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Date Range From
1925
Date Range To
1930
Material Type
Artifact
Materials
WOOD, SHEET METAL
Catalogue Number
P19750120000
Material Type
Artifact
Date Range From
1925
Date Range To
1930
Materials
WOOD, SHEET METAL
No. Pieces
1
Height
7.6
Length
12.7
Width
51.0
Description
MARKED ON BACK "R. LIVINGSTON, SUPT., GALT MINE, LETH. ALTA". WOOD AROUND SIGN PAINTED GREEN AT ONE TIME. BACKGROUND OF SIGN PAINTED BLACK AT ONE TIME.
Subjects
VISUAL COMMUNICATION T&E
ADVERTISING MEDIUM
Historical Association
COAL MINING
History
FROM FRONTIER, SASKATCHEWAN. SENT TO FRONTIER IN THE LATE '20'S OR DURING THE '30'S. THESE SIGNS WERE DISPLAYED ON SEVERAL GRAIN ELEVATOR CO. BLDGS IN THIS AREA WHERE EXCELLENT GRADE GALT COAL WAS SOLD IN LARGE QUANTITIES DURING THIS ERA. DONOR DROVE A TEAM OF HORESES 12 MILES TO HAUL COAL TO HIS FARM. SPECIAL BINS WERE BUILT NEAR THE ELEVATORS TO STORE COAL. COAL SHIPPED VIA C.P.R. BY BOXCAR FROM LETHBRIDGE. CONSERVATION REPORT ON FILE. *NOTE* SIGN MISSING AS OF 2004 INVENTORY.
Catalogue Number
P19750120000
Acquisition Date
1975-07
Collection
Museum
Less detail
Date Range From
1925
Date Range To
1930
Material Type
Artifact
Materials
WOOD, SHEET METAL
Catalogue Number
P19770335000
Material Type
Artifact
Date Range From
1925
Date Range To
1930
Materials
WOOD, SHEET METAL
No. Pieces
1
Height
91.4
Length
151.1
Width
4.3
Description
SIGN SAYS "GALT BURNS ALL NIGHT COAL, FOR SALE HERE TAYLOR SIGN WORKS CALGARY". WOOD FRAME AROUND SIGN PAINTED GREEN AT ONE TIME. BACKGROUND OF SIGN PAINTED BLACK AT ONE TIME. WORDS AND SYMBOLS ARE PAINTED ON SIGN IN YELLOW, WHITE AND BLACK. PAINT IS BADLY CHIPPED AND SCRATCHED OFF AT THE FACE OF THE SIGN. HEAVILY WORN. FRAME UNSTABLE; MOULDING LOOSE; NAILS PROJECT THROUGH FRAME; TOP LEFT CORNER BADLY DAMAGED; 3 PUNCTURE HOLES IN SHEET METAL; NUMEROUS DENTS; PAINT CHIPPED, EXPOSING METAL BACKING.
Subjects
VISUAL COMMUNICATION T&E
ADVERTISING MEDIUM
Historical Association
COAL MINING
Catalogue Number
P19770335000
Acquisition Date
1977-02
Collection
Museum
Less detail
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20170029004
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
1970
Materials
WOOD, PAINT
No. Pieces
1
Length
61
Width
17.5
Description
HAND-PAINTED SIGN ON COMPRESSED WOOD BOARD; SIGN IS PAINTED WHITE WITH RED HAND-PAINTED TEXT “NO SMOKING”. SIGN HAS TWO ROUND HOLES (0.7CM DIAMETER) DRILLED AT EITHER END; FRONT OF SIGN HAS CHIPS AT LOWER LEFT CORNER AND RIGHT EDGE ON FRONT; FRONT OF SIGN HAS PAINT SMUDGES AND SCUFFS. BACK OF SIGN HAS CHIPS ON LEFT EDGE, UPPER LEFT CORNER, AND RIGHT EDGE; RIGHT HOLE ON BACK IS TORN AND SPLIT. OVERALL VERY GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
FURNISHINGS
BUSINESS
History
