seat auditorium. The Salem Community Auditorium Committee
believed Salem was growing and would support a large venue that
would attract major performing arts events to Salem. For the next
several years the Save the Elsinore Committee and the Auditorium
Committee each worked toward fulfilling their individual goals.
They occasionally butted heads as they went about trying to
generate support and raise money for their individual priorities.
On the Elsinore’s 60th birthday in 1986 Tom Moyer and the Save the
Elsinore Committee hosted a gala to celebrate the initial $130,000
restoration, which was accomplished with the help of theatre
supporters and volunteer prison inmates.
A hand-in-the-cement ceremony was conducted before the night’s
performance, a repeat presentation of “The Volga Boatman,” the
first silent movie shown at the Elsinore. The movie was
accompanied on a borrowed organ.
That same year, Clayton Parks, a Salem organ enthusiast approached
Moyer with a proposal to install his new organ with its three
keyboards, twenty-two ranks and 1,534 pipes. Moyer agreed and the
Elsinore came alive with music once again. The Parks family later
donated the organ to the theatre, and a $60,000 grant from the M.J.
Murdock Charitable Trust financed a major renovation and upgrade
of the instrument.
In the late 1980’s Tom Moyer decided to sell his theatre chain.
ACT III Movie Theaters bought Moyer’s properties, including the
Elsinore. The new owners agreed to allow the community limited use
of the theatre.
In 1990, after learning that ACT III wanted to sell the property,
the Save the Elsinore Committee launched a fundraising drive to
purchase it. At the same time, the Auditorium Committee was still
trying to generate public and political support for a new, larger
performing arts center.
In 1992 Mayor R.G. Andersen-Wyckoff asked the two groups to work
together. They agreed to joined forces to create STAGE – Salem
Theatre Auditorium Group Enterprise, a nonprofit charity for the
performing arts. STAGE’s stated purpose and goal was to purchase,
renovate, restore the Elsinore Theatre and build a new, large
auditorium.
After a number of rejected grant requests and other disappointing
events the committee’s belief in the theatre’s potential finally
paid off. Meyer Memorial Trust awarded STAGE a $400,000 grant,
which covered the purchase of the theatre and provided $100,000
for remodeling. On July 17, 1993, STAGE, Inc. assumed title of the
Elsinore. An executive director was hired and the theatre was
closed temporarily for repairs and restoration began. Once the
disabilities requirements and city building codes were met the
theatre re-opened for rental use. The following year the Elsinore
was put on the National Register of Historic Places and the first
“season” was offered to the public.
In 1994 STAGE contracted with Aron Faegre, a Portland architect,
who designed an ambitious $7.8 million master plan, which included
purchasing the Capitol Theater and expanding the capacity of the
Elsinore.
The volunteer host/usher organization was created and the Historic
Elsinore Theatre became a fully functioning auditorium and
performing arts space. However, the theatre was still in need of
significant restoration and modernization, and several more years
would pass before the time was right for a major fundraising
effort.
The new millennium brought major stars to the Elsinore. In
February 2000 Gregory Peck presented the last performance of his
career on the Historic Elsinore Theatre stage. He said, “I just
wanted to say you have to do great things with a theatre like
this. I am so impressed . . . It’s quite possibly the outstanding
venue on our tour. I am most enthusiastic about the possibilities
of this theatre and I hope you will lend your strongest support. .
.”
The following year Broadway diva, Bernadette Peters and film star
James Earl Jones appeared at the Elsinore, and a performance by
world-renowned violinist Itzhak Perlman brought the theatre
international attention. Audiences were thrilled to see such
famous stars in Salem, but they were growing restless. They wanted
a more comfortable environment. Patience with the aged theatre was
wearing thin.
On the Elsinore’s 75th anniversary, sensing that the community was
ready to support the theatre and its contribution to the arts, a
group of prominent local individuals stepped forward to champion
the Return to Grandeur campaign. Using STAGE’s master plan as a
guide, the board of directors resolved to keep the theatre
operating and fiscally sound, while at the same time rebuilding
its infrastructure, repairing its damage, and returning it to its
original glory.
