Mummers Theatre, 400 West Sheridan Avenue, Oklahoma City

Source document Quoted word for word from HABS OK-68. Not written, edited or summarised by this site.

400 West Sheridan Avenue Oklahoma City Oklahoma County Oklahoma Mummers Theatre1 was located in downtown Oklahoma City at latitude longitude These coordinates were obtained from the National Register of Historic Places nomination prepared in May by Cathy Ambler, which utilized Google EarthTM. The coordinate datum are World Geodetic System Datum The location information has no restriction on its release to the public. Historic Use: Entertainment/Recreation

Source document Quoted word for word from HABS OK-68. Not written, edited or summarised by this site.

Mummers Theatre is architecturally significant as a unique example of a Brutalist style theater designed by John Johansen, an acclaimed, Harvard- trained, Modern architect. Constructed in the building was awarded the American Institute of Architects highest award for architectural excellence. Additionally, the building is historically significant for its association with the Mummers Theatre and producer- director Mack Scism. The Mummers Theatre received a grant from the Ford Foundation in for construction of the building and to assist in the evolution of the amateur community theater into a professional theater.

Taking a total of eight years, the Mummers Theatre became an equity theater in and the new building was completed in While successfully resulting in a cutting edge building to house their professional dramatic productions, the project ultimately bankrupted the Mummers Theatre. The building also has historic significance as the first project completed in Oklahoma City s downtown urban renewal effort. With the downtown project initiated in the urban renewal effort benefitted the Mummers Theatre by allowing the building to be located in the heart of the new cultural and recreational center of downtown Oklahoma City. However, the lengthy delay in construction of the Mummers Theatre and the cost overrun were attributable at least in part to the bureaucracy inherent in the urban renewal effort.

1 The spelling of theatre in the name of the building in this document is consistent with the name utilized on the original building plans and the legal name of Mummers Theatre, Incorporated, original owner and user of the building. Within quotes, the name of the building is spelled consistent with the source information. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 2

Source document Quoted word for word from HABS OK-68. Not written, edited or summarised by this site.

The documentation of the Mummers Theatre was undertaken in spring for Oklahoma Gas & Electric (OG&E) by A.R.C.H. Consulting. OG&E sponsored the project as part of their effort to commemorate the theater building in anticipation of construction of a new corporate headquarters building on the site. Prior to demolition of the building, the company also identified salvageable furnishings and equipment, including seating, lighting, staging, signage and more. Working with Allied Arts, Oklahoma s only United Arts Fund, the furnishings and equipment were then distributed to local theater and art groups in need of the materials.

In addition to saving these groups thousands of dollars had they had to purchase the materials, this continues the physical legacy of the building for new generations of performers and audiences. The field team consisted of Cynthia Savage with A.R.C.H. Consulting and Lynda Schwan Ozan with the Oklahoma State Historic Preservation Office (SHPO). The written narrative was prepared by Ms. Savage. Information for the written narrative was primarily gathered from the nomination for the building and through review of newspaper articles concerning the building published in the Daily Oklahoman at the time of the building s development, as well as other sources. Prepared in May by Ms. Cathy Ambler, the nomination primarily addressed the building s national architectural significance.

Due to objection by the previous owner, the nomination did not result in listing for the building; however, the Keeper of the Register determined the building eligible for the on March 13, Demolition of the Mummers Theatre began around July 1, Due to time constraints from the time the project started in April to the start of demolition, it was not feasible to obtain new measured drawings. The renovation plans for the building, prepared by noted Oklahoma City architect Rand Elliott, were known to be available. Mr. Elliott graciously provided the plans to the Oklahoma Historical Society (OHS) for scanning.

Additionally, a full set of original plans for the building were located at the University of Oklahoma s (OU) Architectural Library, MUMMERS THEATRE (Stage Center) HABS OK-68 Page 3 located on the OU campus in Norman, Oklahoma. The OU Architectural Library also loaned the plans to the OHS for scanning. In addition to the public availability of the original plans at the OU Architectural Library, the scanned files from both the original and the Elliott plans will be permanently maintained by the SHPO, located in the Oklahoma History Center, Oklahoma City, Oklahoma. Pertinent drawings from both sets of plans were included within the Field Records submitted with this documentation.

Effort was made to obtain large format photographs of the building; however, none of the local photographers contacted were able to do so within the allotted time. Accordingly, it was determined that photographs would be taken using both 35 mm black and white film (TMAX 100 and and digital. As directed by the National Park Service the digital photographs have been imbedded in this documentation, rather than printed individually. For archival purposes, a set of the black and white photographs meeting archival standards have been printed and will be maintained at the SHPO. A limited number of historic photographs and color slides showing the Mummers Theatre were located in the collections of the OHS Research Library, located in the Oklahoma History Center, Oklahoma City, Oklahoma.

Scans of seven of the color slides, one dating from the early and the rest from about were included in this documentation s Field Records. The color slides were all located within the Mummers Collection at the OHS, which is currently unprocessed. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 4 Part I. Historical Information A. Physical History: 1. Date of construction: Based on local newspaper articles, construction work for the Mummers Theatre began in January The contractor turned the keys for the building over to the owner in September however, some construction work, such as the addition of an elevator for the thrust stage theatre, continued through late 2. Architects, Stage Designer and Engineers: a. Architects: i. John M. Johansen, FAIA, New Canann, Connecticut (architect) ii.

Charles A. Ahlstrom, New Haven, Connecticut2 (associate in charge) iii. Seminoff-Bowman-Bode, Oklahoma City, Oklahoma (supervising architects) iv. Thomas Roberts, Oklahoma City, Oklahoma (landscape architect) b. Stage Designer: i. David Hays, New York, New York (stage designer) ii. John Gleason, New York, New York (stage design consultant) c. Engineers i. Rudolph Besier, PE, Old Saybrook, Connecticut (structural engineer) ii. John I. Altieri, PE, South Norwalk, Connecticut (mechanical-electrical engineer) 2 John F. Gane, AIA, ed., American Architects Directory Bowker Company: New York, available retrieved 21 November 8. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 5 3. Builder, Contractors and Suppliers:3 a. Harmon Construction Company Inc., Oklahoma City, Oklahoma (prime contractor) b.

The Dolese Company, Oklahoma City, Oklahoma (concrete) c. Cotner & Cotner Cement, Oklahoma City, Oklahoma (cement) d. Bentley s, Oklahoma City, Oklahoma (carpet) e. Boyington and Son Electric Company, Oklahoma City, Oklahoma (electrical) f. Virgil Greene Company of Oklahoma City (architectural woodwork) g. Cheatham Inc., Oklahoma City, Oklahoma (acoustical ceiling, insulation and sealant) h. Comfort Air Conditioning, Oklahoma City, Oklahoma (heating and cooling) 4. Materials and Manufacturers:4 a. Foundation Waterproofing: Sonneborn b. Concrete and Cement: Ideal Light Cement, Dolse (sic) Concrete Company c. Block: Thomas Concrete Products d. Steel: Fort Smith Structural Steel e. Curtain Wall: Elwin G. Smith Metal Siding f.

Roofing: Ruberoid Company, Carlisle Sure-Seal Butyl Rubber Membrane g. Thermal Insulation: Owens-Corning Fiberglass and Urethane h. Acoustical Materials: Zonlite Mono-Kote Plaster i. Glass: PPG 3 Daily Oklahoman, (Oklahoma City, Oklahoma), Mummers, A Brand New Challenge, 18 October 4 Peter Blake, The Mummers Theater, Architectural Forum, (May 89. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 6 j. Interior Partitions: Ferrometal Toilet Compartments k. Doors: LOFTuf-flex Glass Doors, Kawneer Aluminum Sliding, Tex-Steel Corporation l. Hardware: Yale, Stanley, Rixon m. Interior Materials: Flintkote Vinyl, McKee Expanko Cork, Mosaic Tile Company, Valvetone n. Paint: Devoe o. Electrical Ducts: Jones and Laughlin p. Electrical Metallic Tubing Electrical Equipment: General Electric q.

Emergency Power: Onan and Sons Standby Generator with Ford Engine r. Lighting Fixtures: Prescolite, Kurt Versen, Lightolier, Shalda s. Plumbing Fixtures: Crane, Swan Inc t. Piping: Steel Pipe: Lone Star, Copper Pipe: wolverine u. Heating Boilers: Kewanee Boiler Products v. Unit Heaters: Electromode, Chromalox w. Heating Valves: Honeywell x. A/C Compressor: Carrier y. Diffusers: Barber Colman Diffusers, PACO Sump Pumps, Bell and Gosset z. Intercom Systems: Fentriss Sound Engineering Company, Altec Lansing Sound Equipment aa. Sprinkler System: Pyrotronics, Incorporated, Star Sprinkler Corporation MUMMERS THEATRE (Stage Center) HABS OK-68 Page 7 bb. Ceiling Materials: United States Gypsum, Expand-x cc. Water Coolers: Halsey-Taylor dd.

Flooring: Downs Carpet Company, General Felt Company, Johns- Manville Masonite ee. Furniture: American Seating Company 5. Original and subsequent uses: Originally, the building functioned as a multi-stage theater. Following the demise of the Mummers Theatre group in February the building continued to operate as a theater under the name Oklahoma Theater Center from June until June Renamed Stage Center in September the building continued to be a performing arts center until being closed in Leased by the Oklahoma City Arts Council in the building was unused for four additional years before a major, eight-month, $2-plus million renovation resulted in the building opening in March as a performing arts, meeting, reception and office center. In a flood caused the building to be vacated.

Although some flood repairs were initiated in the basement, the building was not used from through July when demolition was initiated. 6. Date of Renovation: July March 7. Renovation Architect and Contractors: a. Architect: i. Rand Elliot + Associates, Oklahoma City, Oklahoma b. Contractor: i. Yordi, Smith and Pickel, Oklahoma City, Oklahoma B. Historic Context: Introduction As stated in the book Documents of American Theater History The Mummers Theatre in Oklahoma City opened as probably the most exciting playhouse architecturally in the United States.

Designed by noted Modern architect John Johansen, the Mummers Theatre was an iconic Brutalist style building from its construction in until its demolition in MUMMERS THEATRE (Stage Center) HABS OK-68 Page 8 Utilizing geometric shapes and a combination of exposed concrete, metal and wood, the building was striking in its simplicity with the services evident on the exterior. Using his philosophies of slang and place it, support it, connect it, Johansen designed the building based upon an electrical circuit. As described by Johansen in the building consisted of three components with subcomponents attached, plugged into one chassis and then connected by four circuiting systems, superimposed at separate levels to avoid cross-circuiting.

5 Although the creative design of the Mummers Theatre was Johansen s, the building was significantly shaped by the needs and desires of the Mummers Theatre group, the Ford Foundation and the unprecedented urban renewal effort in downtown Oklahoma City led by the Oklahoma City Urban Renewal Authority (OCURA). Without this combination of forces, the Mummers Theatre would not have been a commission for Johansen to realize. In particular, without the drive of Mack Scism to evolve the Mummers Theatre group from an amateur community theater to a professional acting company, the Mummers Theatre would never have been built.

While the opening of the Mummers Theatre building in December heralded completion of an eight-year effort, within months, financial problems nearly resulted in the end of the twenty- one-year-old Mummers Theatre group. This money dilemma was caused by a combination of a cost overrun in the building project, increased overhead and staff costs in the new larger facility and inadequate ticket sales. Able to sustain itself for only another year, the final curtain came down on the Mummers Theatre in February just fifteen months after the building s theatrical premier. Within months, a new community theater group, aptly named the Oklahoma Theater Center (OTC), was organized and occupied the building which was then renamed after the new theater group.

The OTC remained viable until when it too closed the doors. Purchased by the Oklahoma Center for Science and Arts, Inc., also known as the Kirkpatrick Center, in June the building was renamed Stage Center in September of that year. Still struggling financially, Stage Center was again shuttered in August Taken over by the Oklahoma City Arts Council in October the building remained unoccupied for almost four years as the Arts Council worked to raise the funds for a major overhaul of the building.

At a cost of $2 million plus, the Elliott + Associates-designed renovation began in July Taking only eight months to complete, Stage Center reopened in March Although frequently underutilized, Stage Center remained in use until when a flood extensively damaged the lower level of the building which contained the administrative, dressing rooms and storage spaces. With the theater again closed, efforts to preserve the building 5 William C. Young, Documents of American Theater History: Volume 2: Famous American Playhouses, (Chicago, Illinois: American Library Association, See also John M. Johansen, The Mummers Theater: A Fragment Not A Building, Architectural Forum (May 68.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 9 over the next four years included submission of a National Register of Historic Places nomination which, due to owner objection, resulted in the Keeper of the Register determining the building eligible for the for its architectural significance at the national level in March With viable reuse options limited by the very attributes which made the building a national landmark, demolition of the forty-four year old Mummers Theatre began in July Architectural Significance As Mack Scism envisioned in November the Mummers Theatre was destined be a major work of architecture in our time.

In early as OCURA finalized negotiations with property owners to acquire the theater site, the building then being designed by John Johansen and Associates of New Cannan, Connecticut, was described as sculptural in form using concrete as the basic material. As projected, the complex was to consist of three buildings that could be walked under, through and around. To facilitate this, the complex was to be located within the center of a raised area surrounded by what was described as a scraped out area sort of like a moat. Crossing the moat and connecting the buildings were to be pedestrian ramps which extended towards a central plaza. According to Scism, due to the tight budget, the complex was to be very much public architecture which left no room for paint and powder.

Internally, David Hays, New York stage designer, envisioned a main hall with a projecting stage that had 600 seats wrapped around it. The small experimental theater was to contain 275 seats to allow a more intimate audience-actor relationship.6 The unique design for the Mummers Theatre became public on March 28, when the plans for the anticipated $2 million building were revealed for the first time. As described in the local newspaper at the time, the ultra-modern building was undoubtedly destined to be an architectural curiosity with its multi-levels, irregular shapes, (and) bold splashes of color. The April issue of Architectural Record included a brief summary of the building in their Buildings in the News section.

According to the article, Johansen s intent was to express explicitly as many of the separate elements of the program as possible, and to let the elements develop their size, shape and relationships to each other from their functional requirements without formal intent on his part. The clear expression of their connections is also critical. Above all he wants the complex to honestly reveal itself and to invite the public to take part. Shortly after this, Johansen s article The Mummers Theater: A Fragment Not a Building appeared in the May issue of Architectural Forum. In the article, Johansen explained his use of the field of electronics to design a building that thoroughly escaped the Beaux Arts tradition and 6 Daily Oklahoman, Regional Theater Is Coming of Age, 6 November and Land Ho!

Mummers Fog Lifts, 15 January MUMMERS THEATRE (Stage Center) HABS OK-68 Page 10 fed into Johansen s theory of a new urban design in which individual buildings were elements of an encompassing, continuous, city architecture.7 As construction of the building progressed in the theater continued to garner considerable national attention. In October Thomas Fischandler, executive director of the Arena Theatre in Washington, found the plans to be impressive, citing its flexibility, functional design and roomy theater that retained an intimate quality. Nine months later, Jerome Kilty, American actor and playwright, visited the Mummers construction site and declared the building and program to be by far the most unique and exciting, as well as ahead of its time.

Peter Zeisler, co-founder of the Guthrie Theatre in Minneapolis, Minnesota, toured the building shortly before it opened to the public in October Zeisler proclaimed that What they have built here is a very creative approach to a very complex building situation. 8 On the local level, one Oklahoma City newspaper noted that the building was setting off a cultural shock in downtown Oklahoma City with descriptions of the building ranging from a glorified hatbox, to a better mousetrap to a drummer s delight. Scism, however, noted that the new phrase of circuitory architecture was directly attributable to the new building.

As defined in the newspaper, circuitory architecture involves the use of circular drums, pivoting off a center and connected by passageway spokes, utilizing maximum space and utilities. Scism also noted that visitors from across the nation exclaimed that the new Mummers Theatre was the type to be expected in New York, London, Berlin or Paris, not Oklahoma.9 Even Johansen himself noted that the building was likely not beautiful but, at least in his opinion, it was the most effective instrument for theatrical production in the country. In mid-1970, Johansen likened the building to the Three Graces of Greek mythology with the three round buildings as the focal point. The connecting passageways and open walkways created an impression that the round elements were thus holding hands.

The building was intended to be simple, honest and happy, creating what Johansen suggested was almost an educational toy for adults. 10 While mixed reactions continued to make the building a point of curiosity in September an article in the Daily Oklahoman stated that an unnamed visiting architect expressed the view that the design is appropriate to the unconventional type of theater it will house, and will therefore be satisfying to those it serves. It is likely that the unnamed architect was esteemed architect and city planner I.M. Pei who was in Oklahoma City at the time.

