Northumberland County Area History Shamokin 125 years City of Shamokin, Pennsylvania 1864-1989 USGENWEB NOTICE: Printing this file by non-commercial individuals and libraries is encouraged, as long as all notices and submitter information is included. Any other use, including copying files to other sites requires permission from the submitters PRIOR to uploading to any other sites. We encourage links to the state and county table of contents. Transcribed for the PAGenWeb Project by: Bruce T. Hall Cultural and Recreational Activities The greater Shamokin area has had a rich cultural heritage, an exciting history of musical and theatrical activity. From its earliest days, this community has been distinguished by an uncommon appreciation of the performing arts. This quality, so readily recognized, was to earn Shamokin a statewide, even nationwide, reputation among theater folk as a most receptive "show" town. It is also a well known fact that during the 1920s, Shamokin was considered the most musically progressive community of its size in the country. Through the years, most of the world's greatest musical artists as well as innumerable fine theatrical troups have appeared on local stages. Enthusiastic audiences have enjoyed entertainment attractions ranging from outstanding presentations of grand opera to symphony concerts; popular dramatic plays to minstrel shows; and light-hearted musical comedies to "big- time" vaudeville acts. All this and more was offered here and by way of appealing to every entertainment taste and interest. Early Entertainment Centers Pioneer residents attended public entertainment on the top floor of the Douty "Brown Stone Front," at Sunbury and Rock Streets. As time went on, the impressive three-story Academy of Music, erected on the present site of the American Legion Memorial Building, closely rivaled and eventually outclassed the Douty building as an entertainment center. Theatricals and musicals were staged in the assembly hall on the second floor of the structure which had been christened the Academy of Music. G. A. R. Opera House Scene of many a memorable stage performance over a period of many years was the G. A. R. Opera House. The following, from an old newspaper clipping, gives something of the Opera House atmosphere and entertainment flavor of that colorful period. The G. A. R. Opera House, erected and operated after the Civil War by Lincoln Post No. 140, Grand Army of the Republic, was located on the southwest corner of Independence and Cleaver Streets, and extending south to Water Street. The original entrance to the theater on Independence Street was changed to Cleaver Street to permit installation of an additional store room in the front of the building. Shamokin was widely proclaimed by theatrical troupes during the era known as the "Gay Nineties," as the "best show town in the state." In addition to staging the best traveling shows, including "Old Homestead," the always popular "Uncle Tom's Cabin," with its comical Topsie and baying bloodhounds; or strutting minstrels; the Opera House was the scene of grand opera and home-production comic operas, including "Pinafore," "Pirates of Penzance," and others. In addition to high school graduation exercises, concerts by the country's most famous bands, and Chautauqua programs and conventions; annual "campfires" were staged by the Civil War veterans when a famous orator or character of national importance would be engaged as guest speaker, as in the case of Capt. Jack Crawford, product of the anthracite region, who turned Indian fighter after the Civil War ended. The interior of the well-equipped playhouse included dressing rooms, known as "green rooms," beneath the stage; a sunken orchestra pit; a parquet on the first floor; a balcony that extended along the east and north walls to the stage; and a "peanut gallery" where the gallery gods would crunch peanuts prior to the rise of the curtain or chewed hard plug tobacco according to varied tastes. In the good old days of one-week shows, gallery tickets sold for 10 cents, a financial inducement that packed the upper tier of bench seats with clamorous patrons who loudly approved or condemned the performance as their judgement dictated. The Operetta Era In later years, particularly in the first decade of the twentieth century, weekly shows which included many of the then-popular operettas were presented in the Opera House. Local families flocked to see fine professional performances of such beloved operettas as "The Chocolate Soldier" and "Rosemarie." These entire productions --- performers traveling with costumes and scenery --- would come here directly from New York by special train. Pavlova and Nijinsky Countless attractions of world renown were offered during this theater's heyday including John Philip Sousa and his famous band; but perhaps the most thrilling of the period was the appearance of the entire Russian Ballet Company, featuring prima ballerina Anna Pavlova and the legendary Vaslav Nijinsky. This was truly a high point in the community's cultural experience. In a rare appearance for any stage, these two ballet stars --- probably the greatest of all time --- performing with a superb ensemble of dancers, drew the biggest "box office" in local history. In time to come, this high caliber of cultural activity would be very much the rule in Shamokin. In the 1880s, the Opera House was