Puppet theater Barn theater | |
 The Tantamount Theater | |
| Location | Middle Canyon Road, Carmel Valley, California, US |
|---|---|
| Coordinates | 36°29′51″N 121°44′29″W / 36.49750°N 121.74139°W |
| Owner | François Martin |
| Type | Puppet theatre |
| Capacity | 144-seat |
| Opened | 24 June 1960 |
| Closed | 5 October 1978 |
Tantamount Theater was a puppet theatre for children and their families located in Carmel Valley, California, USA. François Joseph Martin built and owned the theater. Within Carmel Valley, the theater stood as the only establishment where puppet performances became a regular occurrence.[1]
History
Barn Theater
Jeanne D'Orge encouraged Martin and Ralph Geddis to move to Carmel Valley and build a theater which she helped them to build.[2]
In 1956, Martin and Geddis purchased the stable and horse barn owned Frank De Amaral, situated upon the former grounds of the Muriel Vanderbilt Estate ranch on Middle Canyon Road, Carmel Valley (above Los Laureles Lodge). The barn that was previously used as a meeting space by Carmel Valley Fire Department volunteers was converted into the Barn Theater.[3][1][4]
Tantamount Theater
After the extensive renovations of the Barn Theater, which surpassed an expenditure of $25,000 (equivalent to $247,300 in 2022), Martin and Geddis christened it as the Tantamount Theater with the aspiration of establishing it as "the pinnacle of excellence in puppetry."[3]
The Tantamount Theater made its grand opening on June 24, 1960, featuring a puppet rendition of Molière's five-act comedy of 1670, "The Would-be Gentleman."[4] An advertisement in the The Monterey County Herald announced the opening of the theater. The first night was sold out.[3] D'Orge's charm graced the Green Room receptions and opening nights of the theater's productions, endearing herself to fellow artists and audience members.[5]
In recognition of D'Orge's role in founding the Tantamount Theater, Martin and John Geddis constructed a single-room studio adjoining the Theater. Within this space, they provided care and support to D'Orge while she engaged in her creative endeavors of painting and writing. Her primary sphere of attention revolved around the Tantamount Theater.[6]
Dominating the theater was a canvas drop curtain, measuring 13 ft (4.0 m) by 21 ft (6.4 m), spanning the entirety of the stage. It took approximately two months for Martin to paint it, as he replicated the details of an unsigned 17th-century artwork named Farceus. This painting, adorning the halls of the theatre Comédie-Française in Paris and rumored to portray Molière and his troupe of comedic performers, served as the source of inspiration. Displayed on this canvas were fifteen figures of the iconic figures from the traditional French and Italian Commedia dell'arte ensemble wearing masks, each rendered by Martin at three-quarters of life size.[3]
In the initial stages of the Tantamount's existence, Martin and Geddis showcased an array of puppet performances drawn from their collection of classical comedies and dramas. Alongside these puppet plays, the duo curated dance recitals, poetry readings, monologues, and intermittent screenings of timeless cinematic classics. Over time, the screenings of classic movies gained increasing popularity, gradually becoming the centerpiece of the Tantamount's offerings.[4]
Both Martin and Geddis harbored a passion for cinema and eagerly embraced the opportunity to foster the enthusiasm of their patrons. As time progressed, screenings of iconic films like Dinner at Eight, La Belle et la Bête, Rules of the Game, Camille, Les Enfants du Paradis, the comedies of Buster Keaton and Charlie Chaplin, and the MGM musicals evolved into a tradition, consistently gracing the Friday and Saturday night schedules.[4]
"People from miles around would drive down the theater’s long drive on Friday and Saturday nights and find Francois motioning them onward with a flashlight. An elfin but distinguished man, often cloaked in some garment he had woven himself, Francois greeted each arrival with a smile. Meanwhile, Ralph was busy in the theater’s cramped balcony loading that evening’s featured presentation into the projector."