Another article during the same 7 Ibid, New Mummers Design Shown, 29 March See also Mummer s Theatre, Oklahoma City, Oklahoma, Architectural Record (April 35 and Johansen, The Mummers Theater, Architectural Forum, 65 and 68. 8 Ibid, Syndicate Man Praises Mummers, 3 October Gotham Director Impressed: Exciting Is His View of Mummers Building, 12 July 9 Ibid, Another Ugly Duckling To Turn Into a Beauty?, 26 July 10 Ibid, 26 July MUMMERS THEATRE (Stage Center) HABS OK-68 Page 11 time frame, this one from the Oklahoma Journal, bluntly stated He (Pei) obviously doesn t like the building, although he called it exciting. The Oklahoma Journal article further stated that while some might question the building s mechanical intestines the real test would come when the theatre opened in December.

11 Following the successful opening of the building in mid-October and its theatrical debut on December 2, the building was heralded as an eccentric construction of reinforced concrete pods and midair metal boxes and pipes that exhibited a geometrical freedom accented with a carnival array of red, blue, white and gold paint. However, as declared by Scism, the intent was a theater that didn t have to fight its environment in order to get a play on and it was better than looking like a post office or funeral parlor. 12 An undated brochure developed with Scism s input after the building was completed declared: The new Mummers Theatre is an architectural event that may startle, even assault the eyes of the man on the street.

It was the intention that this assemblage of forms should attract people, provoke their curiosity and encourage them to explore and enjoy sorting out the kaleidoscope of shapes and colors which swirl around the center court; the wood deck which floats over a reflecting sheet of water. The brochure further noted that people were intended to be a critical architectural element of the building. The building was deemed incomplete without people walking over bridges and ramps, reflecting in the pool, or enjoying the surrounding gardens. Finally, the brochure expounded upon the choice of building materials.

While the brochure acknowledged that the chosen materials and finishes of the building were often dismissed as commonplace, it noted that the Raw concrete, industrial metal siding, steel and glass (were) used in a new context in the Mummers Theatre. The brochure summed up the selection of materials with Once the stigma of the commonness of these materials is overcome, the logic of their selection can be understood as consistent with the architectural approach which generated the building. 13 In early February Peter Blake, noted architect and editor of Architectural Forum, visited Oklahoma City to talk about inside environments.

While in the city, Blake expanded upon the emergence of pop art and how objects previously dismissed as junk were accepted as art, such as Andy Warhol s Campbell s Soup Can. Concerning the Mummers Theatre, Blake declared it an example of pop art architecture of which he fully approved. Blake expounded that I don t 11 Ibid, Odd But Eyecatching, 12 September See also Oklahoma (Oklahoma City) Journal, It s Case of Inside Being Out, 11 September 12 Ibid, Scoffers Views Change Inside Mummers Theater, 10 January 13 The Mummers Theatre, Past, Present and Future, no date, Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 12 think every building should look like the Mummers Theatre, but it s exactly what an experimental theatre should look like. Although Blake had yet to tour the inside of the exotic building, the article noted that Scism consulted with Blake in finding an architect to design the cutting edge theatre.14 In May TIME magazine identified the Mummers Theatre as the crystallization of Johansen s new approach to architecture. In opposition to the Beaux-Arts tradition that Johansen believed continued to dominate architectural thinking, Johansen described his approach as a kind of slang which sought to respond to people in a brash, incisive and immediate manner.

In contrast to the belief of some that the building resembled a factory, the article by Robert Hughes found that It is in fact an exquisitely human building in its scale, organization and intriguing unpredictabilities. In the Mummers Theatre, Johansen also sought to capture a fluidity that he felt must be acknowledged in architecture for it to remain relevant. Johansen contended that buildings should be open to change, that in doing so the building is a record of time and change akin to a page from a book that continues to be used and reused after the earlier writing is erased. As concluded in the article, Like all advanced architecture, Johansen s theater is a gamble with public taste, but its terse pragmatism is so logical that it seems a pointer to a very likely future.

15 The financial problems that nearly closed the Mummers Theatre in early reared its head again in early with opposite results. The Mummers Theatre closed its doors at the end of February Even on the last day the Mummers Theatre was in operation, the architecture of the building was noted as a credit because, although people criticized it, they were also drawn to it.

As the curtain came down for the final time, a Portland, Oregon, photographer described the building as fantastically designed and decried the closing of the theater.16 As locals were seeking the method and means to reopen the theater in the spring of the building was nationally recognized for its architecture by the American Institute of Architects (AIA) in April The Mummers Theatre was one of nine buildings, of which two were theaters, to receive the distinction of architectural excellence in The other theater was the Alley Theater in Houston, Texas. In judging the Mummers Theatre, the AIA jury panel found that Johansen utilized his own personal vocabulary with considerable skill to develop a superb and no-nonsense theatrical instrument, despite the exuberance of its forms.

Beyond this, the panel determined that the building was an extraordinarily fresh and provocative work of architecture rational, but wonderfully witty; mechanistic but joyfully humane. 17 14 Oklahoma Journal, Mummers Gets New Tag: Pop Art, 5 February 15 Robert Hughes, Art: Toward a New Slang, TIME, (May 31, accessed online at retrieved 24 June 16 Daily Oklahoman, Mummers Burial Mourned by 28 February 17 Honor Awards: Mummers Theater, AIA Journal, (May 34. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 13 Reopened as the Oklahoma Theater Center, the building continued to attract national interest. In two books concerning American theater were published. As noted in the introduction above, William C.

Young found the Mummers Theatre to be architecturally exciting with the firm certainty that the building would prove to be a milestone in American regional theater history. Joseph Wesley Zeigler, in his work Regional Theatre: The Revolutionary Stage proclaimed that the Mummers Theatre showed considerable freshness and verve in its conception and that the building was among the most original and successful new structures in recent years.

18 In the Mummers Theatre was named one of the top ten buildings in the state by the Oklahoma chapter of the American Institute of Architects.19 Several of these premier buildings, including the Mummers Theatre, Frank Lloyd Wright s Price Tower in Bartlesville, Bruce Goff s Bavinger House in Norman and the Boston Avenue Methodist Church in Tulsa, were nationally known. Two other urban renewal projects in downtown Oklahoma City included on the list were the Kerr-McGee Tower and the A.P. Murrah Federal Building. The article announcing the selection of the best buildings ever built in Oklahoma caveated the choice of the Mummers Theatre with the notation that The public is almost certain to disagree with some selections most likely the Mummers Theater.

In doing so, it failed to recognize that the strong reaction the building evoked was also key to its fame. 20 If the Mummers Theatre had not challenged the public to expand their architectural expectations, with both positive and negative results, it would have been a lesser building that would have likely faded into obscurity shortly after construction. Instead, the Mummers Theatre continued to be referenced as a momentous achievement in American architecture to the present time.

In addition to the previously mentioned books, the building has been discussed and oftentimes pictured in such books as the A Pictorial History of Architecture in America Transformations in Modern Architecture Encyclopedia of Century Architecture Sourcebook of Contemporary North American Architecture: From Postwar to Post Modern American Architecture: Ideas and Ideologies in the Late Twentieth Century Source Book of American Architecture: 500 Notable Buildings from the Century to the Present A Field Guide to Contemporary American Architecture Twentieth Century Architecture: A Visual History Precedents in Architecture USA: Modern Architectures in History among many others.21 18 Young, See also Joseph Wesley Zeigler, Regional Theatre: The Revolutionary Stage, (Minneapolis, MN: University of Minnesota Press, 41.

19 Oklahoma Theatre Center, Architects/Architecture: Membership Directory, Oklahoma Chapter, American Institute of Architects, 20 Daily Oklahoman, Architects Select State s Best Buildings, 16 October 21 Cathy Ambler, National Register of Historic Places Nomination for the Mummers Theater, (available See also G.E. Kidder Smith, A Pictorial History of Architecture in America (New York: American Heritage Publishing Co., Inc., and Bonanza Books, Source Book of American Architecture: 500 Notable Buildings from the 10 th Century to the Present (New MUMMERS THEATRE (Stage Center) HABS OK-68 Page 14 As noted in the acknowledgements in his book John M.

Johansen: A Life in the Continuum of Modern Architecture, Johansen teamed with structural engineer Rudy Bessier on the Mummers Theatre, as well as the Ritts House, the Goddard Library the L. Frances Smith School and the Quincy Office Building #4, among other projects. Mechanical engineer John Altieri was a team member on both the Mummers Theatre and the Goddard Library. Like Johansen, both Bessier and Altieri resided in Connecticut.22 The press kit for the opening of the Mummers Theatre credited David Hayes as the co- designer of the Mummers Theatre.

A Phi Beta Kappa graduate of Harvard College, Hays produced designs for over forty Broadway productions and more than thirty ballets between and During the season, Hays was the designer in residence for the Repertory Theatre of the Lincoln Center. By Hays was director of the National Theatre of the Deaf. At an unspecified time, Hays received a Ford Foundation grant to design the ideal open stage theatre. Hays also won various awards and Tony nominations for his design work. In a statement included in the press kit, Hays explained that the inspiration for the larger thrust stage theatre was an image suggested by (an) early sixteenth century Venetian painter. 23 The supervising architects for the Mummers Theatre project was the Oklahoma City firm of Seminoff-Bode-Bowman.

Formed in the partners in the firm included George Seminoff, Albert Bode and Wayne Bowman. Among a variety of other projects, the firm of Seminoff- Bode-Bowman designed the addition to the Fine Arts Auditorium at Oklahoma City University (OCU) in the mid-1960s. The $1 million dollar project included a new 253-seat theater with a thrust stage and a three-quarter-round appearance for use by the Oklahoma City Lyric Theater.

The project was initially funded by a grant from the local Kirkpatrick Foundation with the Ford Foundation providing a grant and the federal government providing the remaining It is unknown when exactly Seminoff-Bode-Bowman was selected to be supervising architects for the Mummers project as reports in indicated the consulting architects were to be the firm of Sorey, Hill and Sorey. It would seem likely that there was some connection between the OCU theater project and selection of the firm for the Mummers project.

However, any connections would not have been solely through the Ford Foundation as Seminoff s mother-in-law, Mary Weeks-Ingle, was a popular actress who York: Princeton Architectural Press, Carole Rifkind, A Field Guide to Contemporary American Architecture (New York: Penguin Group, Dennis Sharp, Twentieth Century Architecture: A Visual History (Mulgrave, Victoria, Australia: The Images Publishing Group, and, Gwendolyn Wright, USA: Modern Architectures in History (London: Reaktion Books 22 Johansen, A Life, 8. 23 About the Theatres and Biographical Sketch: David Hays, Press Kit, Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 15 performed in many Mummers productions in the and and Seminoff, along with his wife, was active within Oklahoma City s arts community.24 While early photographs of the Mummers Theatre show that the building site was as austere as the building itself with no trees or bushes, the building was intended to be part of a garden-type cultural and recreational area within downtown Oklahoma City. In support of this, the Johansen site plan for the building included notations for earth embankment for future plantings along the edges of the property, among other landscape elements. With building costs exceeding the available funds, it is likely that the landscaping of the site was postponed, along with other building amenities.

However, in April as part of the effort to beautify downtown Oklahoma City, Roger M. Dolese donated 160 trees for the Mummers site. As noted by Morrison G. Tucker, president of Oklahoma City Beautiful, the donation was the single biggest boost we have had to the beautification effort of Oklahoma City. The donation was anticipated to create the first of several park-like locations in the heart of downtown. In making the donation, Dolese was careful to note that the intent was to benefit downtown Oklahoma City and not part of the effort to bolster the Mummers operating fund campaign effort then occurring.25 The local landscape architectural firm of Thomas Roberts and Associates was given the job of designing the landscape and supervising the planting of the trees.

Roberts had previously designed the landscape for the downtown Oklahoma City Fidelity Express Bank garden at Northwest 4th Street and North Robinson Avenue which received the nation s outstanding landscaping award in the first Oklahoma winner of this prestigious award from the American Association of Nurseymen. Roberts also designed the landscape at Oklahoma City s National Cowboy Hall of Fame and United Founders Plaza, as well as the new Park Avenue and Santa Fe Avenue from Reno to Northwest 3rd Street as part of Oklahoma City s urban renewal effort.

Although it is not clear if Roberts participated in the planning stages of the Mummers Theatre, his contribution as landscape architect to the Mummers Theatre was included within the recognition of the building by the American Institute of Architects. Additionally, in 24 Daily Oklahoman, The Sound of Music: New Building at OCU, 11 December Praise Given to Architect, 28 May and, Theater Audience Favorite Returns to City Stage in Barefoot in the Park, 28 January The firm of Seminoff-Bode-Bowman remained in business until when Bode went into partnership with Tom Glover, Ronald Smith and Bart Nixon to form an architectural and engineering firm called Glover, Smith, Nixon and Bode, Incorporated, later just Glover-Smith-Bode.

About that same time, Wayne Bowman established a branch office in Santa Fe, New Mexico, of the newly named Seminoff-Bowman and Associates firm. Seminoff remained in Oklahoma See Daily Oklahoman, City Architect Named to Panel, 18 January Firm Formed: 3 Architects, Engineer Merge, 14 October and, Architects Branch Opens, 28 October 25 Ibid, Dolese Donor: Trees Given to Mummers, 1 April and Mummers Tree Planting Slated, 19 April MUMMERS THEATRE (Stage Center) HABS OK-68 Page 16 when visiting the city, Johansen acknowledged that The growth definitely improved the structure and that In fact, this was part of the design itself.

26 John Johansen In as Oklahoma City was still smarting over the demise of the Mummers Theatre, the local newspaper suggested that the events of the immediate past be put into perspective. In addition to the fine building and the guts to attempt to turn an amateur theater into a professional theater, the article noted that the city was famous because we hired a popular architect. Although the Mummers Theatre was arguably one of Johansen s most well-known works and the architect himself claimed it to be his favorite, Johansen was a well-established, nationally- known, Harvard-trained, Modern architect before the Mummers Theatre came about.27 John MacLane Johansen was born in New York City in to John Christen and Jean MacLane Johansen, both of whom were esteemed portrait painters.

Graduating with a Bachelor of Science from Harvard in Johansen received a Bachelor of Architecture in and, shortly afterwards, a Master of Architecture. Both architecture degrees were from the Harvard School of Design. At the time, Joseph F. Hudnut, Dean of the School of Architecture, and famed Bauhaus architect Walter Gropius had advanced the school s curriculum from a traditional Beaux Arts education in separate departments into an avant-garde, Modern, multi-discipline collaboration. Johansen s education among the masters, in addition to Gropius and Hudnut, included Marcel Breuer, Ludwig Mies van der Rohe, Frank Lloyd Wright, Josef Albers, Alvar Aalto, Jose Sert and Serge Chermayeff.

As noted by Johansen, Most of the first generation Modern architects, the giants, passed through our school. Among the second generation of Harvard-trained Modern architects, Johansen was in a class with I.M. Pei, Paul Rudolph, Bruno Zevi, Edward Larrabee Barnes, and others.28 During World War II, Johansen worked for a military contractor who specialized in wooden, Navy barracks due to the steel shortage. After that, he worked for the Fuller Construction Company, National Housing Agency as a technical assistant.

Following the war, Johansen worked at the legendary Skidmore, Owings & Merrill (SOM) in New York City until After acquiring his architecture license and National Council of Architectural Registration Boards (NCARB) certificate in Johansen opened his own architectural practice the following year. In in the company of Marcel Breuer, Eliot Noyes, Philip Johnson and 26 Ibid, 1 April City Project Takes Prize: Garden Nation s Best, 25 October For Roberts: Many Projects, 14 March Focus on Downtown Gardeners, 28 January and Architect Still Marveling Over City Theater Center, 10 February 27 Ibid, On the Memory of..Whazit?...of Birds, Stages and Styles.. and Silver Lining Clouds, 10 June and 10 February 28 John M. Johansen, John M.

Johansen: A Life in the Continuum of Modern Architecture (Milan, Italy: l Arca Edizioni, 13, See also Abby Suckle, ed, In Their Own Design (New York: Whitney Library of Design, Watson-Guptill Publications, 67. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 17 Landis Gores, Johansen moved his home and office to New Canaan, Connecticut. All graduates of the Harvard School of Design, this group of Modern architects soon became known as the Harvard Five and firmly placed New Canaan on the map as a Modern city while their fame spread across the nation and abroad.29 Until about the mid-1950s, Johansen s work was residential in character. Beginning in with the U.S.

Pavilion in Zagreb, Yugoslavia, Johansen received a variety of commissions for public buildings, including museums, libraries, theaters, schools and office buildings. In addition to the Mummers Theatre, notable buildings designed by Johansen included the Warner or Bridge House in New Canaan, Connecticut; the U.S. Embassy in Dublin, Ireland; the Clowes Memorial Hall in Indianapolis, Indiana; the Morris Mechanic Theater in Baltimore, Maryland; the Goddard Library at Clark University in Worchester, Massachusetts; the Ritts or Telephone Pole House in Greenwich, Connecticut; and, the L. Francis Smith School which, like the Mummers Theatre, used lightweight, colored sheet metal for its peripheral elements.