Curry Brandaw, a local architectural firm that donates a portion
of its business to nonprofit organizations, was just finishing
Salem’s Riverfront Carousel and the company was looking for
another community project. Architect and project administrator
David Holton approached the Elsinore’s board with a proposal for
Curry Brandaw to become the general contractor for the Return to
Grandeur. Knowing the reputation of both the firm and Holton, and
appreciative of the potential to cut costs significantly, the
board eagerly agreed.
By February 2002 the scope of work had been determined. It would
require three phases, with each phase encompassing four months of
work, and it would cost $3.2 million. The theatre would operate as
usual fall through spring, but would close each summer for three
years.
BEFORE AND AFTER SECTION
ACT I
The work completed during the first summer of renovation was
highly visible to the public. The addition of modern restrooms and
office spaces made the theatre more comfortable for patrons and
employees alike. New paint and a rebuilt marquee gave the exterior
a badly needed facelift, and restoration efforts saved the
exquisite stained glass windows and lobby murals.
Work Completed Summer 2002
• Basement remodeled
• New restrooms added
• Harcourt Hall, reception and meeting area added
• Offices relocated to street level
• Entry Marquee rebuilt, and 7,000 watts of lights installed
• Architectural woodwork on building façade rebuilt
• Stained glass windows removed, repaired and reinstalled
• Romeo and Juliet mural restored
• Exterior painted
• Lobby refurbished – concession stand relocated, new carpeting
installed
• Large, functional stage door installed
• Fire sprinklers installed
ACT II
The work done during the summer of 2003 focused on the theatre’s
infrastructure. Although it wasn’t as glamorous as the previous
year’s renovations, the comfort of the audience was improved with
the addition of a new heating system that provided for temperature
control and air circulation, and the new lighting and sound
systems greatly enhanced the enjoyment of the performances.
Work Completed Summer 2003
• Stage curtains replaced
• Stage lighting updated, front of house lighting added
• New sound system installed
• New stage rigging
• Existing grid system upgraded
• New heating and ventilation system installed
• Electrical wiring upgraded doubling the capacity
ACT III
The third summer of work focused on the restoration and
preservation of the auditorium and lobby spaces as well as a
complete redesign and rebuild of the dressing rooms. Although the
cracking plaster in the auditorium gave the appearance of a
crumbling interior, the building was solid. Fortunately, it had
not suffered any “structural” updating through the years. The
beautiful plasterwork, ironwork and ornamentation were still in
place. The primary work involved cleaning, painting, repair and
preservation. Once the grime started coming off, the promise of
returning the Elsinore to its original grandeur became a reality.
Work
Completed Summer 2004
• Auditorium and lobby restored
• Dressing rooms remodeled
• Roof replaced
• New stage floor installed
• New house lighting system installed
• Interior architectural lighting installed
Original ceiling panels, balcony breasts, and proscenium arch
panels were designed, engineered and fabricated by Louis Gluck of
Seattle. Each little fan on the proscenium arch had to be
engineered differently to make a symmetrical pattern fit into an
asymmetrical space. Close examination reveals two different
curves. The shape of the panels change as the arch comes down the
sides. The left-hand side of the arch honors Mr. Guthrie’s family
with a shield of Scotland. His family’s crest is located on the
seventh panel up from the left. Mrs. Guthrie’s family is similarly
recognized with a shield of Norway, and her family’s crest is the
seventh panel up from the right.
There are no high-tech solutions to cleaning historic plasterwork.
EverGreene crews stood on scaffolding high above the auditorium
stage and used over ten gallons of Simple Green and dozens of
disposable two-inch, white bristle brushes to remove the decades
of accumulated nicotine, dirt and grime from the theatre’s
splendid proscenium arch. Using a hose, a common garden sprayer
and a drainage system fashioned from towels, rags, and plastic
bags they rinsed the artwork and disposed of the filthy water. The
cleaning process took weeks. Once it was completed artists
restored the decorative paintings and then sealed them with a
removable, conservation varnish specifically designed to protect
artwork from dirt and deterioration.