During his teenage years, writer Mark Thompson dedicated his time as a volunteer assistant during movie nights. In his memoir titled Gay Body, he wrote about the theater. An intermission was consistently observed, likely to accommodate Geddis's reel change. Amid this pause, Martin would graciously offer coffee in elegant white demitasse cups.[4]
Geddis's passing occurred in 1974. However, Martin persevered, maintaining the tradition of showcasing classic films, now with the assistance of a paid projectionist and dedicated volunteers. While sporadic displays of their impressive puppets took place, live performances became scarce, if not entirely absent.[4]
In August 1978, the Tantamount witnessed its final live theatrical production. During this occasion, students from the Hidden Valley Music Summer Seminars staged Gian Carlo Menotti's captivating "madrigal fable" titled The Unicorn, the Gorgon, and the Manticore. This performance incorporated choral compositions, instrumental interludes, and skillful dancers portraying the roles of puppets.[4]
Tantamount Theater fire
On October 5, 1978, the Tantamount was destroyed in a fire. During the fire, almost all 800 puppets crafted by partners throughout the years were also lost.[4][1]
Initiatives to reconstruct the theater were set in motion. Despite encountering resistance from local residents, the Planning Commission greenlit a certain proposal; however, the imposed limitations rendered it unfeasible from an economic standpoint. A separate proposition aimed at establishing the theater adjacent to the Carmel Valley Mid Valley Shopping Center faced a prolonged period of inactivity. Practically speaking, considering the existence of cinemas screening international films and the ease of accessing classic movie DVDs for personal enjoyment at home, the viability of another Tantamount establishment seems doubtful. Even if every challenge were surmounted, the essence of the Tantamount would remain incomplete without the distinctive influence of Geddis and Martin.[4]
John Ralph Geddis
John Geddis (1906 – 1975) was born on August 3, 1906, in San Jose, California. Commencing his journey as an art assistant at an Oakland Repertory Theater, Geddis transitioned into an acting role. Relocating to New York City, he became a member of the acting ensemble at the Neighborhood Playhouse. His pursuits led him to delve into dance under the guidance of choreographer Mikhail Fokine, and he graced the stages alongside modern dancers Martha Graham and Charles Weidman. Geddis's path eventually led him to puppetry, embarking on national tours with a "Punch and Judy" company.[4]
On September 24, 1974, Geddis passed away. Instead of traditional funeral services, his ashes were scattered upon the sea.[3]
François Joseph Martin
François Martin (1909 – 1995) was born on October 17, 1909, in Santa Barbara, California. His father, James Martin (1864-1936), was born in New York, while his mother, Antoinette H. Coutolene (1875-1911) was born in San Francisco, California. Martin engaged with regional theater groups, participating in acting roles and contributing to set painting. He further ventured into the realm of silent films as an actor. His journey led him to Washington, D.C., where he pursued art studies at the Corcoran Gallery of Art. During his time as a student, he found himself captivated by the intricacies of puppet design and construction.[4]
In the 1930s, professional prospects led Geddis and Martin to Boston, Massachusetts. Their shared passion for puppetry facilitated their encounter and the subsequent establishment of a collaborative venture, a puppet theater set up within a disused carpenter's loft. Diverging from conventional performances geared towards children, they showcased adaptations of pieces by William Shakespeare and Molière.[4]
Martin passed away in his sleep on Saturday, February 25, 1995. He was 85 years old.[3]
References
- 1 2 3 Ward Bushee (5 October 1978). "Fire guts area's Tantamount Theater". The Californian. p. 14. Retrieved 5 August 2023.
- ↑ "Western American Literature Volume 29". Western Literature Association. Minnesota. 1994. Retrieved 6 August 2023.
- 1 2 3 4 5 6 Adam Miller (19 June 2020). "The Little Flowers of St. Francis". Folk Singing. Retrieved 5 August 2023.
- 1 2 3 4 5 6 7 8 9 10 11 12 Richard Flower (2014). "Evenings at the Tantamount Theater: Gone But Unforgettable" (PDF). Carmel Residents Association. Carmel-by-the-Sea, California. Retrieved 25 August 2023.
- ↑ "Jeanne D'Orge Cherry". Carmel Pine Cone. Carmel-by-the-Sea, California. 7 May 1964. p. 3. Retrieved 19 July 2023.
- ↑ Connie Wright (2014). "Jeanne D'Orge: Eccentric Benefactor". Stories of Old Carmel: A Centennial Tribute From The Carmel Residents Association. Carmel-by-the-Sea, California. pp. 119–120.
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