Johansen continued to design buildings through the however, his last constructed building was the Quincy Office Building #4 in the Newport Executive Park at Quincy, Massachusetts.30 Among his other accomplishments, Johansen conducted architecture courses on the university level at Harvard, Massachusetts Institute of Technology (MIT), Columbia, Yale, Rhode Island School of Design, and Pratt Institute. He also was a visiting critic and lecturer at various institutions across the United States, as well as internationally. Johansen received two honorary Doctor of Fine Arts degrees, plus the Honor Award from the national American Institute of Architects and a Medal of Honor from the New York chapter of the American Institute of Architects.

Johansen s buildings were exhibited and published at New York s Museum of Modern Art and in Moscow, Berlin and Tokyo. His articles appeared in professional architecture journals, as well as Phi Betta Kappa s American Scholar. Additionally, his work received notice in a myriad of professional and popular periodicals, including Architectural Forum, House and Home, McCalls, Architectural Record, Progressive Architecture, House and Garden, Saturday Evening Post, Art in America, and TIME.31 As a practicing architect, teacher and writer, Johansen was an influential advocate for Modern architecture. Accordingly, he sought to extend the limits of architecture through an inventive, scientific and artistic approach.

Architect and artist James Wines stated that It has emerged very clearly that he (Johansen) set (the) stage for the tremendous amount of activity that followed. Peter Blake, architect and former editor-in-chief of Architectural Forum observed that Johansen was one of the very few architects of his generation who has convictions as to what architects 29 Ibid, and 30 Ibid, 51, 97 and 31 Suckle, 67. See also Biographical Notes: John M. Johansen, AIA Architect, Press Kit, Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 18 are really about.

According to architectural critic and author Michael Sorkin Johansen has always been an architect committed to ideas: scientific, architectural, and cultural. Several years before construction of the Mummers Theatre, the Encyclopedia of Modern Architecture noted that Johansen was keenly interested in structural experiments. Architect Paul Rudolph opined that the Mummers Theatre was perhaps the most compelling of Johansen s buildings with Wines remarking that in the Mummers Theatre you can see the references in the work of so many architects. As stated by architect Frank Gehry, The Mummers Theater for me rises to the level of something that was a special moment in architectural history.

32 Historical Significance Twenty years before construction of the Mummers Theatre started, a theater group formed in the summer of with their first home being a tent on an empty lot in east Oklahoma City. Founding members of the theater group included Mack Scism33, Mack and Maydelle Jones and Lee Shirk. The community theater was formally named the Mayde Mack Mummers. The first portion of the name was in tribute to the Jones daughter who reportedly died in an automobile accident in The group chose Mummers as reference to wandering medieval troupes of actors. In the theater group moved into the Mirror Room at the Municipal Auditorium where it continued to bring theater in the round to audiences. Six years later, the Mummers Theatre group moved into a former warehouse at West Main Street.

The group remained at this location until when it moved into its new, specially built, Mummers Theatre.34 Although not receiving the tremendous amount of publicity that other Mummers endeavors did, the theatre throughout its history also offered notable service to children. In Scism was director of the Children s Theatre at the Young Women s Christian Association (YWCA). In the YWCA Children s Theatre was incorporated into the Mummers Children s Theatre. The children s theatre remained an important component of the Mummers Theatre through the theatre s demise. By the Mummers Theatre School was open to elementary through high school students with the school offering a disciplined course of study under the guidance of a highly trained and versatile group of instructors.

35 32 John, A Life, back cover. See also Encyclopedia of Modern Architecture, (New York: Harry N. Abrams, Inc., 164 and Ambler, nomination, 11. 33 From until Scism, an engineering graduate from the University of Oklahoma, was a drama and debate teacher at Oklahoma City s Capitol Hill High School. 34 Daily Oklahoman, Mummers Theater Founder Succumbs, 4 November and From Tent Up, Women are There, 17 March See also Roy P. Steward, Born Grown: An Oklahoma City History, (Oklahoma City, Oklahoma: Fidelity Bank, 93. 35 Information About Mack Scism, Press Kit, Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. See also The Mummers Theatre, Past, Present and Future.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 19 In the Ford Foundation awarded a grant for study and travel to Mack Scism. The Ford Foundation was established as a private, nonprofit, philanthropic corporation in by Henry Ford and his son Edsel Ford. Under W. McNeil Lowry s influence, the Ford Foundation became a major supporter of the arts, including both theater and dance. Joining the foundation in as head of its education program, Lowry became the director of its arts and humanities programs in and vice president in The Mummers Theatre, and Mack Scism, caught the eye of Lowry in the late due to the theater s artistic and financial success as a community theater, without any subsidy or volunteer organization.

Following Scism s European tour in and as a member of the executive board of the newly formed Theater Communications Group of the Ford Foundation, Scism announced that a new era of theater would began in the fall of with Mummers patrons treated to more professionally responsible performances, longer runs, and a taste of thoroughly professional grade of theater. As part of this new era, Scism also announced a new category of donor-patrons. This category was for people who paid $25 for season tickets which was $10 more than the standard season ticket for patrons.

The extra $10 contributed by donor-patrons was to go into a building fund.36 In January Nina Vance, founder of the Alley Theater of Houston, Texas, and also a Ford Foundation prot g e, visited Oklahoma City to attend Mummers rehearsals of the play Hamlet which she intended to do at the Alley Theater later in the season. Rather than a personal study and travel grant, Vance had received a Ford grant of matched by Houston patrons, to pay salaries for members of her company. At the time, the Alley Theater, like the Mummers Theatre, was located in an industrial building with the Houston facility formerly occupied by an attic fan manufacturer.

Vance noted that there had been some community agitation for a new building but that she felt priority should go to development of a professional company and then to a new building.37 Taking a different dual approach of attempting to build a building and turn into a professional repertory company, the Mummers Theatre continued their drive to develop a building fund in through the contributions of their donor-patrons. In June a group of Oklahoma City Junior League members volunteered for a two-day phone drive to help the Mummers Theatre raise money as part of the largest subscription campaign in Mummers history. With the kick-off of the final month of the subscription campaign in September Scism stressed the importance to Oklahoma City of a theater which is primarily a civic institution.

38 In support of its second goal to become a repertory theater, five production assistants and two interns were added to the Mummer s staff. Adding backstage staff rather than paid actors, Scism 36 Daily Oklahoman, 4 November See also The New York Times, W. McNeil Lowry is Dead: Patron of the Arts Was 80, 7 June and Daily Oklahoman, A New Era of Theater Ahead: Mummers Are Aiming High, 13 August and State Given Million in 62 Grants, 14 January 37 Ibid, Texan Sees How Mummers Do It, 19 January 38 Ibid, Just Looking Around: Phone Drive to Aid Mummers, 7 June and Curtain Going Up, 2 September MUMMERS THEATRE (Stage Center) HABS OK-68 Page 20 explained, was a trend in regional theater development that the Mummers Theatre was pioneering.

The new staff joined a company that in addition to Scism as managing director, consisted of a children s theater director, a technical director, a business manager, a stage manager and a box office manager, in addition to four part-time staffers. The two new interns, both provided by the Ford Foundation, were to study promotion, publicity, box office, scheduling, budget, purchasing and other technical details of the theater.39 Another step to establish a professional repertory theater in Oklahoma City which was made public in early September was organization of a board of directors for the Mummers Theatre. E.C. Ted Smith was named president, Norman Morse vice president, Hortense Taylor secretary and E. Peter Hoffman treasurer. Other members of the executive board consisted of William B.

Cleary, J. Howard Edmondson, Frank J. Hightower, Donald S. Kennedy, John Kilpatrick Dr. Sylvia O. Richardson, John T. Spradling, Sidney P. Upsher, Cecil Webb, Dr. Eskridge III, Harvey P. Everest, Glen Finefrock, Richard L. Harris, John W. Johnston, Dr. Ernest Lachmann, Mark Meister, Leo Schultz and C. K. Shepherd.40 A little over thirty days later, after months of anticipation, it was announced that the Ford Foundation was awarding a grant of million to the Mummers Theatre for construction of a building and to partially underwrite the artistic, administrative, and technical development of the amateur theater company into a professional equity company. The grant was contingent upon the local community providing a match to be used for construction of the new theater building.

Of the total million award to the Mummers, was allotted to the building fund with the remaining to be used to offset the transformation from a community company to a repertory company. To receive the in operating funds, the building, and therefore the local match, had to be assured.41 In total, the Ford Foundation gave billion to institutions and organizations in Of this amount, almost million was granted to Oklahoma institutions.

The Mummers million was the largest single grant awarded in Oklahoma from the Ford Foundation in The remaining monies ranged in amounts from less than to million with the recipients being various entities associated with Oklahoma State University, the University of Oklahoma and Oklahoma City University.42 Nationally, of the total billion provided by the Ford Foundation in million was awarded to nine theaters in what was described as the biggest philanthropic boost ever given the American theater as a whole.

Among the nine grants awarded to theaters, the Mummers Theatre 39 Ibid, 2 September 40 Ibid, 2 September 41 Ibid, Mummers Get Million Grant From Ford Foundation, 10 October (1) and Dress Trend to Follow Cultural?, 11 October 42 Ibid, 14 January MUMMERS THEATRE (Stage Center) HABS OK-68 Page 21 received the second highest amount and was the only non-professional theater included in the group. The only theater to receive more money was the Alley Theater in Houston with a grant of million. Similar to the Mummers grant, $1 million of the Alley grant was allocated towards construction of a new building with a required community match. Only the Alley and Mummers theaters received funds for construction of new buildings and these were the only groups to receive more than a million dollars.

The other theaters receiving Ford grants in consisted of the Actors Studio in New York, which received the Actor s Workshop in San Francisco, the American Shakespeare Festival Theater and Academy in Stratford, Connecticut, the Arena Stage in Washington the Fred Miller Theater in Milwaukee, the Theater Group University of Los Angeles, and, the Tyrone Guthrie Theater in Minneapolis, Mack Scism was personally credited for the Ford Foundation s decision to award the grant to the Mummers Theatre. To quote the Ford Foundation s Lowry, It is Mack Scism s abilities as a producer that (gave) the Ford Foundation confidence in investing more than a million dollars in moving a community theater to the professional level of Actors Equity.

The monetary grant was the fourth investment the foundation had made in the Oklahoma City group. The others being Scism s personal travel and study grant in the inclusion of the group in the Theater Communications Group and the placement of two Ford Foundation interns with the Mummers Theatre.44 The newly appointed Mummers Theatre board had responsibility for raising the community match. Speaking for the board, E.C. Smith stated that the board in making the application for the grant was prepared to raise the needed funds, as well as acquire a building site, complete the designs for the new theater and let the construction bids.

Smith estimated that all of these tasks would be accomplished by August Showing considerable optimism, the new building was forecast to be available for use by the beginning of the season.45 With the major fund drive scheduled for the spring the Mummers Theatre nonetheless immediately used the new grant as an incentive to encourage Oklahoma City residents to purchase season tickets for the season. Scism also quickly started work on development of the new building with a vision that the new theater would have no architectural barriers such as a proscenium between play and audience and works would be produced on a stage which would be timeless.

Admitting that no other theater in existence at the time used this approach, Scism felt that it was critical to the success in transitioning the Mummers into a professional theater. As early as January when the Ford Foundation initially revealed the grant program, Scism also envisioned a building with two stages. By January Scism was firm in his conviction that the new building should include a small 200-seat auditorium-in-the- 43 Ibid, 10 October and Date Set For Drive: Mummers Seek to Match Grant, 3 March 44 Ibid. 45 Ibid. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 22 round and a larger 600-seat theater.

This would allow experimental endeavors to be held in the smaller room so, in the event of failure, the financial consequences would be less than if undertaken in the larger house.46 Scism reportedly spent the month of December in New York City during which he met with about twenty-five leading theater scene and stage designers. While not all the designers visited were responsive to Scism s vision, he noted that a number of the exciting new designers were enthusiastic about the project. As explained to the public, the design consultant for the auditorium and theater was one of the first steps needed in order to move the building project along. The consultant was to mediate between Scism and the yet-to-be-named architect to ensure that the theater achieved its dramatic mission.

By mid-January Scism was ready to return to New York to select the design consultant. For unknown reasons, the name of the design consultant selected by Scism was apparently not publically announced. David Hays, a New York stage and interior designer, received the commission apparently at or around the spring of On the local level, the fundraising plans were in motion and a site committee had been appointed with the goal of a downtown location.47 The campaign to raise the community match got officially underway on Monday, March 18, and was expected to take one week.

Although the building and its required match were obviously key elements of the drive, emphasis was placed on the fact that the Ford grant would allow Oklahoma City to have the only community theater in the nation to ever be transformed into a fully professional theater organization in one step. Even before the official kickoff event for the drive, a luncheon in the Persian Room of the Skirvin Tower, an anonymous donor described as an Oklahoma City civic and business leader donated to the campaign. As a way to attract smaller but nonetheless important donations was a seat endowment program. For which could be provided over a five year period, a subscriber could endow a seat in the smaller 250-seat arena.

Seats in the 600-seat theater could be endowed at a cost of also payable over a five year period. Other fundraising efforts included a fashion show held by the Alpha Gamma Delta Alumnae Club, the first fashion show ever held at the Mummers West Main location, which garnered for the fund.48 By Friday, March 23, just over of the needed monies had been secured. Over the weekend, a telethon conducted by business and civic leaders brought in primarily through seat endowments. With a total raised of the drive was extended for one more week. The drive ended on March 29, with a reported total of Although falling short of the campaign chairman Jack Durland was confident that the remaining monies would be raised.

Durland also emphasized that the drive was an overwhelming success in light 46 Ibid, 10 October and New Mummers Theater Might Be Envy of Directors, 12 January 47 Ibid, 12 January 48 Ibid, 3 March Mummers Get Gift of 10 March A Dream Coming True!, 17 March Hospitality Club Chalks Up Firsts, 24 March MUMMERS THEATRE (Stage Center) HABS OK-68 Page 23 of the fact there were many who thought no more than could be raised. In all, persons donated to the campaign, principally in small amounts.49 Following the drive, activity on the project slowed to a near standstill. The likely reason for this was a lack of both an architect and a building site.

In late March it was announced that the architect would be named no later than April 1, This evidently occurred during this period as in late May the local newspaper made note of the praise given to Johansen s U.S. embassy in Dublin, Ireland, by TIME magazine. At that time, the consulting architects for the Mummers Theatre was identified as the Oklahoma City firm of Sorey, Hill and Sorey.50 It is unknown when the architectural firm of Seminoff-Bowman-Bode, also of Oklahoma City, took over as supervising architects for the project. A full year after the Mummers fund drive, a local car dealer, Buck Morris, donated land at the northeast corner of Northwest 3rd and Shartel Avenue, near downtown Oklahoma City, to the theater group.

As Durland noted, the appraised value of the donated land would ensure that the local match was adequate as in any campaign there is a normal attrition. Although some consideration was apparently given to making the donated land the site of the new theater, the continued delay in site selection was attributed to the downtown redevelopment study then underway by New York-based I. M. Pei and Associates for the Urban Action Foundation of Oklahoma City, Incorporated. The Urban Action Foundation had informally requested that the site selection for the theater be delayed until completion of the plan.51 Formed in October the Urban Action Foundation was a group of Oklahoma City businessman who were concerned about the lack of an orderly development program for their community.

With downtown redevelopment as its particular concern, the foundation provided critical monetary support to the Oklahoma City Urban Renewal Authority (OCURA) during the OCURA was formed by the Oklahoma City city council on November 2, using enabling legislation passed by the state legislature in While OCURA s first project was the University Medical project, it submitted an application for federal funds to develop a General Neighborhood Renewal Plan for all of downtown Oklahoma City in October Faced with up to a year delay using federal funds, the Urban Action Foundation urged immediate action on the downtown planning and guaranteed payment for all costs incurred.52 Thus endowed, OCURA engaged the world-renowned architectural and urban planning firm of I.M.

Pei and Associates to develop one of the most far-reaching and innovative plans for redevelopment of the city s center core. Started in early the Pei Plan was publically 49 Ibid, Theater Drive Report Due, 25 March Mummers Drive Extended, 26 March Money Drive for Mummers Comes to End, 30 March and, Land Donated to Mummers By Car Dealer: Value Put on Property Near Downtown, 21 March 50 Ibid, 21 March and 28 May 51 Ibid, Theater Plans Due Exhibition, 24 February (6) and 21 March 52 Steward, Born Grown, MUMMERS THEATRE (Stage Center) HABS OK-68 Page 24 revealed in December and formally adopted by the city council on September 7, Drawing nationwide attention, the plan received a Citation of Excellence in Community Architecture from the American Institute of Architects.

Pei himself identified that the plan for downtown Oklahoma City was likely the first such endeavor to call for clearing almost all of the central core while providing for complete redevelopment with facilities carefully designed functionally, spatially and esthetically to support and enhance each other. Pei s redevelopment plan was based on five interlocking elements: a business, financial and office district; convention facilities; a garden-type, cultural and recreational center; a retail shopping core; and a major residential area.

