LANDSCAPES FOR THE PEOPLE: THE PHOTOGRAPHY OF GEORGE GRANT

On September 7, at 6:30 p.m. scholars Ren and Helen Davis will present “Landscapes for the People”. This presentation details the extraordinary work of George Grant, a master of photography who documented our nation’s natural treasures.

A Pennsylvania native, Grant was introduced to the parks during the summer of 1922 and resolved to make parks and photography his life. Seven years later, he received his dream job and spent the next quarter century visiting the four corners of the country to produce images in more than one hundred national parks, monuments, historic sites, battlefields, and other locations. He was there to visually document the dramatic expansion of the National Park Service during the New Deal, including the work of the Civilian Conservation Corps.

Grant’s images are the work of a master craftsman. His practiced eye for composition and exposure and his patience to capture subjects in their finest light are comparable to those of his more widely known contemporaries. Nearly fifty years after his death, it is fitting that George Grant’s photography be introduced to a new generation of Americans.

George Alexander Grant is a little known elder in the field of American landscape photography. Just as they did the work of his contemporaries Ansel Adams, Edward Weston, and Eliot Porter, millions of people viewed Grant’s photographs; unlike those contemporaries, few knew Grant’s name. “Landscapes for the People” shares his story through his remarkable images and a compelling biography profiling patience, perseverance, dedication, and an unsurpassed love of the natural and historic places that Americans chose to preserve.

This program has received funding from Utah Humanities (UH) and is free to the public.  UH improves communities through active engagement in the humanities.

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The Utah Shakespeare Festival: Part 4- The Past is Prologue

Chris Mixon as Charlie Brown in the Utah Shakespeare Festival’s 2002 production of You’re a Good Man, Charlie Brown. (Photo by Karl Hugh. Copyright 2002 Utah Shakespeare Festival.)

The Utah Shakespeare Festival has undergone great change since its first season in 1962. Facilities have been constructed, productions have grown in size and scope, and the Festival staff has grown to include a number of full-time employees. In 2002 the larger format, three-play fall season debuted with I Hate Hamlet, You’re a Good Man, Charlie Brown, and Twelfth Night. In 2011 the Festival announced that, for the first time, a play would run through the traditional break between the summer and fall seasons.

Fred and Barbara Adams, circa 1960

Tragedy befell the Festival when on October 22, 2008, Barbara Gaddie Adams, Fred’s wife and longtime partner and confidant, succumbed to a long illness and passed away. Barbara, along with Fred, had shepherded the Festival from words on a little yellow notepad to a nationally recognized, Tony award-winning theatre company. Barbara had coordinated all the preshow activities, the music, singing, puppet show, and dancing that provided the atmosphere for Festival goers as they prepared for the transition from the contemporary to the Elizabethan. Barbara Adams’s creative spirit is memorialized by a bronze plaque located on the wall of the Adams Theatre, near The Greenshow performing space—a fitting tribute to the program she proved instrumental in developing.

The Engelstead Shakespeare Theatre

The expansion of the Utah Shakespeare Festival’s artistic and technical company and a longer theatrical season required new spaces.  The much loved Adams Theatre had served its purpose in enriching, entertaining, and educating the lives of those who sat in her seats and witnessed her bounty. Like the stage before, the passage of time and changing technology have taken their toll. In 2016, the Engelstad Shakespeare Theatre opened its doors and a new Wooden O now stands guard over the works of the Bard and serves as an anchor for the Utah Shakespeare Festival’s future.

John Wascavage (left) as The Suspects and Paul Helm as Marcus Moscowicz in the Utah Shakespeare Festival’s 2016 production of Murder for Two. (Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2016.)

Additionally, the Eileen and Alan Anes Studio Theatre, now serves as a creative space for the development of new plays. This flexible 200 seat venue is able to be configured in a variety of seating styles to better enhance the vision of the playwright, designer, or director. The Anes theatre allows for the exploration of the theatrical experience and provides Festival patrons the opportunity to discover the diversity of the world stage. The Anes Theatre is home to the new plays program where scripts are workshopped and tested with a small audience before being moved to the larger Festival stages. This theatrical laboratory shows the Utah Shakespeare Festival’s continuing commitment to the development of theatre professionals and to the expansion of America’s influence on world drama.