During the original construction, a rubberized coating intended to
protect the theatre’s extensive plasterwork from water damage was
applied over the concrete walls. Unfortunately, the concrete and
the rubbery coating were incompatible. The smooth surface could
not hold the plaster against the forces of settling and seeping
water. Hundreds of cracks and large patches of delaminated plaster
had to be repaired or replaced.
EverGreene crews applied Plasterweld, a product that solidifies
particles, prevents moisture from leaching through, and provides a
rough-textured base for the application of new plaster. Some of
the original plasterwork and paintings had been lost completely,
including the corner mouldings on the top of the proscenium arch.
An EverGreene specialist recreated the mouldings using historical
photographs as a guide.
A six-foot hole in the auditorium’s main ceiling had to be
repaired and the missing stencil paintings reinstated. Artists
traced four different pieces of the original artwork, created and
cut new patterns, and then painstakingly reproduced the paintings.
The 1920’s flocked wallpaper located close to the stage was so
caked with dirt and dust that the original pattern was
indiscernible. Vulcanized rubber sponges, commonly used to remove
soot and smoke damage, were delicately brushed over the surface of
the fragile paper revealing its ornate beauty once again.
Before cleaning, a hand passing lightly over the theatre’s
tapestries would instantly turn black. Originally designed to
mimic opera boxes and give the theatre a larger feel, the
tapestries were cleaned using a low suction vacuum, then brushed
with the same vulcanized rubber sponges used on the wallpaper.
After every inch of the theatre’s interior surfaces had been
scrubbed with Simple Green, rinsed with water, and hand wiped with
clean, dry rags, they were primed, painted with a base coat and
then glazed with a semi-transparent color. The glaze was mixed
with kerosene and linseed oil, which increased drying time. Deck
staining brushes were used to apply the glaze and create a
stippled effect. Rags were then used to smooth and remove portions
of the glaze. That process helped define the shape and contours of
plaster mouldings.
Over thirty gallons of gold paint and forty pounds of bronzing
powder were used to bring the shimmer and glitz back to the
theatre.
The lobby, a Gothic hall, thirty feet high, seventy-five feet long
and graced on both ends with grand staircases and 24-foot murals,
was designed to look like an outdoor courtyard on a cloudy
evening. In the mid-1920s atmospheric theatres such as the
Elsinore were designed with the intention of transporting the
patrons into an entirely different environment. Glass windows or
doors were intentionally excluded from the lobby design to prevent
intrusion of the outside world into the theatre.
The sweeping stairs and original ironwork were originally created
by Henry Jaegler of Salem.
The Historic Elsinore Theatre is a
nonprofit organization, and its mission is to:
“Promote, protect and enhance the Elsinore as an historic national
landmark and performing arts center.”
Thanks to the persistence of a number of Salem’s dedicated local
citizens this theatre has survived time, weather, owner neglect
and public apathy. Different groups stepped forward at different
times to take on the monumental and sometimes unpopular challenges
of saving the theatre, renovating it, funding it and managing it.
Although it would be impossible to recognize all of them
individually, it is important to thank them collectively for their
wisdom, vision, and hard work.
It is also important to thank all of the individuals and
organizations that have supported the theatre financially. Their
attendance at performances and their generous cash and in-kind
donations has helped preserve an important historical structure as
well as a vital segment of Salem’s cultural and social past.
And finally, we remember George B. Guthrie who wrote this letter
in 1927. It was included in the one-year anniversary commemorative
brochure:
“Just one year ago The Elsinore was opened, and on this first
anniversary we wish to extend our appreciation of the generous
support, both in attendance and voiced encouragement, given us in
its operation. The many voluntary expressions of delight in its
acoustics, architecture and comfort have in themselves been a rich
reward. As birthdays succeed each other we trust that the good
people of Salem and its surrounding vicinity shall never lose
their warm interest in our little building and its attractions.”
George B. Guthrie
Thank you, Mr. Guthrie!
For further information or to make a donation or volunteer,
contact:
The Historic Elsinore Theatre
170 High Street
Salem, OR 97301, Phone 503-375-3574
Tours
Tour the Historic Elsinore Theatre!
Group Tours for $3.00 per person can be arranged by calling
503-375-3574 or email us. Large groups welcome!
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