With the downtown redevelopment to occur in a three-part process, the target date for completion of the plan was to coincide with the city s centennial.53 Although displaced in the by a capital improvement plan aptly called Metropolitan Area Projects or MAPS, Pei s plan left an indelible mark on downtown Oklahoma City. Pei s plan, of course, was not without controversy. The first major objection to the plan came in late June at a Mummers Theatre board meeting. Coincidentally, it was also at this meeting that Durland announced receipt of the check from the Ford Foundation for the new building. In the early renditions of the Pei Plan, the theater was proposed to be located on the southwest corner of the intersection of North Hudson Avenue and West Main Street.

The Mummers board had two main objections to this site: there was not sufficient space for parking and the dimensions of the site were only 200 feet by 225 feet when it was known that the theater needed at least a 200 feet by 300 feet site, excluding parking. Although not of primary importance, there were also concerns that the site at Hudson and Main contained a number of substantial buildings, including the eleven-story Black Hotel and the eight-story Harbour- Longmire store, two of the few downtown buildings that actually survived urban renewal.54 By late September the Pei Plan had been altered to locate the Mummers Theatre on the southeast corner of the intersection of South Walker and West Sheridan avenues.

While this site had been officially accepted by the Mummers board, concerns about the parking situation remained and the Ford Foundation had not approved the site. While the final site evidently provided a sufficient number of parking spaces, the parking issue had evolved into paid versus free parking. Supporters of the Mummers Theatre were adamant that if patrons had to pay for parking, they would stay away in droves. The group felt that raising the price of tickets was not an acceptable solution to address problem. However, members of the Urban Action Foundation were equally insistent that someone had to pay for parking, someway, just like they do in the suburban centers.

55 In late November it was announced that the Walker and Sheridan site for the theater had met the approval of theater board, the Ford Foundation, OCURA and was consistent with the Pei 53 Ibid. See also Daily Oklahoman, Three Projects Rolling, 8 May 54 Daily Oklahoman, Site of Theater Protested, 26 June 55 Ibid, Major Revisions Ahead for Pei s Downtown Plan?, 27 September MUMMERS THEATRE (Stage Center) HABS OK-68 Page 25 Plan as then developed. As anticipated at that time, construction was expected to be underway by the early summer of and the theater open for business by the fall season of Acquisition of the site was to be done through urban renewal using one of two processes.

The quicker process involved acquiring the actual building site itself only with the parking area to be acquired at a later date. The second method, which would necessitate a one year delay, called for acquiring the entire site at one time.56 With the Pei Plan not adopted by the city council until September the Mummers Theatre was not able to move forward with their plans. In late August it was noted that Johansen, working in collaboration with stage designer Hays, was unable to finalize the building plans until formal acquisition of the site occurred. By May the first part of the three-part downtown redevelopment project, known as Project 1-A, was entering final planning stages.

In addition to land acquisition and clearing for the Mummers Theatre, Project 1-A covered approximately a 140-acre area and included development of the four-block convention center to be constructed two blocks east of the Mummers location.57 Project 1-A received OCURA approval in November and the city council s the following month. In mid-January it was anticipated that final negotiations for the land would be completed by April with construction of the building beginning in the summer and completed by November The anticipated cost of the premium downtown building site for the Mummers Theatre was about The building schedule was dependent on the request for early acquisition which allowed the local agency to move ahead in acquiring the land before actual federal funds had been banked.

This request was approved by the federal Department of Housing and Urban Development (HUD) at the end of March In what turned out to be remarkable anticipation, Oklahoma City Mayor-elect Jim Norick and Mayor George Shirk, along with other city officials and civic leaders, used gilded chisels to chip bricks from one of the buildings slated for demolition at the theater site on Monday, April 10, Possibly related to this forward momentum, and the likely known increased costs from estimates, the Ford Foundation awarded a new grant of to the Mummers Theatre in mid-March This grant, or gift as it was also called, required no community match and moved the total available funds to However, of the original grant was still allocated for administrative costs in transitioning the Mummers Theatre from the amateur to professional category.

Thus, available funds for the new building sat at just below $2 million.59 56 Ibid, Block-Square Theater Slated by Mummers: New Downtown Location Meets Need for Parking, 22 November 57 Ibid, Houston Sets Stage Standards, 22 August and 8 May 58 Ibid, 15 January Land Acquisition Nod Boosts Downtown Renewal Project, 31 March captioned photograph, 11 April 59 Ibid, Grant Given to Mummers by Foundation, 17 March and Norick Demands Forward Action, 26 March MUMMERS THEATRE (Stage Center) HABS OK-68 Page 26 In mid-May David Hays brought to Oklahoma City what he and Mack Scism hope are the last set of preliminary designs for the new building s two stages. The two men were also in accord that the two stages would consist of one thrust stage and one arena, also known as-in- the-round type, stage.

The Oklahoma meeting was in advance of a major meeting on the theater in New York with Johansen. The building project overall still awaited the site acquisition with the soil samples yet to be taken due to the existing buildings on the site. The project was administratively stalled, pending approval by the Fort Worth HUD office of the second appraisal which established the fair market value of the fourteen parcels involved.60 OCURA approved acquisition of the theater site in June however, actual purchases and securing of options could not start until local money was available. Shortly after this at the end of June OCURA accepted the Urban Action Foundation s offer to underwrite the estimated cost of acquiring the land. Notably, this did not include any costs for clearing the site.

The contract between OCURA and the Urban Action Foundation to finance the land acquisition for the Mummers site was signed by August 1, Although the final buildings plans were anticipated during the fall these did not materialize. In early December Scism expounded that The building is being designed to embrace the public life of the city. Scism was confident that the new building was going to be of high artistic merit that would draw national and even international attention.

A preliminary design for the theater was made public in mid-December However, the published concept was apparently taken from an artist s rendering based on the Pei Plan as the box-like form was inconsistent with Scism s declaration that the theater would not be some mysterious box you can t use without buying a ticket to get inside. 62 With bids for demolition of the eighteen buildings on the Mummers site received in mid- February it appeared the project would finally be set into physical motion. The Parker Wrecking Company submitted the low bid of to clear the Mummers site, as well as demolish one building standing on the site of another building proposed for construction as part of Project 1-A.

At the same time that OCURA awarded the project to Parker Wrecking, it also authorized condemnation proceedings to acquire portions of the Mummers site. OCURA executive director, James B.

White, noted that it was still a possibility that the Mummers site could be acquired without resorting to court action.63 60 Ibid, Final Plans Near for City Theater, 18 May 61 Ibid, Board Agrees on Mummers Theater Block: Money Must be Available First, Authority Says, 21 June Mummers Site Offer Accepted, 28 June and, City to Study Renewal Buy, 1 August 62 Ibid, Abney fills Mummers Position: Full Work Range Awaits Veteran Theatre Helper, 1 September Rehearsals for Tomorrow, 10 December and, Renewal Construction May Start During 68, 21 December and 63 Ibid, Renewal Bids Due Opening, 14 February Renewal Accepts Wrecker s Price, 16 February and, Court Action on Mummers Site Planned: Renewal Agency Oks Condemnation to Acquire Land, 21 February MUMMERS THEATRE (Stage Center) HABS OK-68 Page 27 At this time and evidently in response to nationwide criticism concerning the Mummers Theatre and the Ford Foundation, the Ford Foundation s Lowry discussed the foundation s position concerning the Mummers Theatre.

As described by Lowry, the Mummers was a special case and the only grant recipient for a community theater that wanted to go all the way professional. Noting that the long delay resulted in a significant loss of momentum, Lowry indicated he remained engaged with the project. While some bitter critics on the national scene had lambasted both the foundation and the Mummers Theatre, Lowry was confident that the project would succeed. However, Lowry clarified that the theater would not be able to obtain the desired level without some kind of annual support. Lowry noted that total responsibility for success could not be placed on Scism or the Mummers board.

The idea that the arts as a legitimate subsidized venture for society was necessary because the new theater was not just a monument to Scism, the city or quite lastly the Ford Foundation, Lowry was firm that the arts must be constantly and consistently supported by citizens and municipalities.64 During the second week of March it was announced that the architectural model of the new theater would be publically unveiled at the end of the month. The first showing, a luncheon to be attended by building fund donors and subscribers, as well as Johansen, Hays and Lowry s assistant, Marcia Thompson, was set for March 29, An open house for the public to view the model was scheduled for March 31, Shortly after this, OCURA signed a million contract to release federal funds for Project 1- A.

Finally receiving federal monies would allow OCURA to pay back the money provided by the Urban Action Foundation and continue work. Significantly, it was also announced at this time that the OCURA board had set the minimum cleared land price for the Mummers site at White noted that the board had no choice with the higher than anticipated fee. The fee was determined by the appraisals which established the fair market value.

White indicated that the Mummers group had been informed of the increased cost and that it was anticipated that the Mummers Theatre would likely put on a campaign to pay the almost additional expense.66 Probably in response to the increased cost of the building site, the Ford Foundation released the from the original grant that had been earmarked for administrative and artistic costs. This portion of the grant was intended to be allocated in installments of per year once the new building was completed.

However, the foundation made the full sum available in 64 Ibid, Mummers Plan Seen as Gamble, 25 February 65 Ibid, New Mummers Theatre Model Display Set, 9 March 66 Ibid, Cash Released for Downtown Renewal Work: Authority Gets Green Light to Go Ahead, 20 March MUMMERS THEATRE (Stage Center) HABS OK-68 Page 28 late March with the understanding that the Mummers board would replace the money once the building was in operation.67 The announcement that the money was to be immediately available was made at the March 29, luncheon at which the architectural model of the new theater was first displayed. The following day, a symbolic civic ceremony marked the start of demolition to clear the Mummers building site.

An old service station was the first building to be demolished on the site with numerous dignitaries, including Oklahoma Senator Mike Monroney, present for the event that marked the tangible beginning of Project 1-A, reportedly the largest single urban renewal project in the country at the time. Coincidently, this ceremony occurred almost one year exactly after city officials took gilded chisels to buildings in the area. However, by June only one building on the site had been demolished.68 In mid-July the new theater was exempted from city building regulations concerning the roof construction and guard rails. The proposed sprinkler system for the majority of the roof was determined to meet the city s two-hour rating requirement.

While city regulations typically required forty-eight inch guard rails, Charles Ahlstrom, project architect for Johansen, assured the Oklahoma City board of appeal that the lower but solid railings would meet safety requirements. Alstrom also noted that the theater featured additional safety measures, including sprinklers in the storage areas, an early warning smoke and fire detection system, and more emergency exits than required by code.69 Finally, in October demolition activities at the Mummers site kicked into high gear. Evidently, there was some resistance to the relocation effort with the buildings remaining occupied, although the newspaper also attributed the lack of progress to waiting on the Mummers to make arrangements to begin construction.

With the majority of buildings remaining on the site in October it was anticipated that the site would be cleared within a month; however, in mid-November the last business on the site, the Battle Uniform Company at 420 West Sheridan Avenue, was still working on moving out its equipment.

With the uniform company successfully relocated, demolition of the last half of the site continued into January with the last building on the site, a hamburger stand, removed the day before construction work on the Mummers Theatre finally got underway.70 67 Ibid, Ford Foundation Raises Curtain Early on Mummers Grant, 30 March 68 Ibid, 30 March Project 1-A s Start All Set, 28 March There s No Excuse Now: Mummers Construction Opens Downtown, 31 March Mummers Site Clearing Starts, Construction Next, 1 April and, Theatre Site Being Cleared, 1 October 69 Ibid, Theater Building Problems Cleared, 18 July 70 Ibid, Renewal Purchases Total $5 Million Since March, 2 August Urban Renewal s Progress in One Word: Big News, 4 August Bids to Signal Land Clearing, 5 September 1 October Million in Buildings Rising on City s Skyline, 10 October Mummers New Home, 15 November Mummers Site Final Clearing Starts Monday, 24 November Firms Eye Downtown Demolition, 12 December and Work Gets Kickoff at Mummers Site, 7 January MUMMERS THEATRE (Stage Center) HABS OK-68 Page 29 In mid-October amid discussion of the Mummers Theatre effort to raise money for rebuilding of the youth center building for the city s National Association for the Advancement of Colored People (NAACP) which had been destroyed by a fire suspected to be arson, Scism elaborated on his hopes for a late opening of the new Mummers Theatre building, barring any new delays.

Critically, Scism noted that the subscription base for the theater would have to expand to support a more sophisticated program. With current subscribers, Scism predicated that number would have to triple in order to function comfortably (and) to encompass the artistry. Staff needs alone were expected to double once the new building was in operation.71 Bids for construction of what will be one of the most original theater buildings in the entire United States, in terms of design were originally due at the end of November The bid deadline was then extended into early December to allow the contractors more time to consider the unique particulars of the project. With eight firms bidding on the project, the Mummers finance committee quickly selected three bids to study further.

The selected three low bid firms were the Dunning Construction Company, the Harmon Construction Company and the Lippert Brothers Construction Company, all of Oklahoma City. On December 9, the Mummers Theatre and OCURA executed a formal agreement for the sale of the site to the theater. The agreement stipulated that the deed for the land be turned over to the Mummers by January 5, and that the construction of the theater begin within 180 days.

The final sale price of the site was The contract for construction of the Mummers Theatre was finalized at the end of December The Harmon Construction Company was the successful low bidder with a bid of In anticipation of unexpected costs, the Mummers Theatre also simultaneously launched a fund drive that was expected to last one month.73 With Mummers and city officials on-site, construction for the Mummers Theatre commenced on January 7, Stanley Draper, executive vice president of the Chamber of Commerce from the late through the and lead for the new Mummers fund drive, was quoted as saying Although many great new developments are coming in the next few months, it s significant that the first building to actually get under way (sic) is cultural in nature.

However, a discordant note was the revelation that the land had not been formally deeded to the theater. Apparently, the theater was unable to execute the sale until the fund drive was successfully completed. The newspaper reported that excavation at the site was permitted by 71 Ibid, Scene is Black: Enter Controversy, 17 October 72 Ibid, 15 November 24 November Bids on Mummers Narrowed to Three, 7 December and, Mummers Land Sale Approved, 10 December 73 Ibid, City Firm Submits Low Mummers Bid, 12 December and Mummers Contract, 31 December MUMMERS THEATRE (Stage Center) HABS OK-68 Page 30 OCURA through special arrangement.

According to the legal documents, while the special warranty deed from OCURA to the Mummers Theatre, Incorporated, was signed on January 5, it was not filed at the Oklahoma County Courthouse until August 27, Construction work at the site hit a new snag by early February At a cost of OCURA awarded a contract to the Harry K. Myers Construction Company for relocation of a sanitary sewer line that extended through the site. In April the building plans were modified to address parking concerns. Earlier versions of the plans called for more than one hundred spaces and a large circular drive around the building which city planners referred to as a race track.

Preliminary plans provided by Johansen in early April reduced the parking to thirty-two spaces, removed the circular drive and included a wealth of trees and greens areas. With the building facing north on Sheridan Avenue, the new plans provided a small drive in front of the main entrance. The entry drive no longer connected to the parking area located on the south side of the site, thus eliminating the race track concerns. The parking area had two separate entrances, one each on Walker and Hudson avenues, and included landscaping surrounding it. The new plans required review and approval of the city planning commission, as well as OCURA and the city council.

In late April the city planning commission approved the new plans with the other parties following.75 By late August it was announced that the work on the Mummers building was on schedule for a June 15, completion with forty percent of the project finished. Shortly before Christmas the Daily Oklahoman published several artistic photographs of the beautiful and unusual building rising out of the ground in the 400 block of Sheridan. Two weeks later, the Iron Workers Union reached an agreement with the Associated General Contractors of America, Incorporated, on a new three-year contract. The Mummers Theatre was just one of the major projects that the iron workers were working on in Oklahoma City at the time.

On the first day of February the Daily Oklahoman again published a photograph showing the progress of the construction effort. In addition to the round concrete walls, the platforms for the rectangular mechanical elements were in progress.76 Less than a month before the last Mummers performance in the warehouse location on May 17, a charter subscription drive was launched to support the inaugural season in the new building. Although almost two months behind its original construction schedule, contractor Al Harmon prepared to present the keys to the new theater to Sidney P.

Upsher, chairman of the Mummers Board of Trustees, and Scism in mid-September In addition to co-designers 74 Ibid, 7 January See also Special Warranty Deed, (Book Pages filed for record 27 August available Oklahoma County Courthouse, Oklahoma City, Oklahoma. 75 Ibid, City Renewal to Seek New Project Bids, 4 February Parking Space Up for Vote, 24 April and Plan Board Favors Swapping City Land, 25 April See also Oklahoma City (Oklahoma) Times, Race Track Eliminated: Mummers Parking Solved, 4 April 76 Ibid, Major Urban Renewal Projects on Schedule, 30 August Bold Building Rises, 14 December Iron Workers Pact Reached, 1 January and, captioned photograph, February 1, MUMMERS THEATRE (Stage Center) HABS OK-68 Page 31 Johansen and Hays, representatives of I.M.