USF Founder Fred C. Adams – at the beginning.

The future of the Utah Shakespeare Festival is rooted in the tradition of what it does well and in a commitment to utilize that shared past as a springboard for the future. The expanding and deepening of programs, the construction of new theatres, and the development of a core artistic company are not without challenges. However, these same difficulties were met and faced fifty years ago by a young drama teacher, and we all know how that turned out.

To find out more about the Utah Shakespeare Festival and see what is coming in the future, visit their website, www.bard.org

The Utah Shakespeare Festival: The 1980’s & 90’s

1981 ticket

Fred and Barbara Adams had built their dream. The summer productions in the new Adams Memorial Shakespearean Theatre had sell out crowds nearly every night, operating at 98 to 99 percent capacity, which offered no room for growth. The Festival had become too successful for the current space.

A construction tour of the Randall L. Jones Theatre.

Festival and college representatives turned to the Utah State Legislature for assistance in funding the construction of the new theatre. The legislature, while agreeing that the project sounded interesting, refused to fund the building. A representative advised them to look into the mineral lease money that the mining companies operating in Iron County had been paying into for over fifty years. The mineral lease fund was established to offset the impact made by the mines on schools, hospitals, roads, and other public works projects. A large sum had been paid in, but very little taken out. The mineral lease board agreed that a new theatre for the Festival was worthy of funding and awarded most, but not all, of the construction costs. The descendants of Randall L. Jones, an early booster of southern Utah, provided the remainder of the needed funds, and the new theatre would now be named the Randall L. Jones Theatre.

Sunset at the Randall.

The 1989 season, the first using both the Randall Theatre and the Adams Theatre, featured six plays, three in each theatre, the most the Festival had ever produced in one season. Festival producers decided they would need two separate companies. They duplicated every position, one for the Adams Theatre and one for the Randall Theatre. This proved very expensive. The 1989 season ended with a $379,000.00 deficit. Relief came from Paul Southwick, vice-president of finance for Southern Utah University, who had been pulling some of the Festival profits each year into a rainy day fund, which had more than enough money to cover the deficit, and the Festival was saved. The Utah Shakespeare Festival did not repeat the mistakes of 1989 and began double casting roles for both the Randall and the Adams theatres.

Karen Thorla (left) as Helena, Alexis Baigue as Demetrius, Stefanie Resnick as Hermia, and Brandon Burk as Lysander in the Utah Shakespeare Festival’s 2017 Shakespeare-in-the-Schools production of A Midsummer Night’s Dream. (Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2017.)

Fred C. Adams believed in the power inherent in Shakespeare’s texts to change lives for the better, and the Festival created an education program to take that message to schools across the West. Fred’s traveling show, Costume Cavalcade, evolved into the Shakespeare-in-the-Schools Tour, a traveling group of trained actors who perform abbreviated versions of Shakespeare’s major plays in schools throughout the region. The actors also meet with the students after the show, answer questions, provide training, and help them better understand the concepts brought to life on the stage.

Brian Vaughn (left) as Smudge, Jered Tanner as Jinx, Michael Fitzpatrick as Frankie, and Gregory Ivan Smith as Sparky in the 1999 Utah Shakespeare Festival production of Forever Plaid. (Copyright Utah Shakespeare Festival.)

By the late 1990s the business community of Cedar City began asking the management team of the Festival if they would extend their season in an effort to keep the much needed tourism money flowing into the local economy. Southern Utah University worked with them for a test run in 1999. The Festival would pick two very small plays, Forever Plaid and The Compleat Works of Wllm. Shkspr (Abridged), and see if a fall season could be economically viable. The plan worked, and the fall season began.

R. Scott Phillips (left), Sue Cox, Douglas N. Cook, Fred C. Adams, and Cameron Harvey receiving the 2000 Tony Award for Outstanding Regional Theatre. (Copyright Utah Shakespeare Festival.)

In May of 2000, the American Theatre Wing and the Broadway League announced that the Antoinette Perry or “Tony” Award for Outstanding Regional Theatre would go to the Utah Shakespeare Festival. The Tony, comparable to the Academy Awards in film, is the most highly sought after accolade in American theatre and, for the Festival, was the culmination of nearly four decades of hard work and superior artistry.