also a center for a far different type of recreational pursuit --- roller skating --- a craze that was then sweeping the country. Following this public trend, Lincoln Post, G. A. R., converted the "Annex" adjoining the main entrance to the Opera House on Independence Street into a skating rink. Another such facility in the community, more spacious and more elaborately equipped, was the Arcade Rink erected at Shamokin and Clay Streets, the present location of the Ukrainian Church. Installations in the large frame structure included a sizable dais, occupied by an orchestra, which was lowered from the ceiling. Special entertainment was provided by professional skaters in speed contests and fancy skating. Outstanding in the fancy exhibition class was the "Jersey Lily,' whose grace and personal charm won the admiration of the local swains. Meanwhile, as less expert skaters sought to improve their skill. the rumble and roar of roller skates, accented by an occasional screech of skidding rollers on sharp turns, was heard nightly except Sundays. Amateurs in the art of preserving balance and rhythmic grace supplied a comedy feature to the sport by their involuntary gymnastics, which usually ended in a spread-eagle fall. After the skating craze reached its zenith, C. P. Helfenstein purchased the Arcade building and used the salvaged lumber to erect a residence at Seventh and Arch Streets. As for the G. A. R. rink, it was eventually occupied by a luncheon bar that was operated at various times by E. C. Fourly and Frank Troutman. Interestingly, the 1950s saw an upsurge of the sport's popularity. Even today, a number of skating rinks are well-patronized by the young people of the community. G. A. R. Post Rooms The Opera House building, apart from its long-time function as an outstanding entertainment center, also served as headquarters of the local G. A. R. post. The spacious post room was located on the second floor as was a smaller room where war relics, including battle-scarred flags, were well preserved in wall cabinets. Pictures of Civil War battle scenes and the infamous Libby Prison hung on the walls. The meeting quarters of the Ladies' Auxiliary of the G. A. R. were also situated on the second floor. Store rooms on the ground floor were occupied by several business enterprises. The "Strand" In 1912, the Opera House was sold to a group of Shamokin businessmen and the name was changed to "Strand." Stage shows continued to be billed until the Strand was leased to L. J. Chamberlain, one of the local pioneers in the movie industry. After a fire in this building, Mr. Chamberlain continued to show movies in this building until he built the Victoria Theater. A colorful era in terms of public entertainment had passed. The one that followed proved to be equally, if not more, exciting and rewarding. The Shamokin Lyceum While Shamokinites were enjoying the varied professional entertainment being offered here, they were also devoting much leisure time to developing their own musical and theatrical talents. Almost from the pioneering days, this community has been famed for its cultural organizations. Very early in the town's existence, residents brought literary talents and eloquence to the fore through the medium of debating societies. One of these was the Shamokin Lyceum, which h was organized in 1857 and remained active for several years. The Lyceum was incorporated by the county court and numbered among its members the community's leading citizens Weekly meetings were held in Bittenbender's Hall during which there were lectures, readings, and discussions on timely subjects. A large library was obtained and one of the finest mineralogical collections in the state was assembled. The lyceum exerted much influence in molding town opinion until the final year of the Civil War, when public attention was devoted to the bitter struggle between the North and the South, and the organization passed quietly out of existence. Several efforts were made to revive the Lyceum. During the autumn of 1873, the Shamokin Lecture Association was formed and a course of lectures was conducted through two winter seasons. The association passed into local history in 1877. The officers were: Charles P. Helfenstein, president; Dr. J. J. John, secretary; and Ivanhoe Steese Huber, treasurer. The Great Artists Course -- A Golden Age From 1920 to 1925, the greater Shamokin area enjoyed what can very properly be termed a Golden Age of Music, unequaled in the community's cultural history. During these five years, almost every great musical artist of the period appeared here. This was the era of the now- legendary Great Artists Course, when, through the untiring efforts and highly capable management of Con R. Graeber and Eugene Zartman, area residents were attending concerts by such musical greats as Galli-Curci, Kreisler, Schumann-Heink, and Pachmann. Presented primarily as a subscription series, a season's Artist Course usually consisted of four concerts. Each was an event keenly anticipated by concert=goers; each performance a rich and memorable experience. For two years these concerts were presented at the Victoria Theater; the last three years, at the Majestic. That these artists, at the pinnacle of their careers, came to Shamokin was a tribute to the community. An even greater measure of esteem was the fact that the appreciative and knowledgeable audiences found