Pei and Associates were expected to attend the key- turnover luncheon at the Oklahoma Hotel Motor Inn on September 11, The luncheon not only represented the completion of the Mummers Theatre but also the first finished project in the downtown Oklahoma City urban renewal effort, hence the Pei presence.77 The building opened to the public with considerable fanfare on October 18, This was followed by the Mummers Gala held on November 4, This was the first in a series of previews in which the building itself was the object of interest. The November 4 event was the only paid gala with the proceeds from the black-tie event going to support the three public galas. Any leftover funds were also earmarked to buy furniture for the theater offices.

The paid gala was deemed a great success, even though the stage in the thrust theatre was incomplete due to missing pieces.78 Other elements lacking in the building included an elevator to move patrons from the ground floor level to the upper seating arena in the thrust theatre. Unlike the stage, the elevator was cut from the plans apparently as a cost savings measure. However, in mid-November S. N. Goldman, an Oklahoma City businessman and philanthropist, as well as one of the Mummers board trustees, volunteered to purchase and finance installation of the elevator. At a total estimated cost of the elevator was not a minor element.

With around-the-clock work underway to install the customized lift, Scism described the action as a generous and considerate gift from a sensitive patron who is concerned with making the Mummers a theater for all people. Just days later, it was announced that the Oklahoma Gas and Electric Company (OG&E) would include the new theater on its new Mitralux sign. A department of WKY radio and television, the Mitralux projected pictures on the south wall of the OG&E building, located at Northwest 3rd Street and North Harvey Avenue. With the Mitralux sign running from to on Friday through Saturday, the plug for the theater was substantial.79 The world theatrical debut of the Mummers Theatre occurred on December 2, with a production of A Man for All Seasons.

Headlined by noted, English, stage and television actor, Edward Mulhare, the performance was described as letter-perfect and the acoustics, lighting and stage work as inspiring.

Notables within the audience included Governor and Dewey Bartlett, Governor-elect and David Hall, as well as two former governors of Oklahoma, Oklahoma City city officials, representatives from the Ford Foundation, and theater 77 Ibid, Subscription Drive of Mummers Due, 19 April and Chamber Sets Theater Tour, 3 September 78 Ibid, 18 October multiple pages; Mummers Gala to be First of Several Slated, 20 October Mummers Gala, 1 November Mummers Gala Goes On, Stage or No Stage, 5 November Gala Leaves Its Tell-Tale Clue, 7 November 79 Ibid, Cityan Makes Gift of Lift to Mummers, 20 November Look Forward, Angel, 14 February and, Mummers to Get Plug, 26 November MUMMERS THEATRE (Stage Center) HABS OK-68 Page 32 representatives from Houston, Texas, and Louisville, Kentucky.

According to the local newspaper, the general consensus of theater-goers was that Oklahoma City had arrived. 80 A few weeks after the theater s grand premiere, it was announced that the theater was to receive in grants. The National Endowment for Arts awarded the theater a grant to help with salaries and production costs in the move to the new building. The Oklahoma Arts and Humanities Council awarded the group with a grant to offset the costs of the three public gala events which as an effort to expand the audience of the theater, also introduced a diverse group of people to the building and dramatic arts.81 With nine productions scheduled under an operating budget of for the new season, the Mummers Theatre was bucking the national theater trend in of drastic cost cuts.

According to Scism, the theater board was determined to make the theater a success and, thus, was prepared to meet a deficit of between and Of note, the number of season subscribers in early January numbered only an increase of just 500 from October Within weeks, this confidence was gone as the theater faced closing due to serious financial pressures brought about by a combination of construction debt and previous and current operating deficits. As presented to the Oklahoma City Chamber of Commerce in late January total funds available for the building amounted to This was nearly a million dollars more than the original projected cost of the building.

However, the actual cost of the building totaled Thus, the difference between the funds available and the actual cost was a deficit of In addition to this, the theater had been operating at a loss since the conversion to an equity theater in This loss amounted to as much as a year. The problem was compounded by the continued effort to raise funds for the building at the expense of putting money towards the operating costs. At the time the theater building opened in December the accumulated building and operating deficit was about By early February it was anticipated that the total accumulated debt of the theater could exceed by June.

The weekly operating cost of the theater alone was placed at to As noted in an article in the Oklahoma City Times, the Mummers financial problems burst suddenly upon a largely unsuspecting Oklahoma City. Many in the community were shocked that there was a good possibility the theater may close down. While The controversial building design has led to many jokes at the Mummers Theatre s expense, those who attended performances in the new building praised the architecture for its functionalism.

The 80 Ibid, Theater Premiere Triumph and Mummers Make Memories: Premiere, Party Open Theater 3 December 81 Ibid, Two Agencies Contribute: Mummers Given in Pair of Grants, 23 December 82 Ibid, January 10, 83 Ibid, Chamber to Help Mummers in Bind, 29 January (1) and February 14, MUMMERS THEATRE (Stage Center) HABS OK-68 Page 33 theatergoers found that there were no bad seats, the lighting was effective and the acoustics excellent. However, the exterior of the building was deemed a disappointment to those who thought an evening at the theatre should be a glamourous experience. Of particular note was the lack of a lighted marquee, inadequate parking and a clear, lighted entrance. The article also pointed out that it was necessary to take a hard look at the finances of theatre operations.

Although it was felt that Oklahoma City could support the Mummers sufficiently to avoid debt, the previous productions at the Mummers were deemed lavish which resulted in consistent losses that were unjustifiable. The article concluded with the finding that most hoped the Mummers would remain viable but a significant problem remained in that it was unlikely any profits the theater would be able to generate would be sufficient to pay off the accumulated debt, even over an extended period of time.84 The effort to stem the red tide that threatened the Mummers Theatre with closure less than three months after the building opened took multiple avenues.

Facing a closing as soon as the end of February the Mummers board appealed to the Oklahoma City Chamber of Commerce, the City of Oklahoma City, the Ford Foundation, the Oklahoma State Legislature and the public. Contributing to the immediacy of the crisis were the liens filed against the theater in early February The contractor, Harmon Construction Company, filed a lien of more than against the theater two days before Carroll Boyington & Son Electric, Incorporated, filed a lien against the theater and its contractor. According to Vera Watson, spokeswoman for Harmon Construction Company, the lien was filed as a result of the wide publicity given on the financial condition of the theatre company.

Watson explained that while the Mummers had paid to the construction company, the news of the financial problem forced them to file the lien in order to protect the remaining debt. Although not made public but according to documents on file at the Oklahoma County Courthouse, the theater obtained a mortgage from the Liberty National Bank and Trust Company of Oklahoma City during this same timeframe. 85 In addition to rallies and ticket sales campaigns that included the Oklahoma Arts and Humanities Council paying half the cost of every $4 ticket sold up to tickets, posters and containers for money were placed at local stores and shopping centers so that interested citizens may donate whatever money they can.

Local businessman also pledged a percentage of their sales and other businessmen canceled outstanding theater debts. On February 16, a bill to appropriate to the beleaguered theater was introduced at the Oklahoma House of Representatives.

Authored by Representatives Mike Sullivan of Poteau and Joe Mountford of Miami, the bill was 84 Oklahoma City Times, Mask of Tragedy, 11 February 85 Daily Oklahoman, Mummers Ask City Trust Aid, 5 February Councilmen Mum: Mummers Aid Stand Eyed, 6 February Mummers Faces Closing Decision, 9 February Committee to Decide: Mummers Left in Air, 10 February The Show Goes on, 10 February and, Liens on File Names Mummers, 11 February See also Oklahoma Journal, Fund Hunt Fails, Mummers at End, 10 February and Mortgage, (Book Page filed for record 12 February available Oklahoma County Courthouse, Oklahoma City, Oklahoma.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 34 not favored by the representatives from Oklahoma County who believed that appropriating money for the Mummers endeavor was inappropriate. 86 At the same time the bill was introduced, Upsher indicated that had been cut from the budget by cutting production expenses and substantially reducing staffing costs. With several productions sold out, Upsher predicted that the theater would continue to operate through the end of the season. Fundraising efforts continued with various auctions and benefits being held.

Indicating that out-of-the-box efforts were par for the course, a trial seminar for lawyers was held in the arena theatre in April Rock concerts were held during the month of June with the events broadcast simultaneously in the thrust and arena theatres.87 The question as to whether or not the Mummers would open in the fall for the season continued to haunt the theater through the remaining spring months. While the general public continued to buy tickets and donate to the various fundraisers and Some fat checks from philanthropists came through, the theater was unable to garner a major donation sufficient to offset the deficit. With the season coming to a close, it was estimated that the operating debt for the entire year amounted to about a significant drop from the earlier estimates.

In an article published in the local newspaper on May 16, Upsher was also careful to deny rumors that the building would be put up for sale. Upsher indicated such a possibility would not be considered. 88 However, two days later, Upsher broadcast an offer from the Oklahoma City Community Foundation (OCCF), headed by John E. Kirkpatrick, which included sale of the building and land. The foundation would then lease the building and land to the Mummers Theatre for continued operation. While the deal as originally envisioned did not come about, in late June the details of a special mortgage were announced.

The OCCF agreed to 86 Ibid, Mummers Fans Talk of Telethon, 11 February Save Mummers Meeting Slated Friday Morning, 12 February Mummers Get Offer, 12 February Groundswell Coming?: Mummers Hopeful, 12 February Feb.

21 Closing?: 8 Days To Go For Mummers, 13 February Save the Mummers Is the 13 February Mummers Fans Still Betting Curtain Won t Fall, 13 February OCU Students Do Their Bit for Theater, 13 February Tickets Bought To Give Away: Mummers Get New Boost, 14 February Mummers Plea Made by Price, 15 February and, House Bill Would Appropriate for Mummers, 16 February 87 Ibid, 16 February Boy Friend Returns to Aid Mummers, 16 February Mummers Shuffles Schedule in Battle to Stay Afloat, 17 February Mail Bringing Support to Mummers: Letters Contain Cash, Advice, Good Wishes, 18 February Hopes for Theater Fund Bill Dashed, 18 February Mummers Good For One Week, 19 February Tips and Tidbits, 21 February Going, Going, Gone at Mummers, 23 February Merchants Cash to Aid Mummers, 25 February Zoo Visit Up for Bids at Mummers, 25 February Theater Fund Drive Gaining, 26 February High Bidder to Taste Actress Gourmet Cooking, 28 February The Great Blintzes Blitze, 7 March Theater Ups and Downs Familiar to Tom, 14 March Lawyers Slate Trial Seminar, 13 April and, Mummers Rock Concerts Begin Run on June 16, 5 June 88 Ibid, Mummers Ending Run: What Next?, 1 May Miracle Market: Big Sale to Benefit Mummers, 2 May and, Debt Paring Top Priority for Theater, 16 May MUMMERS THEATRE (Stage Center) HABS OK-68 Page 35 participate directly in the loan to the extent of The remaining was financed by the Liberty National Bank and Trust of Oklahoma City.

The details of the mortgage were worked out with the mortgage signed on August 5, and filed for record on October 1, The mortgage specifically restricted use of the property to repertory theater and related uses, as well as prohibited structural alterations or additions to the building and removal of any part of the property then on the premises.89 Although the major crisis was averted, at least temporarily, the theater continued efforts to attract different crowds to the building. In addition to the rock concerts which continued through July, the theater hosted a group of University of Oklahoma drama students. The theater was also open for public tours every day at noon.

During the summer of the theater additionally hosted auditions for a Twentieth Century Fox Film producer who was casting for the film When the Legends Die which was also to be partially shot in Oklahoma.90 In early August a five member committee was formed to help select the plays for the Mummers season. This was significant shift from previous years when Scism selected the plays himself. In mid-September, the National Council on the Arts awarded a grant to the theater. Preparations for the upcoming season continued with a subscription drive and galas organized for the fall months.

The theater engaged such theater and television professionals as Imogene Coca and her husband King Donovan, Tony Aylward, George Ede, Gwyllum Evans, Peter Stuart, Vincent Miliana, Garry Phillips, John Wylie, Bari, Dodie Goodman and, of the famed Barrymore family, Ethel Barrymore Colt. Additionally, the theater brought in a variety of professional directors for the season.91 Despite the name stars and a list of comedies designed to appeal to a mass theater audience, it was clear by mid-February that the Mummers Theatre was unable to sell a sufficient amount of tickets to remain in operation.

Budgeted at for the season, actual ticket sales only amounted to about Additionally, the theater was dealing with two mortgages for a combined total of The building overhead, including maintenance for the two theaters, grounds and all, was placed at per month. With estimates showing that 89 Ibid, Group Offers Deal to Give Mummers New Life, May 19, (1) and Show To Go On: Crisis Solved By Mummers, 30 June See also Mortgage, (Book Pages filed for record 1 October available Oklahoma County Courthouse, Oklahoma City, Oklahoma.

90 Ibid, Rock to Roll at Mummers, 13 July Excitement Fills Mummers as OU Students Ready Plays, 22 July Wives Tour Mummers Theatre, 23 July and, Indian Movie Tryouts Slated at Mummers, 24 July 91 Ibid, 5-Man Committee to Start Mummers Play Selection, 12 August Mummers Given Grant: Bank Account Stage Front!, 14 September Telethon Planned in Mummers Drive, 1 October Mummers Signs Imogene Coca for Play, 6 October Mummers Plan Benefit Gala, 21 October Eight Equity Actors Selected for Mummers, 24 October Actress Bari Signed for Mummers, 27 October Mummers Actors to Arrive Soon, 13 November Mummers Role is Challenge , 12 December and, Mummers Women Meet: Miracle Market Date is Set, 19 January MUMMERS THEATRE (Stage Center) HABS OK-68 Page 36 at least was needed to keep the theater operating, the Mummers board of trustees determined that the theater would close on February 27, The board also determined that this time, there will be no auctions, no sale of blintzes, no crafts sold, nothing.

Having been bailed out three times previously, the chairman of the Mummers board declared I don t think community support can pull us out; the figures are too high. During this same time, OCURA filed the certificate of completion of the building, as required in the special warranty deed for the building site.92 Almost immediately, different avenues were explored to maintain the cultural aspect of the former Mummers Theatre group and keep the building in operation. While city officials were cool to (the) idea of taking over the theater, the state legislators considered a bill that would create a state trust to allow the Oklahoma higher education system to operate the facility.

In early March a new board of trustees was organized by reducing the previous Mummers board of trustees from forty members to less than ten. The new board consisted of John E. Kirkpatrick as president and board members Sidney Upsher, Goldman, Carl Rose, Saunders, Morrison Tucker, John Belt, John Parsons and Harvey P. Everest. The immediate goal of the new board was to revitalize theater in Oklahoma City and, if possible, return the Mummers Theatre to active use. However, Kirkpatrick was also quoted as saying that if the board could not make it work, they would tear the thing down and use it for a parking lot. 93 In early April Kirkpatrick revealed an idea for the Oklahoma Theater Center at Mummers Theatre.

On the positive side of the tentative plan was the value of the Mummers site in a prime downtown location, the known audience and a building which had achieved national recognition for functional stage and business areas. On the negative side was the financial failure of the Mummers Theatre, the existing debt placed at the costs of maintaining an empty building and that there were no existing groups able to handle both the debt and the building. To achieve the new plan, the city was needed to maintain the grounds and utilities at the building, as it did for the Oklahoma Art Center and Oklahoma Science and Arts Foundation.

Additionally, close cooperation with other arts groups was also sought, including area universities, Oklahoma City s existing amateur Lyric Theatre, the Dallas Theatre Center, opera and dance groups and other local theater groups.94 92 Ibid, It s Final Curtain for Mummers on Feb.

27, 12 February See also Oklahoma Journal, Support Lacking: Theatre Dies of Starvation, 12 February Oklahoma City Times, The Times Looks At , 26 February and, Certificate of Completion, (Book Pages Oklahoma County Courthouse, Oklahoma City, Oklahoma, filed for record 17 February 93 Ibid, City Officials Cool to Idea of Taking Over Theater, 13 February Phoenix Replaces Theater Classes at Mummers, 19 February Mummers Successor?: New Theater Planned, 19 February New Board Will Attempt to Fill Mummers Void, 5 March It Slips In: Senate Given Mummers Bill, 22 March Senate Gives OK to Mummers Bill, 29 March 94 Ibid, Mummers Plan Revealed, 9 April MUMMERS THEATRE (Stage Center) HABS OK-68 Page 37 By late May the plan was in motion with the Oklahoma Theater Center (OTC), located at the site of the former Mummers Theatre, to offer professional, community and educational theater activity.