THE CITY OF LETHBRIDGE RECREATION AND CULTURE DEPARTMENT DONATED OBJECTS FROM THE YATES THEATRE IN LETHBRIDGE UPON RENOVATIONS TO THE YATES THEATRE IN SEPTEMBER 2017. THE OBJECTS DONATED WERE USED IN THE YATES AFTER ITS CONSTRUCTION IN THE 1960S. ON DECEMBER 18, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND LINDA BAYLY REGARDING THEIR INVOLVEMENT WITH AND MEMORIES OF THE YATES THEATRE. ED AND LINDA BAYLY IDENTIFIED THE OBJECTS DONATED FROM THE YATES AND RECALLED THEIR OWN EXPERIENCES WITH THE OBJECTS. ON THE SIGN, ED BAYLY ELABORATED, “THAT WAS DONE BY OUR SIGN WRITER IN THE CITY OF LETHBRIDGE. WE HAD A REGULAR SIGN WRITER THAT DID THE…TRAFFIC SIGNS AND THINGS SUCH AS THAT. THEY USED TO PAINT THEM BUT THEY DON’T DO THAT ANYMORE OF COURSE. THEY USE THAT VINYL STUFF NOW. WE WERE SO DEPENDENT UPON VOLUNTEERS TO MAKE SURE THAT THEY DID THAT TYPE OF THING. WE COULDN’T HAVE OPERATED WITHOUT THE VOLUNTEERS THAT WERE THERE. THEY DID SO MUCH OF IT. IT HAS CHANGED LATELY…IT’S MORE AND MORE DIFFICULT TO FIND PEOPLE THAT ARE WILLING OR ABLE TO DO THAT.” “[THERE WAS NO SMOKING] IN THE AUDITORIUM. IT’S A PUBLIC PLACE YOU KNOW, WITH 500 PEOPLE IN THERE. IT MAKES IT DIFFICULT IF YOU DO HAVE ANY SORT OF FIRE IN THERE. [IN THE EARLIEST DAYS] YOU COULD SMOKE THEN, AS FAR AS I REMEMBER. IN MOVIE THEATRES AT THAT TIME YOU COULD SMOKE IN THERE WHICH OF COURSE IS A THING OF THE PAST NOW.” “[THAT WAS CHANGED BY THE] CITY.” “WITH THE SIGN LATER, YOU COULD POINT IT OUT TO THEM SAYING, 'REMEMBER, THIS IS WHAT WE EXPECT YOU TO DO.' AND THEY COULDN’T SAY, 'WELL, I DIDN’T KNOW THAT.'” LINDA BAYLY ADDED, “THIS NO SMOKING SIGN RIGHT HERE REMINDS ME OF THE TIME WHEN MUSICAL THEATRE WAS DOING THE SOUND OF MUSIC AND THEY HAD SEVERAL LADIES DRESSED UP AS NUNS. ONE GIRL WAS A SMOKER. I DON’T KNOW HOW SHE DID IT BECAUSE SHE WAS A SINGER AS WELL. I CAN SEE ALL THESE GIRLS IN THEIR NUN’S HABITS WAITING TO GO ON STAGE, STANDING UNDER THIS SIGN AND SMOKING LIKE A MAD FIEND. YOU THOUGHT, 'AHA, YOU SHOULDN’T BE DOING THIS', FOR ONE THING ON STAGE FOR ANOTHER BECAUSE YOU WEREN’T ALLOWED, ON STAGE, TO BE SMOKING. BUT PARTICULARLY IN THEIR NUN’S COSTUMES. THEY ALL LOOKED SO BEAUTIFUL EXCEPT FOR THIS ONE GIRL WHO JUST HAD TO HAVE THAT CIGARETTE BEFORE SHE WENT ON STAGE.” “ALL THE CURTAINS [WERE] MADE OUT OF FABRIC AND THERE’S PROPS AND ALL KINDS OF STUFF GOING ON ALL THE TIME. THERE’S OFTEN SAWDUST FROM THE WORKSHOP AND FROM THE PEOPLE WORKING BACKSTAGE. [IT TURNED TO NO SMOKING] FOR THE SAFETY AND A GOOD SENSE REASON.” “[THERE WAS NO SMOKING] IN THE AUDITORIUM, NO DRINKS, WATER OR ANYTHING. THEY’D TRY TO BUY POP OR SOMETHING AT THE CONCESSION AREA AND TAKE IT INTO THE THEATRE, NONE OF THAT WAS ALLOWED RIGHT FROM THE OUTSET.” MACLEAN ADDITIONALLY INTERVIEWED JEFF CARLSON ON NOVEMBER 15, 2017. CARLSON WORKED FULL-TIME IN THE YATES THEATRE PRODUCING, WRITING, AND DIRECTING WITH NEW WEST THEATRE, LETHBRIDGE. CARLSON ELABORATED ON THE SIGN, “IT MAY HAVE BEEN IN THE