The Utah Shakespeare Festival – The First Two Decades

Keith Seegmiller (left) and Ron Carpenter playing the fanfare, 1962

Despite the summer heat, the audience for the first performance of the newly inaugurated Utah Shakespeare Festival numbered over five hundred. It was July 2, 1962, and everything was ready: every detail had been carefully looked to, every contingency planned for, or so they thought. Two young trumpeters had been recruited to play a fanfare announcing the beginning of the play. As the notes rang through the air, director Fred C. Adams realized that the cast had not rehearsed a way to get from the dressing room to the stage. Thinking quickly, he grabbed a torch from the rack of Hamlet props, lit it, and presented it to the costumed pages, directing them to lead the cast, in full view of the audience, to the stage. This actors processional, from the dressing room doors, across the patio, and to the platforms became a Festival audience favorite for many years.

1963 Ticket

The initial two-week Festival season proved very successful, bringing in 3,726 visitors and over $2,000—enough to prove that this could be a profitable venture. Fred began assembling the creative team that would guide the Utah Shakespeare Festival to national prominence. This group would soon include directors Michael Addison and Tom Markus, scenic designer Douglas N. Cook, lighting designer Cameron Harvey, and technical director Gary M. McIntyre, among many others.

In 1965, Fred made a decision that would forever change the course of the Festival. He had built the organization using local talent, but his creative team, most of them college instructors from outside the area, wanted to give some of their students an opportunity to perform. Fred decided that he would open auditions to students from across the country. They realized that this influx of actors exposed audiences to a host of new talent and increased the notoriety and production ability of the Festival.

Early stage

Throughout the 1960s, the Festival productions would be carried out on a portable stage that would be built and removed after each summer season—with tremendous effort. However, the enthusiasm of the nightly audiences, sitting on their folding chairs, made the effort worthwhile.

Douglas N. Cook had joined the Festival in 1964. Cook was especially adept at designing scenery for Shakespeare productions. Under his guidance, the props department blossomed, and the sets better reflected the periods that designers were trying to represent. At the conclusion of the 1969 season, Cook applied his talent for design to work up some rough sketches for a new outdoor theatre space to replace the aging stage.

Early design by Doug Cook

Based upon his research, Cook knew that the new theatre would need to have three essential elements. First, it must have a thrust stage (this meant that the performance space would be surrounded on three sides by seats); second, it must have a gallery or multi-level seating; and, third, it must be open to the air. All of these designs were in every major Elizabethan theatre of Shakespeare’s day and would be necessary for the Festival’s new space. Technical and electrical planning also factored heavily into the design of the Adams Theatre. Technical director Cameron Harvey worked tirelessly to design a state-of-the-art lighting and sound system that would be unnoticeable to the audience but enhance the performance. Everything the Utah Shakespeare Festival had learned about producing the Bard would go into the design of the theatre.

Adams Theatre Performance

In 1977 the Adams Theatre, named after Thomas and Luella Adams (no relation to Fred) was complete, and despite having to remove the construction scaffolding forty-five minutes before the first performance, the actors and the patrons loved the new stage.

The Festival introduced its first matinee performance and its first musical, by presenting Gilbert and Sullivan’s The Mikado in 1977. Drawing from local talent, including a live orchestra and a young R. Scott Phillips as the Lord High Executioner (his only acting role for the Festival), The Mikado proved that the Festival could branch out into dramatic fields other than William Shakespeare.

The Utah Shakespeare Festival entered a new era when in 1981 it introduced its first Equity actors to its audiences. The Actors Equity Association is the professional union for theatre acting and stage management professionals.

Fred Adams, circa 1970

The 1970s proved to be an amazing decade of growth for the Festival. A new theatre was added, programs and staff were expanded, and professional actors joined the company. Still, Fred Adams had another idea, what if patrons could see more—works from other important playwrights, the “Shakespeares of other lands.” Of course the Adams Theatre would remain the domain of Shakespearean plays; what was needed was another space, another theatre

The Legacies of Iron County: Agriculture – The Hay Derrick

Agriculture, symbolized by the hay derrick, became the foundation of the local community. When early mining operations ceased, Iron County residents turned to sheep and cattle to provide needed trade goods. Today, the region still has a vibrant and expanding agricultural lifestyle.

An Iron County haying crew.