Because the new group was not assuming the Mummers Theatre debt, the OTC would rent the building and financially survive on its ticket sales. It was anticipated that the facility will become a focal point for theater festivals, touring college productions, community theater and stage education. 95 Almost two years after the Mummers Theatre opened to the public, the OTC launched its first season on October 11, Reviews of the opening indicated it was a hilarious success. The season ended on April 21, with the OTC in the black. With utilities alone costing more than a month, the smaller arena theatre was not used that first season. However, plans for the included use of the arena theatre for ethnic, experimental and smaller type plays.

Still renting the Mummers building, the new OTC staff were enthusiastic about the facilities, noting that it was a fantastic complex that allowed for the production of any kind of dramatic performance.96 In mid-1973, work began on a public trust agreement that would pay off the mortgage and allow the OTC to lease the building for per year for twenty-five years.

To facilitate this, the OCCF s of the original mortgage was assigned to the Liberty National Bank and Trust Company of Oklahoma City in late January The following month, a revenue bond indenture for was executed that would become effective on December 1, The main purposes of the Oklahoma City Performing Arts Industrial and Cultural Development Trust were to promote and develop industry and culture and performing arts cultural and educational activities within Oklahoma City and to provide cultural facilities and additional employment which will benefit and strengthen the economy of Oklahoma City.97 On February 12, the Mummers Theatre, Incorporated, signed a warranty deed turning the property over to the trustees of the Oklahoma City Performing Arts Industrial and Cultural Development Trust.

On the same day, the trust executed a twenty-five year lease agreement with the Oklahoma Theater Center, Incorporated, that began the same day the revenue bond became effective and extended to December 1, Additionally, Liberty National Bank and Trust signed a subordination agreement which subordinated of the Mummers August 5, 95 Ibid, New Theater Group Ready to Organize, 26 May Fun Theater in Mummers Building Seen, 28 May 96 Ibid, New Theater s Opening Play in Rehearsal, 16 September New Theater Center to Open, 10 October Theater Center Opener Hilarious Success, 12 October Season of Hit Shows is Arranged by Center, 1 April Volunteers Pull Off a Resurrection, 22 April It s Fantastic Complex: Theater Center Staggers New Official, 9 July 97 Ibid, To Trust Plan, 12 October See also Assignment of Mortgagee s Interest in Mortgage (Book Pages Oklahoma County Courthouse, Oklahoma City, Oklahoma, filed for record 29 January and Revenue Bond Indenture (Book Pages filed for record 17 February available Oklahoma County Courthouse, Oklahoma City, Oklahoma.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 38 mortgage to the trust, thus reducing the principal owed on the mortgage to A few weeks later and with no explanation, the initial February 11, Mummers mortgage was released.98 Thus, the Mummers Theatre legally ceased to exist. However, despite several good years, by the mid-1980s, the OTC was also in financial trouble. Accordingly, in June the OTC assigned its lease to the Oklahoma Center for Science and Arts, Incorporated, the non-profit that also operated the Kirkpatrick Center. At the same time, the Liberty National Bank and Trust released the mortgage on the building and the trust executed a trustees deed to turn the land, building and all fixtures and appurtenances to the Oklahoma Center for Science and Arts.

In return, the Oklahoma Center for Science and Arts paid to retire the old revenue bond and an additional to settle other debts. In a ceremony in September the facility at 400 West Sheridan was renamed Stage Center and a new community theater was organized under the name The Mummers. Probably related to the effort to improve the condition of the neighborhood near the building which was described as containing some seedy, ramshackle buildings and the street people who trod Skid Row, an ordinance was passed in October which closed West California Avenue on the south side of the property.99 Funding problems again caused the closure of theater center in August The following year, the Oklahoma Center for Science and Arts leased the building to the Arts Council of Oklahoma City.

However, the deal presented to the public indicated that the Arts Council purchased the building but the Oklahoma Center for Science and Arts retained ownership of the land. The new plan to rescue one of the core city s most celebrated buildings from inefficiency and neglect, called for a major renovation originally estimated to cost half a million dollars. The Arts Council lacked available money to fund the renovation but were confident that it could be raised despite the challenging economics of the time. As explained by Jim Tolbert, the Arts Council board chairman, the project was terribly important for three reasons.

These reasons included the unique venues that the building offered in its two theaters, the great architectural significance 98 Warranty Deed (Book Pages filed for record 17 February available Oklahoma County Courthouse, Oklahoma City, Oklahoma. See also Lease Agreement (Book Pages filed for record 17 February available Oklahoma County Courthouse, Oklahoma City, Oklahoma; Subordination Agreement (Book Pages filed for record 17 February available Oklahoma County Courthouse, Oklahoma City, Oklahoma; Release of Mortgage (Book Page filed for record 10 March available Oklahoma County Courthouse, Oklahoma City, Oklahoma. 99 Assignment of Lease (Book Pages filed for record 5 June available Oklahoma County Courthouse, Oklahoma.

See also Release of Mortgage (Book Page filed for record 5 June available Oklahoma County Courthouse, Oklahoma City, Oklahoma; Trustees Deed (Book Pages filed for record 14 June available Oklahoma County Courthouse, Oklahoma City, Oklahoma; Ordinance (Book Pages filed for record 20 March available Oklahoma County Courthouse, Oklahoma City, Oklahoma; Daily Oklahoman, City Theater Tradition Revived, 10 June Theater Center Benefit Sparks Hope for Future, 14 June Fanfare Accompanies Renewed Effort to Boost Stage Center Theater s Visibility, 13 September Mummers Stagings Lively, Entertaining, 2 November Rescuers Focus Spotlight, 4 October MUMMERS THEATRE (Stage Center) HABS OK-68 Page 39 of the building which had gained national and international recognition and, finally, the project played into the effort to establish the cultural district envisioned in the Pei Plan which in turn would broaden Oklahoma City s economic base.100 Taking almost four years to bring to fruition, the renovation of Stage Center began in July By that time, the cost of the project had risen to million with funds coming primarily from the City of Oklahoma City, Oklahoma County, the State of Oklahoma and the federal government.

A variety of other foundations also donated to the project that was to be completed by February Designed by the Oklahoma City architectural firm of Elliott and Associates, the work was implemented by the contracting firm of Yordi, Smith and Pickel. The building reopened slightly behind schedule in March Despite the continued efforts, financial difficulties continued to plague the building. In late the Arts Council signed a mortgage with the City of Oklahoma City. The following year, the Oklahoma Center for Science and Arts, then operating as the Kirkpatrick Center, Incorporated, signed a general warranty deed turning the building over to the Kirkpatrick Center Affiliated Fund of the Oklahoma City Community Foundation, Incorporated.

In the City of Oklahoma City released the Arts Council s mortgage. Two years later in July the Kirkpatrick Center Affiliated Fund of the Oklahoma City Community Foundation signed the building over to private owners. As suggested by architect Hans Butzer in it was ultimately determined that the design, though remarkable for its time, and different, was done in such a way that it is very difficult to be used for any other uses. Al Bode, the last surviving architect of the Seminoff-Bowman-Bode firm was more succinct with his declaration that the building was in severe disrepair and (was) only a sculpture with no practical use.

Bode further noted that although the theater was an architectural award winner, it was never economically sustainable.102 100 Memorandum of Lease (Book Pages filed for record 30 September available Oklahoma County Courthouse, Oklahoma City, Oklahoma. See also Daily Oklahoman, Funding Problems Force Theater to Close, 22 August Kirkpatrick Board Seeks Tenant for Downtown Theater Building, 4 September Theater Center Tenant Sought, 22 October 4 October 101 Daily Oklahoman, Vine Clipping Begins Renovation, 5 July and Improved Stage Center Awaits Theater Fans, Meetings, Receptions, 22 March 102 Ibid, OKC s Downtown Theater Could Close Its Curtains, 3 July Sculpture of No Use, 1 February (7A).

See also Mortgage (Book Pages filed for record 15 October available Oklahoma County Courthouse, Oklahoma City, Oklahoma; General Warranty Deed (Book Pages filed for record 5 July available Oklahoma County Courthouse, Oklahoma City, Oklahoma; Release of Lien and Mortgage (Book Page filed for record 17 May available Oklahoma County Courthouse, Oklahoma City, Oklahoma; and, Special Warranty Deed (Book Pages filed for record 26 July available Oklahoma County Courthouse, Oklahoma City, Oklahoma.. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 40 Conclusion The demolition of the Mummers Theatre in forever ended the debate of what to do with Oklahoma City s tinker toy building. The economic struggle was at an end with the value of the land beneath the building finally winning out.

Nonetheless, the significance of the Mummers Theatre will continue on record. Architecturally, the building is undisputed as one of the most distinctive pieces of Modern architecture in the nation. Architect John Johansen s legacy of slang and place it, support it, connect it will survive in print. While not precisely what he envisioned, Johansen s belief that a building should be like a palimpsest and be open to change is ever more striking as the site is again erased in preparation for development of a new page in the history of downtown Oklahoma City. As stated in The motto is: Don t build for the ages, let the ages build for you.

103 Historically, the building represents not only a unique effort by the Ford Foundation to turn a community theater into a professional theater but also the first completed project in downtown Oklahoma City s groundbreaking urban renewal effort. The combination of these two forces in the was crucial to the successful development of the building but also contributed to the problems that ultimately put the Mummers Theatre out of business. Although many others played instrumental roles in the theater s history, Mack Scism104 merits recognition as the driving force behind the Mummers Theatre. He played a vital role in securing the support of the Ford Foundation and was adamant about the features that would define the building, including its downtown location and multiple theaters.

It was Scism s vision of a professional theater company in an avant garde building that gave rise to the Mummers Theatre. Slightly over a month after the Mummers Theatre closed in Scism explained that he would have done only one thing different. This was to remain at the old theater on West Main until the building shortfall was in the bank. Scism stated he would have built the structure just as it was, despite the criticism that the building was too much. As he expounded, For Oklahoma City, it was a chance of a lifetime, with the building needing to be usable beyond the year 105 The gamble on changing what had been a successful community theater into a professional theater played a significant role the demise of the theater.

In addition to the increased costs of operating a professional theater, the inherent reduced active involvement of local actors and theater buffs in the theater had consequences. As described by Arthur Ballet in with the 103 Hughes, Art: Toward a New Slang. 104 Following the closing of the theater, Scism moved out of Oklahoma and joined the National Theater of the Deaf. Retiring from the National Theater of the Deaf in Scism passed away in 105 Daily Oklahoman, Mummers .In Retrospect, 9 April Scism Directs Benefit Show, 1 November and 4 November MUMMERS THEATRE (Stage Center) HABS OK-68 Page 41 shift to professionalism they (the locals) were relegated to fund-raising, dutiful attendance, and general support functions.

Accordingly, many locals switched their allegiance, and pocket book, to other existing community theaters in the area. That there was a good chance that the shift to professional theater would not be successful was readily recognized, not only by Scism but the Ford Foundation as well, even before construction began on the building. While hind sight is clear that the gamble was too great, the attempt is nonetheless historically noteworthy. Certainly, Oklahoma City heeded the lesson and, even as it tried to maintain the building, never again attempted to house an entirely professional company within its walls.

The goal to develop a professional theater company was inexplicably tied to the pursuit of a building that would not only function at a preeminent professional level but also clearly embody the commitment to serious art. As with any real estate venture, the location of the building was critical. Coincidently, just as plans for the new theater were developing, Oklahoma City was preparing to revitalize its entire downtown. The massive, ambitious plan for Oklahoma City s new central business district was award winning in its own right, as well as created an auspicious location for the award winning Mummers Theatre. However, this site turned out to be costly in terms of both time and money.

The six year delay from when the Ford Foundation grant was announced to the start of construction was largely attributable to the urban renewal effort. First the building was delayed by the development and approval of the plan, which took four years. Then the building was delayed by the effort to gain legal title and clear the site, which took an additional two years and was barely finished when construction started. The higher than anticipated price of the site also turned out to be a critical element in the cost overrun of the building. With the final price over previous cost estimates, the theater had little choice but to pay the increased price as all the plans were based on that location.

There were, of course, a multitude of other factors that played into the demise of the Mummers Theatre. With function so closely tied to form, the building was also constrained by its design. As Scism noted in You can t do one thing with it except build a theater company. Enduring economic ups and downs for almost forty-four years, the building was recognized early on as a striking success as an architectural and theatrical instrument. Although physically gone, the building s undeniable contribution to Oklahoma City s history and architectural evolution merits continued recognition. 106 106 Ibid, 9 April See also Zeigler, Regional Theatre, 41. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 42 Part II. Structural/Design Information A. General Statement: 1.

Architectural Character: The Mummers Theatre was a unique example of a Brutalist style building designed by noted Modern architect John Johansen. The building was composed of geometric shapes with the building systems in exterior containers. Built of unfinished concrete, wood decking, and brightly colored corrugated metal, the building was devoid of ornamentation. The visceral reaction to the austerity inherent in the building design is another element of the Brutalist style present in the Mummers Theatre. Unlike the majority of Brutalist buildings, the theater is broken into multiple components, rather than a massive singular element. 2. Condition of Fabric: The Mummers Theatre was wholly demolished between July and September (see photographs 28 through B. Description of Exterior 1.

Summary Description: The irregular shaped Mummers Theatre was two-stories tall with a full basement. The iconic sculptural form of the building consisted of three, two-story, unfinished concrete, circular elements of different sizes which contained, from smallest to largest, the rehearsal hall, the arena stage theatre and the thrust stage theatre. Variously projecting off the sides of the circular elements were multiple, one-story, rectilinear, concrete elements that contained support areas for the theaters and which were connected by corrugated metal-clad, sharp- edged ambulatories. The primary components were connected together by the basement and a central, one-story, open, wooden plaza. Surrounding the plaza at ground level were several reflecting pools.

Internal access between the components was via a combination of rectangular, corrugated metal and wood, open and enclosed walkways and concrete stairwells. The enclosed walkways were termed people tubes. Providing access to the central plaza and connecting the building to the surrounding site were three, rectangular, corrugated metal and wood bridges. Topping the circular elements were five, metal, rectangular and square, service elements which contained the cooling tower and blower rooms. Connected by black tubes, the service elements were clad with corrugated metal. With the primary building being unfinished concrete, the color of the corrugated metal elements visually defined the purpose while added a striking vibrant color splash to the complex.

Despite Johansen s hope that the color of the metal MUMMERS THEATRE (Stage Center) HABS OK-68 Page 43 elements might periodically change,107 throughout the building s existence, the bridges were a striking turquoise blue, the people tubes were a warm orange, the ambulatories were a mellow yellow and the service elements were a stark silver. As originally designed, the building had multiple access points strategically located around and in the complex. The primary entry, as determined by the location of the box office, was the north entry located on the north side of the rehearsal hall/lobby section of the building.

The addition of a concrete canopy on the central, West Sheridan Avenue, access point as part of the renovation emphasized the primary entry, something the public had long called for. 2. Overall dimensions: The total building area was square feet. The outdoor area covered an additional square feet. The landscaped area around the building encompassed square feet.108 3. Foundation: The building had a reinforced concrete caisson foundation. The different sections of the foundation were between 8 and 10 thick. 4. Walls: The main walls of the Mummers Theatre were comprised of raw reinforced concrete (see photograph The secondary walls were corrugated metal panels in colors of blue, yellow, orange and silver. 5.

Chasis: The basement with the first floor plaza was the chassis into which the components and subcomponents were plugged in. Designed to contain the majority of off-stage activities, the basement under laid the entirety of the building and was exposed on the exterior at various points. The concrete basement elements visible on the exterior consisted of rectangular concrete elements. The elements differed in height and width. The basement elements in the north part of the building typically contained a row of multiple, slanted, fixed, metal windows on at least one exposed side. On the northwest side of the basement, in the thrust stage component of the building, was a loading dock (see photograph 4).

The loading dock was accessed by a concrete drive which curved around the thrust stage component and sloped down. The loading dock originally contained an oversize overhead door and Mummers Theatre, Oklahoma City, Oklahoma, Architectural Record, (April 35. 107 108 The Mummers Theatre Fact Sheet, Press Kit, Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 44 single pedestrian door on the south side. On the wall to the east, there was a single pedestrian door into the building s trash room. As part of the renovation, the loading dock s overhead door was reduced in size and the single door removed. Both openings were infilled with concrete block.

Additionally, a smaller concrete ramp was added to the front of the smaller overhead door which was raised slightly above grade. The metal, slab, exterior door to the trash room remained in place. The plaza, designed also to serve as an out-door performance area, consisted of a wooden deck set at grade level (see photographs 16 through The deck featured orange metal railings. The open-air plaza was just one-story located slightly above ground level towards the center of the building.

The irregular- shaped plaza was surrounded by pools of water which originally contained agitators to stir the water to create rippled light on the concrete walls.109 In addition to multiple glass and metal doors which accessed the lobby and indoor performance areas, the plaza was also accessible from the exterior by the open bridges which were part of the building s circuiting system. 6. Main Components: The main components of the building were the performance areas. These consisted of the thrust stage theatre, the arena stage theatre and the rehearsal hall/lobby (see photograph 1). The two theatre components were two- stories in height, encompassing both the grade and ambulatory levels of the building.