LOADING DOCK. I’M TRYING TO RECALL WHERE IT WAS BUT I’M SURE I HAVE HUNDREDS OF PICTURES OF US SMOKING UNDERNEATH THIS SIGN BECAUSE THAT WAS THE ONLY PLACE WE SMOKED IN THE THEATRE. IT’S HARD TO IMAGINE NOW THAT WE SMOKED ALL THE TIME IN REHEARSALS, WE SMOKED ON STAGE. WE’D HAVE TO HAVE A GIANT ASHTRAY SITTING OUT THERE. WE USED TO SMOKE IN THE AUDITORIUM WHILE DIRECTING, SO TO SEE THE ‘NO SMOKING’ SIGN BRINGS BACK A LOT OF MEMORIES. WE JUST KEPT MOVING. FIRST WE COULD SMOKE ANYWHERE – THERE’S PHOTOS OF ED BAYLY WITH A CIGARETTE AND A BEER RUNNING LIGHTS IN THE BOOTH. THEN WE’RE ONLY ALLOWED TO SMOKE BACKSTAGE AND THEN EVENTUALLY, ONLY ALLOWED TO SMOKE IN THE LOADING DOCK. I DON’T KNOW WHAT YEAR THAT WOULD HAVE BEEN FROM BUT IT WAS THERE EVER SINCE I WAS IN THE BUILDING.” “BACK IN THE DAY, EVERYONE SMOKED. IN THEATRE, IN ANY OF THE PERFORMING ARTS, I THINK SMOKING WAS A BIT OF THE CULTURE EVEN TO THIS DAY. BALLET DANCERS AND ARTISTS ARE SOME OF THE…HEAVIEST CHAIN SMOKERS THERE ARE. WORKING BALLETS AT THE UNIVERSITY THEATRE AND THESE BEAUTIFUL DANCERS WILL BE OUT THERE…THEY WOULD WAFT INTO THE WINGS WHERE SOMEBODY WOULD HAVE A LIT CIGARETTE AND GIVE IT RIGHT TO THEM. THEY WOULD TAKE A COUPLE OF PUFFS, BLOW OUT, AND GO RIGHT BACK ONSTAGE. IT’S CRAZY TO ME ‘CAUSE WE SMOKED – WE’D DO A TWO-HOUR SHOW AND DURING THE SHOW, IF YOU WEREN’T ONSTAGE, YOU WERE PROBABLY IN THE BACK LOADING DOCK JUST OFF TO THE STAGE LEFT WING, SMOKING AWAY. EVERYONE IN THE AUDIENCE COULD SMELL IT. THESE ARE THINGS WE NEVER CONSIDERED UNTIL WE MADE THE INTELLIGENT CHOICE TO BAN SMOKING EVERYWHERE AND NOW IF SOMEBODY LIGHTS UP A CIGARETTE IN A TEN THOUSAND SQUARE-FOOT AREA, YOU SMELL IT IMMEDIATELY AND GO, ‘HOW DID WE USED TO DO THAT?’ THAT’S A GREAT OLD SIGN.” “THE SMOKERS ALWAYS HAD A PUSH-BACK ON IT. IN HINDSIGHT, IT MAKES PERFECT, INTENSE SENSE BUT AT THE TIME, THEY’RE LIKE 'THIS IS MY--I CAN SMOKE WHEREVER I DARN WELL WANT TO.' ONE OF THE CHALLENGES THAT WE FACE IN THEATRE NOWADAYS…[IS] SMOKING WAS AN INTEGRAL PART OF THE PLAY. IT WAS WRITTEN INTO IT. EVERY TABLE HAD AN ASHTRAY AND A CIGARETTE CASE. YOU DIDN’T HAVE PACKAGES OF CIGARETTES, YOU HAD YOUR LOVELY CIGARETTE CASE THAT YOU OFFERED AROUND. NOW, YOU’RE NOT ALLOWED, SO HOW DO YOU DO THESE PLAYS WITH HISTORICAL VALUE WHERE SMOKING WAS, YOU KNOW FOR BETTER OR FOR WORSE, SMOKING WAS AN INTEGRAL PART OF PEOPLE’S LIVES? SOMETIMES THEY’RE AN INTEGRAL PART OF THE PLAY, THEY’RE WRITTEN RIGHT INTO IT. WHEN WE DO CHANGE THE RULES, IT’S DIFFICULT AND I DON’T KNOW IF YOU GET WAIVERS OR HOW YOU GO ABOUT IT. I’M WORKING WITH ONE GROUP RIGHT NOW TRYING TO GET AN ELECTRONIC CIGARETTE TO FUNCTION AND BE SOMEWHAT BELIEVABLE ONSTAGE. WE’RE TRYING BUT NOW EVEN THE ELECTRONIC CIGARETTES…PEOPLE ARE LOOKING DOWN THEIR NOSE AT THEM SO IT’S A DIFFERENT WORLD…IT’S A CHALLENGE.” ED AND LINDA BAYLY RECALLED THEIR YEARS SPENT