here caused them to give their very best in performance. But, as was pointed out previously, Shamokin was unique in this respect. Even in metropolitan music circles, this town was known to have highly cultivated artistic tastes. A national music magazine once referred to Shamokin as the most musically advanced community of its size and type in the country. And so they brought their artistry to Shamokin --- the world's foremost virtuosi of the violin, the harp, the cello; the world's most brilliant opera and concert singers; and, on two occasions, a great symphony orchestra. Any number of times, music lovers were treated to the double pleasure of hearing two renowned artists in a joint recital --- a rare occurrence even in the major concert halls of the country. Who's Who of the Musical World The following is a list of the illustrious stars who appeared here under the auspices of the Great Artists Course: There was Giovanni Martinelli, noted Metropolitan Opera tenor, and Nina Morgana; pianist Harold Bauer; violinist Jacques Thibaud; and the famous Anna Case. Then came Amelia Gatti-Curci, considered the greatest coloratura soprano of all time; the unrivaled Fritz Kreisler; the great tenor, Tito Schipa; and cellist Alberto Salvi. the Cleveland Symphony's superlative concert, conducted by Nicolai Sokoloff, was followed by a return engagement the next season. Local concert-goers heard the superb Madame Ernestine Schumann-Heink; master cellist Pablo Casalas; tenor Edward Johnson, later director of the Met; and the noted American violinist, Albert Spaulding. Then there were the unforgettable recitals by Rosa Raisa, "the supreme dramatic soprano of the age," and her baritone husband, Giacomo Rimini: Metropolitan Opera star Rosa Ponselle and Baritone Giuseppe Danise; Cecil Arden; Louis Graveure; and violinist Erica Morini. Audiences thrilled to the artistry of Valdimir de Pachmann, one of the world's foremost pianists; Mario Chamlee; Claire Dux; Elizabeth Campbell; Sigrid Onegin; and the renown Salzedo Harp Ensemble. These Great Artists concert nights in Shamokin were gala occasions. There was the evening of Galli-Curci's appearance when the performance was completely sold out, with additional seats in the aisles and standing room only. It was 1921, when automobiles were still something of a rarity here, yet Independence Street that evening was jammed with cars on the way to the theater. It was a festive atmosphere with many people in formal attire. Galli-Curci had come here under a financial arrangement giving her a percentage of gross receipts in addition to the customary flat guarantee. That evening, some 1,600 music-lovers made this world-acclaimed prima donna the highest paid individual artist in Shamokin's history. One local resident, at least, has reason to remember Galli-Curci in more casual surroundings and circumstances. The opera star was accustomed to taking a morning constitutional. On the morning of her concert here, she took a long walk, eventually finding herself near the Shamokin Cemetery. Apparently weary, she sat down on the front porch of one of the homes in that vicinity. The woman of the house, seeing her, came out and, with typical Shamokin friendliness, struck up a conversation with the stranger. They had a pleasant chat, after which Galli-Curci, without revealing her identity, resumed her walk back to the hotel. It was not until the following day, after hearing much about the concert, that the resident realized that her visitor had been the famous Galli-Curci. There is also an interesting sidelight to Vladimir de Pachmann's appearance here. Three years after the great pianist's Shamokin recital, Con R. Graeber visited him in the villa where he was then living near Rome. The excitable Pachmann greeted the local manager of the Great Artists Course with open arms, leading him almost immediately to a room where stood a piano --- the very same piano that had been given to him for use here. This, he said, was his lasting remembrance of Shamokin --- a piano that pleased Pachmann so much that he had it shipped to Italy. Many a fine concert series followed the Great Artists Course but for those who experienced that particular period in local musical offerings, there will never be anything to surpass it. Today Today, "Community Concerts," under the guidance of Irvin Liochowitz and a dedicated group of volunteers, continue to attract Standing-room-only audiences. Tickets to these concert series are sold to subscribers at prices made affordable by patrons from the community. In addition, the Shamokin Revitalization Corporation has sponsored performances by the Empire State Ballet Company twice in the past three years. Shamokin schools continue in the tradition of teaching instrumental and voice music courses and producing fine school bands and choral groups. Acknowledgments for Historic Resources Donated Thank you ! Thank you ! Thank you ! The News-Item Dr. Edward Twiggar John Smith Rich Roughton Jack Snyder Mimi Noll Victoria Woyurka H. Robert Mattis Karl Hoffman Dorothy Schell Harvey Boyer T. Lloyd Dunkin Karl Bowers Pat Kolody Ken Sandri Paul Metrocauge Clem Cheslock Members of the book committee A special thanks to the authors of the 1964 Centennial Book, from which so much of this accounting was gleaned. Shamokin, Pennsylvania 1864-1989 81 86 Shamokin, Pennsylvania 1864-1989 Shamokin, Pennsylvania 1864-1989 85