The rehearsal hall, which was intended to be used by the Mummers Children s Theatre, was situated at the ambulatory level with the building s main lobby directly below at grade level. The three main components were the center concrete ovals with various rectilinear subcomponents and circuiting systems attached. The rehearsal hall/lobby was located in the smallest oval, located on the northeast side of the complex. The arena stage theatre, the medium sized oval, was situated to the south of the rehearsal hall/lobby oval on the southeast side of the complex. The thrust stage theatre was the largest oval which dominated the west side of the building. The theatre components themselves had no original exterior openings.

As part of the renovation, a skylight was added to the center of the rehearsal hall roof as part of the shift in function from a performance area to the concession area. The round plastic skylight was similar to the original skylights on the enclosed concrete stairwells which were part of the circuiting system. 109 Blake, The Mummers Theater, Architectural Forum, 31. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 45 7. Subcomponents: As defined by Johansen,110 the subcomponents consisted of the offices, lounges and toilets that were attached to the main components. The concrete subcomponents were distinguished from the main components by their rectilinear design.

Subcomponents attached to the rehearsal hall/lobby included the box office and coat room on the first floor and the two offices, kitchen and restroom facilities on the second floor. The coat room featured a round skylight similar to those in the stairwells. Between the offices on the second floor of the rehearsal hall was an uncovered balcony which was accessed by center, glazed, slab, double doors and single, metal, slab doors to either side. The arena stage theatre featured two lounges on opposite sides and a combination office and restroom facilities on the northeast side of the second floor. Both arena stage theatre lounges had uncovered 5 balconies which were accessed by sliding doors.

The thrust stage theatre also featured two lounges with balconies and a combination office and restroom facilities. However, the lounge located on the northeast side of the thrust stage was larger with a balcony that was half a foot wider than the other balconies. 8. Circuiting Systems: The circuiting systems were intended to conduct people, services and traffic between and through one component to another. The circuiting systems consisted of the stairwells, ambulatories, people tubes and bridges. In contrast to the main components and subcomponents, the majority of the circuiting systems were composed of colored metal. The ambulatories, which encircled the main components on the ambulatory level, were yellow.

The people tubes and ambulatory level walkways, which crisscrossed between the main components around the plaza, were orange. The three exterior bridges, connecting the plaza to sidewalks around the building, were blue. The only non-metal element of the circuiting systems were the concrete enclosed stairwells on the main components. The rehearsal hall/lobby featured one stairwell with the two theatres each featuring two stairwells. The stairwells were lighted by an original circular skylight, except the northwest stairwell on the arena stage theatre. The northwest stairwell only extended between the basement and grade level and was situated underneath a projected lounge subcomponent. Because Johansen intended people to be an architectural element, the circuiting systems were exposed.

This included having the circuiting systems visible from the exterior and the use of open elements in which the people were visible. Open 110 John Johansen, Mummers Theatre News Release, 29 March (page 2), available Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 46 elements included the three exterior bridges and three ambulatory level walkways. The two, open, ambulatory level walkways on the north side of the plaza were denoted as open stairs on the plans. The third, open, ambulatory level walkway on the south side of the plaza was denoted as a bridge on the plans.

As part of the renovation, the two open stairs, which extended from the rehearsal hall to the two theatres, were enclosed, probably to enhance the movement of people between the main components without having to expose them to inclement weather conditions. The ambulatory level bridge, spanning the distance between the thrust and arena stage theatres, remained uncovered to the end (see photograph 9. Service Elements: One of the most striking elements of the building were the square and rectangular metal boxes which seemed to hover above the building (photographs 13 and Coming off each blower room, was silver colored, metal, ductwork and each had a steel ladder.

Located over the approximate center of the complex was Fan Room #1 which rested on two concrete pillars with large metal pipes connecting it to the mechanical room in the basement. Fan Room #1 was connected to the other fan rooms via pipe supply tubes covered with black metal siding jackets. Fan Room #2 was a small square over the rehearsal hall/lobby. The larger, rectangular, Fan Room #3 was over the arena stage theatre. The largest unit was the rectangular Fan Room #4 over the thrust stage theatre. The supply tube between Fan Room #1 and Fan Room #4 also featured a black catwalk along the top of the tube. 10. Roof: The Mummers Theatre had multiple flat roofs at different heights.

The roofs on the two theatres and the rehearsal hall components were membrane (see photograph The main components also featured low roof parapets. The roofs on the service elements and the people tubes were corrugated metal. In addition to the metal service elements, the two theatre roofs also contained concrete elements. On the arena stage theatre roof, there was a small concrete protrusion located to the east of the fan room which originally contained a discharge fan. On the thrust stage theatre, there were two concrete elements, consisting of a stairway and a discharge fan. To the north of the discharge fan box on the thrust stage theatre, there was a flat, rectangular, smoke hatch with an automatic opening. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 47 C. Description of Interior 1.

Floor plans: a. Basement: The basement featured thirteen dressing rooms, green room, workshops, six administrative offices, library, conference rooms, secretarial pool, mail room, storage space, laundry and toilets. The majority of rooms were around the outside edge of the thrust stage theatre. The commodious scene shop was located off the northeast side of the thrust stage theatre with convenient access to the loading area (see photograph A large mechanical room occupied the irregular-shaped space under the first floor plaza. The basement portion of the arena stage theatre contained only a dimmer room on the northeast side and two dressing rooms flanking restroom facilities on the southwest side with the remainder of the space not permanently divided.

The costume shop and costume design rooms were located in the space between the arena stage theatre and the rehearsal hall/lobby. The majority of administrative offices were located below the lobby which also contained the conference room, library and laundry areas. b. Rehearsal Hall/Lobby Component: 1. Entry Vestibule/Box Office: The entry vestibule and box office were located at the primary north entry into the rehearsal hall section of the building (see photograph The vestibule, located within a metal-clad people tube, contained Stair #1. The vestibule, along with the other people tubes, originally featured carpet on the floor, walls and ceiling. The box office originally featured three ticket windows. Continuing the theme of the building, the box office windows were circular.

The box office also contained a narrow, metal, circular stair, Stair #6, in the southeast corner of the room. 2. Lobby: Located at grade level under the rehearsal hall, the lobby was hexagonal in shape with openings off each side. Originally, the lobby was lighted with light fixtures which contained multiple rows of exposed light bulbs. The lobby s largest opening, located on the north side, contained double glazed slab doors with full- MUMMERS THEATRE (Stage Center) HABS OK-68 Page 48 height sidelights which opened onto the entry vestibule for the building. The opening to the west of this contained the inset elevator and enclosed stairs. To the south this was the opening for the people tube to the thrust stage theatre.

The smallest opening, located on the south side of the lobby, contained the double doors to the plaza. To the northeast of the plaza doors was the people tube connecting the lobby to the thrust stage theatre. Off the northeast opening was a commodious room that originally functioned as a coat room but became a supply room during the renovation. The coat room had only a single glazed slab door with full-height windows separating the lobby from the coat room. 3. Rehearsal Hall: The rehearsal hall was an open, one-story, oval shaped room (see photograph Around the outside of the circular room, was the hexagonal shaped ambulatory. Off the north side of the ambulatory was a combination kitchen on the west and restroom facilities with a janitor closet on the east.

One of the enclosed stairs, Stair #4, was located off the northwest side of the ambulatory. Located in matching positions on the south side of the rehearsal hall were two offices. Between the offices was the exterior balcony. c. Arena Stage Theatre Component: The arena stage theatre was an open, two-story, oval shaped room (see photograph Along the ceiling of the arena stage theatre, was a loft area which contained a metal catwalk and metal grating to allow for different lighting configurations. The seats were located around the sides of the room in stepped rows with the center floor area being open. In the north corner of the arena stage theatre, on the ambulatory level, was a control room.

Off the southwest side of the room, at grade level, was an actor s ambulatory and an enclosed stairwell. On the northwest side, there was another enclosed stairwell; however, this one only extended between the basement and grade level. There were no rooms around the arena stage theatre at the grade level. On the ambulatory level, a multi-sided ambulatory encircled the theatre. Additionally, projecting off the ambulatory on the northwest and southwest sides were two lounge areas. Both lounges featured open balconies. Off the northeast MUMMERS THEATRE (Stage Center) HABS OK-68 Page 49 side of the ambulatory was a single office combined with restroom facilities. d.

Thrust Stage Theatre Component: The most commodious room, the two-story thrust stage theatre was almost circular in shape (see photograph The seating in the theatre was designed with a row of seats ringing the wall intersected with trays. This gave the impression that some of the seating floated over the stage area and enhanced the actor/audience interchange. Flanking the rear stage area on the northwest side of the grade level were two enclosed stairwells. The stage area was also encircled on grade level, below the upper level seating, with an actor s ambulatory which ended at both stairwells. Squeezed in between the actor s ambulatory and stairwells on both sides were small toilet rooms.

On the ambulatory level, the theatre was encircled by a sharp-edged ambulatory which featured two lounges and a combination office and restroom facilities. The larger lounge was located on the northeast side of the ambulatory with the office/restroom facilities to the west of this. The second lounge was located off the southeast side of the component. As with the arena stage theatre, the thrust stage theatre contained a loft area in the ceiling which featured a metal grid for lighting. 2. Interior Area: The basement covered square feet. The stage and lobby levels, excluding the stages, encompassed square feet. The ambulatory level including the rehearsal hall measured square feet. The fan rooms added square feet. In all, the building embraced a total of square feet.

Separately, the lighting loft areas in the two theatres covered square feet.111 D. Site: The Mummers Theatre was designed to encompass an entire city block in downtown Oklahoma City. Originally, all four streets around the block were open to traffic. In a city ordinance vacated West California Avenue on the south side of the block to enhance pedestrian use of the area. The vacated street was clad with red pavers to maintain a visual distinction. 111 The Mummers Theatre Fact Sheet, Press Kit, Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 50 As to be expected, the vegetation on the site changed over the decades.

By the early various trees were located around the site and on-the-street parking on the north side of the block was managed with parking meters. By the mid- the vegetation on the block and building were abundant. This include various trees around the building and ivy climbing the exterior walls. The ivy was removed from the building, and presumably the trees thinned on the site, as part of the renovation. The prominent sign located on the northeast corner of the block, reading in block letters Stage Center was added to the site as part of the renovation (see photograph In on the west and south sides of the site, a mature line of trees in the grass continued to obscure the building with a second line of younger trees between the street and the sidewalk being more recent additions.

The north and east side of the site contained only the less mature trees planted in small rectangular beds along the paved edge of the block (see photograph 1). In place of the originally proposed circular drive around the building, a semi- circular drive provided access from Sheridan to the main entry on the north side of the block. The parking areas on the south side of the block were accessed from entries on the east and west sides of the block. The west side entry, on South Walker Avenue, also provided access to the loading dock on the north side of the thrust stage component. A concrete sidewalk was laid out along the perimeter of the block with two sidewalks extending off the Sheridan Avenue drive and one from Bridge A (see photograph 1).

The east Sheridan Avenue drive sidewalk extended from the southeast corner of the concrete drive around the east side of the building to the arena stage component. The west Sheridan Avenue drive sidewalk extended from near the east leg of Bridge A to the double door entry on the west side of the rehearsal hall component. The Bridge A sidewalk cut a diagonal across the grass from the northwest end of Bridge A to the surrounding sidewalk. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 51 Part III. Sources of Information A. Architectural Drawings 1. Mummers Theatre. John M. Johansen Architects Associates. 30 December Available Architecture Library, University of Oklahoma, Norman, Oklahoma. 2. Renovation Project, Stage Center at Festival Plaza. Elliot + Associates Architects.

Available Elliot + Associates, Oklahoma City, Oklahoma. B. Primary Sources 1. Legal Documents112 Assignment of Lease. Book Pages Filed for record 5 June Assignment of Mortgagee s Interest in Mortgage. Book Pages Filed for record 29 January Certificate of Completion. Book Pages Filed for record 17 February General Warranty Deed. Book Pages Filed for record 5 July Lease Agreement. Book Pages Filed for record 17 February Memorandum of Lease. Book Pages Field for record 30 September Mortgage. Book Page Filed for record 12 February Mortgage. Book Pages Filed for record 1 October Mortgage. Book Pages Filed for record 15 October Ordinance. Book Pages Filed for record 20 March Release of Lien and Mortgage. Book Page Filed for record 17 May Release of Mortgage.

Book Pages Filed for record 10 March Release of Mortgage. Book Page 10. Filed for record 5 June Revenue Bond Indenture. Book Pages Filed for record 17 February 112 All legal documents are available at the Oklahoma County Courthouse, Oklahoma City, Oklahoma. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 52 Special Warranty Deed. Book Pages Filed for record 27 August Special Warranty Deed. Book Pages Filed for record 26 July Subordination Agreement. Book Pages Filed for record 17 February Trustees Deed. Book Pages Filed for record 14 June Warranty Deed. Book Pages Filed for record 17 February 2. Magazine Articles Mummers Theatre, Oklahoma City, Oklahoma. Architectural Record (April 35. Oklahoma Theatre Center.

Architects/Architecture: Membership Directory, Oklahoma Chapter, American Institute of Architects Honor Awards: Mummers Theater. AIA Journal (May 34. Blake, Peter. The Mummers Theater, Architectural Forum (May Hughes, Robert. Art: Toward a New Slang. TIME (May 31, accessed online at retrieved 24 June Johansen, John M. The Mummers Theater: A Fragment Not A Building. Architectural Forum (May Simonson, Robert. John Gleason, Broadway Lighting Designer, Is Dead at 62. Playbill. retrieved 21 November 3. Newspaper Articles from the Daily Oklahoman. Oklahoma City, Oklahoma.113 13 August A New Era of Theater Ahead: Mummers Are Aiming High. 19 January Texan Sees How Mummers Do It. 113 The articles in the Daily Oklahoman were obtained using the newspaper s subscription-based online archives.

Accordingly, the page number provided at the end of each article s citation is based on the online archives pagination. For the most part, these page numbers match the original newspaper; however, in some cases these are reflective of multiple runs of the paper. Similarly, some articles have slightly different titles, depending on if the article appeared in the early or late edition. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 53 7 June Just Looking Around: Phone Drive to Aid Mummers. 2 September Curtain Going Up. 10 October Mummers Get Million Grant From Ford Foundation. 11 October Dress Trend to Follow Cultural? 12 January New Mummers Theater Might Be Envy of Directors. 14 January State Given Million in 62 Grants. 3 March Date Set For Drive: Mummers Seek to Match Grant.

10 March Mummers Get Gift of 17 March A Dream Coming True! From Tent Up, Women are There. 24 March Hospitality Club Chalks Up Firsts. 25 March Theater Drive Report Due. 26 March Mummers Drive Extended. 30 March Money Drive for Mummers Comes to End. 24 February Theater Plans Due Exhibition. 21 March Land Donated to Mummers By Car Dealer: Value Put on Property Near Downtown. 28 May Praise Given to Architect. 26 June Site of Theater Protested. 27 September Major Revisions Ahead for Pei s Downtown Plan? 22 November Block-Square Theater Slated by Mummers: New Downtown Location Meets Need for Parking. 14 March For Roberts: Many Projects. 22 August Houston Sets Stage Standards. 8 May Three Projects Rolling. 6 November Regional Theater Is Coming of Age.

11 December The Sound of Music: New Building at OCU. 15 January Land Ho! Mummers Fog Lifts. 17 March Grant Given to Mummers By Foundation. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 54 26 March Norick Demands Forward Action. 31 March Land Acquisition Nod Boosts Downtown Renewal Project. 11 April Captioned Photograph. 18 May Final Plans Near for City Theater. 21 June Board Agrees on Mummers Theater Block: Money Must Be Available First, Authority Says. 28 June Mummers Site Offer Accepted. 1 August City to Study Renewal Buy. 1 September Abney fills Mummers Position: Full Work Range Awaits Veteran Theatre Helper. 10 December Rehearsals for Tomorrow. 21 December Renewal Construction May Start During 68. and 28 January Theater Audience Favorite Returns to City Stage in Barefoot in the Park.