Hay for livestock in a horse-driven society was as important as gasoline or electricity is today. The oldest technology for stacking hay in Iron County was the hay derrick that allowed farmers to build haystacks in their fields.

 

 

A hay derrick in action.

Hay derricks, usually homemade devices, consisted of a central pole rigged so that it could rotate on its base. By means of pulleys, rope, and a one-horse hookup, the loading fork could be raised and rotated over the haystack. When tripped, the hay would drop onto the stack. Men on top of the stack would arrange the hay so that it would shed water, thus the hay would cure rather than rot. Occasionally rattlesnakes might be hiding in the hay and provide a surprise for those on top of the hay pile. Stacks were built one section at a time. When one section was finished, the derrick was hitched to a horse and dragged to the next section.

Frontier Homestead’s hay derrick.

The derrick in front of Frontier Homestead was donated to by local rancher Bud Bauer and relocated from his farm to the museum as an Eagle Scout project in May 2013.

The Legacies of Iron County: Mining – The Ore Shovel

Mining, represented by the ore shovel, is the industry that began it all, proving to be the initial motive for settlement. In 1923, the mines began producing ore by the tons and elevated Iron County to one of the richest counties in the Utah for nearly 50 years.

Shovels at work in the mines.

Shovels at work in the mines.

In the 1930s, iron mining expanded in Iron County and massive shovels were needed to excavate the needed ore. According to company delivery records, two Bucyrus-Erie 120-B shovels were delivered to the Utah Construction Company in Cedar City in September of 1936 for use in the iron mines. At the time, the wage for a shovel operator was $0.48 per hour.

Shovel at work.

Shovel at work.

The electric 120-B shovel had a six cubic yard dipper capacity, big enough to scoop up six tons of dirt and rock, enough to fill a hole the size of a large pick-up truck with extended cab and bed. AC power was supplied to the shovel via a trailing 23,000 volt electric cable which drove a 275-horsepower motor-generator set. When moving the shovel from pit to pit, bulldozers were employed to prevent the huge tracks from slipping down the hill.

SHE-22 at work.

SHE-22 at work.

About 330 of the 120-Bs were sold around the world over a period lasting almost three decades. SHE (shovel excavator) 22 was used continuously until the 1970’s.  SHE-22 had previously been located west of town where it sat for many years.  In 2012, in partnership with Utah State Parks, Cedar City, Iron County, Gilbert Development, Inc., and Construction Steel, Inc., the shovel was relocated to Frontier Homestead State Park.

The Legacies of Iron County: Railroads and Tourism – The Caboose

Railroads, signified by the caboose, proved pivotal for this community. Freight trains were able to haul more raw materials than ever before, increasing profits for the mining companies. Rail traffic also brought thousands of tourists to the area each year to explore our scenic wonders. Hollywood came to Utah, travelling by train, into Cedar City. The railroad literally brought the world into our backyard.

The Caboose in it's original location, before being donating to the museum.

The Caboose in it’s original location, before being donated to the museum.

The caboose provided the train crew with shelter and working space while they threw switches and inspected for problems such as shifting loads, overheated axle bearings, and dragging equipment. The conductor used the caboose for filling out various forms and reports. On longer trips, the caboose provided living quarters.

Caboose 4618 was manufactured by Pacific Car and Foundry in 1978 and delivered to Southern Pacific.  In its heyday, Southern Pacific operated nearly 14,000 miles of track covering various routes stretching from Tennessee to California.

The body of Caboose 4618 was painted in mineral red with the bay window ends and the end walls in daylight orange, both traditional Southern Pacific colors. Cabooses in the SP system were designated C-XX-X. The “C” stood for caboose, the “XX” denoted the axle load in tons, and the final “X” represented the class, type, or design. Caboose 4618 is a C-50-7. Power for the caboose was provided by a small electrical generator mounted on the lead truck.

Moving the Caboose to Frontier Homestead.

Moving the Caboose to Frontier Homestead.

This caboose was purchased from a California rail yard in 2005 by George Lutterman. In April 2013 it was donated to Frontier Homestead State Park and moved in partnership with Iron County, Union Pacific, Construction Steel, Inc., and Gilbert Development, Inc.

 

The restored Caboose in front of Frontier Homestead

The restored Caboose in front of Frontier Homestead