An Ostrich-Plumed Hat: Chapter Thirty-Six

san pedro park

Above, San Pedro Park, from Gregg Eckhardt’s

an ostrich-plumed hat

Begin with Chapter One ~ Return to Chapter Thirty-Five

Hedda Burgemeister, October 1912

Mr. Koehler steps forward to help Hedda with her wrap. “You have no idea how grateful Missus Koehler and I are that you were able to substitute for Miss Dumpke today. Missus Koehler kept you here longer than anticipated. You must allow me to drive you to meet the streetcar.”

“I was happy to be of assistance, Mister Koehler. Thank you, though, there is no need for me to inconvenience you. The stop is close, and I enjoy walking.”

“I insist,” Mr. Koehler says. “I’ll get the carriage.”

Continue reading “An Ostrich-Plumed Hat: Chapter Thirty-Six”

An Ostrich-Plumed Hat: Chapter Twenty-Eight

san antonio river in brackenridge park
an ostrich-plumed hat

Begin with Chapter One ~ Return to Chapter Twenty-Seven

Andrew Stevens, July 1912

“A piece of good news emerged from Mayor Callaghan’s funeral,” announces Mr. K. “The Kalteyers finally can breathe easier. Doctor Herff says he expects their nine-year-old, little William, to recover from his concussion.”

“Speeding driver right there on Blum Street,” gripes the Colonel. “Hurled the boy off the wheel he was peddling and then sped out of Alamo Plaza, leaving Willie behind, a little heap in the street. Lucky the lad’s not dead. The only way to control these speed demons racing through downtown is to hire motorcycle policemen to chase them.” 

John has been running his hands through his hair over and over, and it now sticks out at all angles. Andy pats his own head to try to signal John to smooth it back down, but John is still too deep in mournful thoughts to pick up on it. “Otto, I know I shouldn’t compare the loss of Bryan Callaghan to your loss of your twin brother. After all, Bryan Callaghan was more stubborn than any mule….”

Continue reading “An Ostrich-Plumed Hat: Chapter Twenty-Eight”

Adding a Contemporary Backdrop to a Municipal Landmark

A flood control project eliminating some of the bends of the San Antonio River as it snaked through downtown created a new plot of land enabling the City of San Antonio to cobble together the real estate needed for the Municipal Auditorium, with a distinctive Spanish Colonial Revival profile designed by architects Atlee B. Ayres, Emmett Jackson and George Willis. The $1.2-million Municipal Auditorium opened, lit “from pillar to post” according to the San Antonio Express, on April 19, 1926, with the Texas Pioneers’ Ball:

The result is an auditorium which Mayor Tobin declares without reservation is the finest in the country. Every sort of modern, practicable device has been installed to make the building the last word in structures of its kind….

Since its doors opened, the Municipal Auditorium hosted a huge variety of events – high school graduations, political rallies, boxing matches, concerts, Elvis, Fiesta coronations and even “midget women’s” wrestling – meaning many San Antonians have strong sentimental attachments to it. Which translated to emotional opposition when architects returned with recommendations that demolition of almost all but the distinctive façade would be required to create a facility appropriate for theatrical and musical productions of today. Layered atop the normal historical concerns was sensitivity over its prominent River Walk location.

But the stunning, contemporary solutions presented by the architectural team of LMN of Seattle and Marmon Mok of San Antonio won over many and secured approval.

Was fortunate enough to take a tour guided by Steve Souter and Morgan Williams of Marmon Mok this past week, and the transformation is amazing. Wood paneling the color of a Stradivarius violin is combined with cutting-edge programmable lighting around the upper decks of seating.

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When the Municipal Auditorium opened in 1926, the Express bragged about its seating; although it doesn’t sound as though fire codes on the number of people who could be stuffed into a room were quite as rigid as today:

The capacity of the auditorium is 6,000 persons who can be seated in the comfortable opera chairs. In event of an extra large attraction, more than 3,000 persons could be seated in extra chairs in the auditorium and on the stage. The stage alone can accommodate 500 people seated in chairs of 1,000 standing. The opera chairs in the auditorium alone represent an investment of $60,000. They are all extra large chairs, 20 inches across the seat. There are 18 oversize chairs for extra large persons. Such big people can find chairs that will accommodate them comfortably if they ask especially for them.

Seating on the ground floor in what will be the Tobin Center for the Performing Arts easily will top that, although not numerically. The main theatre will accommodate 1,750. The wooden ground floor in the photos represents a $12-million investment. But it’s a rather magical floor. Each segment contains seating on its flip side and can be individually rotated and/or elevated to allow for a multitude of configurations. Found a handy-dandy video of this online (Don’t be misled by the video heading; the operation of the Tobin seating will closely resemble that of this theatre in British Columbia.).

For a more intellectual analysis of the Tobin Center’s assets, turn to Mike Greenberg.

The first year’s bookings for the Tobin are as diverse as the Municipal Auditorium entertained and can be found here. The doors will swing open for the first events in September.

(Thanks for providing some of the interior shots, Janet and Allison.)