14 February Renewal Bids Due Opening. 16 February Renewal Accepts Wrecker s Price. 21 February Court Action on Mummers Site Planned: Renewal Agency Oks Condemnation to Acquire Land. 25 February Mummers Plan Seen as Gamble. 9 March New Mummers Theatre Model Display Set. 20 March Cash Released for Downtown Renewal Work: Authority Gets Green Light to Go Ahead. 28 March Project 1-A s Start All Set. 29 March New Mummers Design Shown. 30 March Ford Foundation Raises Curtain Early on Mummers Grant. 31 March There s No Excuse Now: Mummers Construction Opens Downtown. 1 April Mummers Site Clearing Starts, Construction Next. 18 July Theater Building Problems Cleared. 2 August Renewal Purchases Total $5 Million Since March.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 55 4 August Urban Renewal s Progress in One Word: Big News. 5 September Bids to Signal Land Clearing. 1 October Theatre Site Being Cleared. 10 October Million in Buildings Rising on City s Skyline. 25 October City Project Takes Prize: Garden Nation s Best. 17 October Scene is Black: Enter Controversy. 15 November Mummers New Home. 24 November Mummers Site Final Clearing Starts Monday. 7 December Bids on Mummers Narrowed to Three. 10 December Mummers Land Sale Approved. 12 December Firms Eye Downtown Demolition. City Firm Submits Low Mummers Bid. 31 December Mummers Contract. 7 January Work Gets Kickoff at Mummers Site. 4 February City Renewal to Seek New Projects Bid. 24 April Parking Space Up for Vote.

25 April Plan Board Favors Swapping City Land. 30 August Major Urban Renewal Projects on Schedule. 3 October Syndicate Man Praises Mummers. 14 December Bold Building Rises. 1 January Iron Workers Pact Reached. 1 February Captioned Photograph. 19 April Subscription Drive of Mummers Due. 12 July Gotham Director Impressed: Exciting Is His View of Mummers Building. 26 July Another Ugly Duckling To Turn Into a Beauty. 3 September Camber Sets Theater Tour. 12 September Odd But Eyecatching. 18 October Mummers, A Brand New Challenge, MUMMERS THEATRE (Stage Center) HABS OK-68 Page 56 20 October Mummers Gala to be First of Several Slated. 1 November Mummers Gala. 5 November Mummers Gala Goes On, Stage or No Stage. 7 November Gala Leaves Its Tell-Tale Clue.

20 November Cityan Makes Gift of Lift to Mummers. 26 November Mummers to Get Plug. 3 December Mummers Make Memories: Premiere, Party Open Theater. Theater Premiere Triumph. 23 December Two Agencies Contribute: Mummers Given in Pair of Grants. 10 January Scoffers Views Change Inside Mummers Theater. 18 January City Architect Named to Panel. 29 January Chamber to Help Mummers in Bind. 5 February Mummers Ask City Trust Aid. 6 February Councilmen Mum: Mummers Aid Stand Eyed. 9 February Mummers Faces Closing Decision. 10 February The Show Goes On. Committee to Decide: Mummers Left in Air. 11 February Mummers Fans Talk of Telethon. 12 February Mummer s Get Offer. Save Mummers Meeting Slated Friday Morning. Liens on File Names Mummers. Groundswell Coming?: Mummers Hopeful. 13 February Feb.

21 Closing?: 8 Days To Go For Mummers. Save the Mummers Is the Mummers Fans Still Betting Curtain Won t Fall. OCU Students Do Their Bit for Theater. Tickets Bought To Give Away: Mummers Get New Boost. 14 February Look Forward, Angel. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 57 15 February Mummers Plea Made by Price. 16 February Boy Friend Returns to Aid Mummers. House Bill Would Appropriate for Mummers. 17 February Mummers Shuffles Schedule in Battle to Stay Afloat. 18 February Hopes for Theater Fund Bill Dashed. Mail Bringing Support To Mummers: Letters Contain Cash, Advice, Good Wishes. 19 February Mummers Good For One Week. 21 February Tips and Tidbits. 23 February Going, Going, Gone at Mummers. 25 February Merchants Cash to aid Mummers. Zoo Visit Up for Bids at Mummers.

26 February Theater Fund Drive Gaining. 28 February High Bidder to Taste Actress Gourmet Cooking. 7 March The Great Blintzes Blitze. 14 March Theater Ups and Downs Familiar to Tom. 1 April Dolese Donor: Trees Given to Mummers. 13 April Lawyers Slate Trial Seminar. 19 April Mummers Tree Planting Slated. 1 May Mummers Ending Run: What Next? 2 May Miracle Market: Big Sale to Benefit Mummers. 16 May Debt Paring Top Priority for Theater. 19 May Group Offers Deal to Give Mummers New Life. 5 June Mummers Rock Concerts Begin Run on June 16. 30 June Show To Go On: Crisis Solved By Mummers. 13 July Rock to Roll at Mummers. 22 July Excitement Fills Mummers as OU Students Ready Plays. 23 July Wives tour Mummers Theatre. 24 July Indian Movie Tryouts Slated at Mummers.

MUMMERS THEATRE (Stage Center) HABS OK-68 Page 58 12 August 5-Man Committee to Start Mummers Play Selection. 14 September Mummers Given Grant: Bank Account Stage Front! 1 October Telethon Planned in Mummers Drive. 6 October Mummers Signs Imogene Coca for Play. 21 October Mummers Plan Benefit Gala. 24 October Eight Equity Actors Selected for Mummers. 27 October Actress Bari Signed for Mummers. 13 November Mummers Actors to Arrive Soon. 12 December Mummers Role is Challenge 19 January Mummers women Meet: Miracle Market Date is Set. 12 February It s Final Curtain for Mummers on Feb. 27. 13 February City Officials Cool to Idea to Idea Taking Over Theater. 19 February Phoenix Replaces Theater Classes at Mummers. Mummers Successor?: New Theater Planned.

28 February Mummers Burial Mourned by 5 March New Board Will Attempt to Fill Mummers Void. 22 March It Slips In: Senate Given Mummers Bill. 29 March Senate Gives OK to Mummers Bill. 9 April Mummers In Retrospect. Mummers Plan Revealed. 26 May New Theater Group Ready to Organize. 28 May Fun Theater in Mummers Building Seen. 16 September New Theater s Opening Play in Rehearsal. 10 October New Theater Center to Open. 28 January Focus on Downtown Gardeners. 1 April Season of Hit Shows is Arranged by Center. 22 April Volunteers Pull Off a Resurrection. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 59 10 June On the Memory of..Whazit?...of Birds, Stages and Styles..and Silver Lining Clouds. 9 July It s Fantastic Complex: Theater Center Staggers New Official. 12 October To Trust Plan.

14 October Firm Formed: 3 Architects, Engineer Merge. 28 October Architects Branch Opens. 1 November Scism Directs Benefit Show. 16 October Architects Select State s Best Buildings. 10 June City Theater Tradition Revived. 14 June Theater Center Benefit Sparks Hope for Future. 13 September Fanfare Accompanies Renewed Effort to Boost Stage Centers Theater s Visibility. 2 November Mummers Stagings Lively, Entertaining. 10 February Architect Still Marveling Over City Theater Center. 22 August Funding Problems Force Theater to Close. 4 September Kirkpatrick Board Seeks Tenant for Downtown Theater Building. 22 October Theater Center Tenant Sought. 4 November Mummers Theater Founder Succumbs. 4 October Rescuers Focus Spotlight. 5 July Vine Clipping Begins Renovation.

22 March Improved Stage Center Awaits Theater Fans, Meetings, Receptions. 3 July OKC s Downtown Theater Could Close Its Curtains. 1 February Sculpture of No Use. (7A). 4. Other Newspapers The New York Times. 7 June W. McNeil Lowry is Dead: Patron of the Arts Was 80. 8 November John Gleason, Whose Lights Colored the Stage in New Ways, Dies at 62. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 60 Oklahoma City Times. Oklahoma City, Oklahoma.114 4 April Race Track Eliminated: Mummers Parking Solved. 11 February Mask of Tragedy. 26 February The Times Looks At Oklahoma Journal. Oklahoma City, Oklahoma.115 11 September It s Case of Inside Being Out. 10 February Fund Hunt Fails, Mummers at End. 5 February Mummers Gets New Tag: Pop Art. 12 February Support Lacking: Theatre Dies of Starvation. 5.

Unpublished Materials About the Theatres. Press Kit. Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. Biographical Notes: John M. Johansen, AIA Architect. Press Kit. Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. Biographical Sketch: David Hays. Press Kit. Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. Information About Mack Scism. Press Kit. Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. Johansen, John. Mummers Theatre News Release. 29 March Available Mummer Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma.

The Mummers Theatre, Past, Present and Future. No date. Mummers Theatre Collection unprocessed UP00078, Oklahoma Historical Society, Oklahoma City, Oklahoma. 114 Clippings available Oklahoma City Chamber of Commerce Collection, Manuscripts, Public Relations Division, Bound Volume Freeway 77 and Mummers Theatre, Oklahoma Historical Society, Oklahoma City, Oklahoma. 115 Ibid. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 61 C. Secondary Sources 1. Books Encyclopedia of Modern Architecture. New York: Harry N. Abrams, Inc., Gane, John F., AIA, ed. American Architects Directory. Bowker Company: New York, Available itects%20Directory.aspx, retrieved 21 November Johansen, John M. John M. Johansen: A Life in the Continuum of Modern Architecture. Milan, Italy: l Arca Edizioni, Rifkind, Carole.

A Field Guide to Contemporary American Architecture. New York, Penguin Group, Sharp, Dennis. Twentieth Century Architecture: A Visual History. Mulgrave, Victoria, Australia: The Images Publishing Group, Smith, G.E. Kidder. A Pictorial History of Architecture in America. New York: American Heritage Publishing Co., Inc., and Bonanza Books, Source Book of American Architecture: 500 Notable Buildings from the Century to the Present. New York: Princeton Architectural Press, Steward, Roy P. Born Grown: An Oklahoma City History. Oklahoma City, Oklahoma: Fidelity Bank, Suckle, Abby ed. In their Own Design. New York: Whitney Library of Design, Watson-Guptill Publications, Wright, Gwendolyn. USA: Modern Architectures in History. London: Reaktion Books Young, William C.

Documents of American Theater History: Volume 2: Famous American Playhouses, Chicago, Illinois: American Library Association, Zeigler, Joseph Wesley. Regional Theatre: The Revolutionary Stage. Minneapolis, Minnesota: University of Minnesota Press, 2. Unpublished Manuscripts Ambler, Cathy. National Register of Historic Places Nomination for the Mummers Theater. Available MUMMERS THEATRE (Stage Center) HABS OK-68 Page 62 Map 1. Mummers Theatre, 400 West Sheridan, Oklahoma City, Oklahoma (USGS Topographic Map, Topo Name: Oklahoma City, Scale: Year: MUMMERS THEATRE (Stage Center) HABS OK-68 Page 63 Photograph 1. Mummers Theatre, Looking Southeast From 9th Floor of Sheridan Walker Parking Garage West Sheridan Avenue), May 1, Author Photograph. Showing Overview of Mummers Theatre and Site. .

Photograph 2. Mummers Theatre, Looking South Across Sheridan Avenue, May 1, Author Photograph. Showing Bridge B on left background, Rehearsal Hall/Lobby on center, and Thrust Stage Theatre and Bridge A on right. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 64 Photograph 3. Mummers Theatre, Looking Southeast, May 1, Author Photograph. Showing Canopy/Stair #1/Rehearsal Hall/Lobby on right, Bridge A on center and right foreground, Plaza and Fan Rooms #2, #1 and #4 on center background, and Thrust Stage Theatre on left background. Photograph 4. Mummers Theatre, Looking Northeast, May 1, Author Photograph. Showing Bridge A on left, Loading Dock on center, and Thrust Stage Theatre on right. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 65 Photograph 5.

Mummers Theatre, Looking Northeast, May 1, Author Photograph. Showing Bridge A on left background, Thrust Stage Theatre on center and right foreground, and Bridge C on right background. Photograph 6. Mummers Theatre, Looking Northwest, May 1, Author Photograph. Showing Lounge/Balcony and Ambulatories on Thrust Stage Theatre and Fan Room #4 on left and center, Plaza, Fan Room #1 and Open Air Bridge on off-center right foreground, Fan Room #2 on off-center right background, and Bridge C and Arena Theatre on right. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 66 Photograph 7. Mummers Theatre, Looking North, May 1, Author Photograph.

Showing Thrust Stage Theatre on left, Plaza, Fan Room #1 and orange Ambulatory Level Bridge on center background, Bridge C on foreground center, and Arena Stage Theatre on right background. Photograph 8. Mummers Theatre, Looking Northwest, May 1, Author Photograph. Showing Thrust Stage Theatre on background center, Bridge C on foreground center, Plaza and Fan Room #1 right of center background, and Arena Stage Theatre on right foreground. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 67 Photograph 9. Mummers Theatre, Looking Northwest, May 1, Author Photograph. Showing Thrust Stage Theatre, Fan Room #4 and Bridge C on left background, and Arena Stage Theatre on right foreground. Photograph 10. Mummers Theatre, Looking Southwest, May 1, Author Photograph.

Showing Arena Stage Theatre and Fan Rooms #3 and #1 on left, Bridge B on center, and Rehearsal Hall/Lobby and Fan Room #2 on right. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 68 Photograph 11. Mummers Theatre, Looking West, May 1, Author Photograph. Showing Arena Theatre on left, Plaza and Bridge B on center and right foreground, and Rehearsal Hall and Fan Room #2 on right background. Photograph 12. Mummers Theatre, Looking Southwest, May 1, Author Photograph. Showing Arena Stage Theatre and Fan Room #3 on left background, Plaza and Fan Room #1 on center background, Signage on right foreground, and Rehearsal Hall/Lobby on right background. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 69 Photograph 13. Mummers Theatre, Looking Southwest, May 1, Author Photograph.

Showing Arena Stage Theatre and Fan Room #3 on center background, Bridge B on left and center, Plaza and Fan Room #1 on off-center right, and Rehearsal Hall/Lobby, Fan Room #2, Stair #1 and Entry Canopy on right. Photograph 14. Mummers Theatre, Looking Northwest on Rehearsal Hall/Lobby Roof, May 1, Author Photograph. Showing Close-up of Wall Detail on roof of Rehearsal Hall. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 70 Photograph 15. Mummers Theatre, Looking Northeast on Roof of Thrust Stage Theatre, May 1, Author Photograph. Showing Fan Room #2 on left background, Fan Room #1 on center background, Fan Room #4 on right background, and Thrust Stage Theatre membrane roof on foreground. Photograph 16. Mummers Theatre, Looking South From Rehearsal Hall/Lobby Roof, May 1, Lynda S.

Ozan Photograph. Showing Plaza with Arena Stage Theatre Balcony on left, Ambulatory Level Bridge on center background, and Thrust Stage Theatre Balcony on right. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 71 Photograph 17. Mummers Theatre, Looking Northwest, May 1, Lynda S. Ozan Photograph. Showing Plaza with Thrust Stage Theatre Balcony on left, People Tubes on center background, and Rehearsal Hall/Lobby on right. Photograph 18. Mummers Theatre, Looking North over Plaza, May 1, Lynda S. Ozan Photograph. Showing Plaza with People Tubes on left and right, and Rehearsal Hall/Lobby on center. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 72 Photograph 19. Mummers Theatre, Interior, Looking North From Rehearsal Hall/Lobby First Level, May 1, Lynda S. Ozan Photograph.

Showing Entry Vestibule (Stair Photograph 20. Mummers Theatre, Interior, Looking Northeast, May 1, Lynda S. Ozan Photograph. Showing People Tube to Rehearsal Hall. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 73 Photograph 21. Mummers Theatre, Interior, Looking Northeast, May 1, Lynda S. Ozan Photograph. Showing Rehearsal Hall Space, second floor of Rehearsal Hall/Lobby. Photograph 22. Mummers Theatre, Interior, Looking South, May 1, Lynda S. Ozan Photograph. Showing Arena Stage Theatre. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 74 Photograph 23. Mummers Theatre, Interior, Looking Southwest, May 1, Lynda S. Ozan Photograph. Showing Thrust Stage Theatre. Photograph 24. Mummers Theatre, Interior, Looking Northeast, May 1, Lynda S. Ozan Photograph.

Showing Arena Stage Theatre Lounge/Balcony. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 75 Photograph 25. Mummers Theatre, Interior, Basement, Looking Northwest, May 1, Lynda S. Ozan Photograph. Showing Scene Shop as noted in original plans renovation changed to Rehearsal Space for Thrust Stage Theatre. Photograph 26. Mummers Theatre, Interior, May 1, Lynda S. Ozan Photograph. Showing Representative Stairwell. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 76 Photograph 27. Mummers Theatre, Interior, Second Floor, Looking Southeast, May 1, Lynda S. Ozan Photograph. Showing Ambulatory around Thrust Stage Theatre. Photograph 28. Mummers Theatre, Demolition, Looking Northwest, August 5, Author Photograph.

Showing Thrust Stage Theatre on left, Plaza and Fan Tower #1 on center, and Arena Stage Theatre on right. MUMMERS THEATRE (Stage Center) HABS OK-68 Page 77 Photograph 29. Mummers Theatre, Demolition, Looking Northeast, August 5, Author Photograph. Showing Thrust Stage Theatre. Photograph 30. Mummers Theatre, Demolition, Looking Southeast From 9th Floor of Sheridan Walker Parking Garage West Sheridan Avenue), August 22, Author Photograph. Showing Overview of Building Site.