WORKING WITH THE YATES THEATRE IN LETHBRIDGE, WITH ED BAYLY NOTING, “I WAS MANAGER AT THE YATES FOR 35 YEARS. I WAS INVOLVED WITH THE LOCAL DRAMA GROUPS FOR A NUMBER OF YEARS BEFORE THAT SO THAT WAS PARTIALLY THE REASON THAT I WAS CHOSEN FOR THE JOB. I HAD THE CONTACTS." “WHAT I REMEMBER MOST OF ALL WAS THE FACT THAT THE CITY PUT THE FUNDING FOR THE YATES UP TO THE PUBLIC IN A PUBLIC PLEBISCITE, AND IT WAS TURNED DOWN TWICE BEFORE THEY WENT AHEAD WITH THE MONEY THAT THEY HAD AND BUILT THE PLACE. PEOPLE WERE SAYING, 'WELL, WHAT DO YOU WANT THAT FOR, NO ONE’S EVER GOING TO USE IT.' THEN WE HAD THE OPENING AND FRED WEATHERUP, WHO WAS THE OWNER OF ENERSON MOTORS, BROUGHT IN SOME GO-GO DANCERS AND THEY HAD CARS PARKED OUT IN FRONT OF THE YATES, AND THAT SORT OF BROUGHT IN OTHER PEOPLE THAT WEREN’T REALLY INTERESTED IN THE ARTS AND THEY GOT A CHANCE TO SEE THE PLACE.” “THE REST OF THE PROVINCE GOT THE JUBILEE AUDITORIUMS WHICH WE DIDN’T. THOSE ARE WAY BIGGER OF COURSE AND A LOT MORE EXPENSIVE. WE WERE VERY FORTUNATE IN THIS MATTER–WE HAD A BEQUEST FROM THE YATES FAMILY THAT PRETTY WELL PAID FOR CONSTRUCTION OF THE BUILDING. AFTER A VERY FEW YEARS, YOU [STARTED TO] WONDER HOW YOU GOT ALONG WITHOUT IT BECAUSE IT WAS IN CONSTANT USE, AND STILL IS. IT WAS VERY WELL BUILT AND IT WILL CONTINUE TO SERVE THE COMMUNITY FOR ANY NUMBER OF YEARS BECAUSE WE’RE IN THE PROCESS OF RENOVATING IT, ADDING ON TO IT.” “I WAS HIRED ON BEFORE THE BUILDING WAS FINISHED SO I WAS THERE DURING THE CONSTRUCTION OF IT. I HAD SOME INPUT. IT WAS EXCITING. [THE] JOB WAS DIFFERENT ALL THE TIME. THEY HAD THESE GROUPS COME IN, AND…IT WAS AN EVERYDAY EVENT FOR ME. THEY ALL USED TO SAY, 'HOW COME YOU STAY SO CALM?' AND I WOULD SAY 'WELL, BECAUSE I DO IT EVERY DAY, AND YOU ONLY DO IT ONCE A YEAR.'” LINDA BAYLY SPOKE ABOUT HER OWN EXPERIENCES WITH THE YATES THEATRE, NOTING, “I WAS THE SECRETARY IN THE FRONT OFFICE AND WORKED WITH MAKING BOOKINGS FOR THE BUILDING AND GENERAL SECRETARIAL WORK AT THAT TIME. ED WAS THE TECHNICIAN FOR A NUMBER OF YEARS BEFORE HE BECAME HE MANAGER. HE HAD TO MAKE SURE ALL THESE RULES BACKSTAGE WERE LOOKED AFTER AND ATTENDED TO AND COMPLETED.” JEFF CARLSON ELABORATED ON HIS TIME WITH THE YATES THEATRE, STATING, “I SPENT MY ENTIRE PRETTY MUCH LIFE…IN THE YATES, IN THE GENEVIEVE YATES MEMORIAL THEATRE. I STARTED GOING TO THE YATES PROBABLY IN THE ‘70S WITH THE KIWANIS MUSIC FESTIVAL AND SCHOOL BAND AND CHOIR EVENTS…BACK IN LAKEVIEW ELEMENTARY SCHOOL. AFTER THAT I STARTED ACTING IN THEATRE AND EVENTUALLY PRODUCING AND DIRECTING THEATRE UP UNTIL LESS THAN A YEAR AGO.” “[AT THE TIME] I FIGURED 'NOW THIS IS FUN, I LIKE THIS, I THINK I’M OKAY AT IT' SO I GAVE MYSELF SOME DEADLINES. I SAID, 'I’LL PURSUE THIS UNTIL I’M THIRTY AND IF I HAVEN’T MADE A CAREER IN IT BY THEN, THEN I WILL DO MY FALLBACK EDUCATION OR POLITICAL SCIENCE OR RUSSIAN HISTORY.' I HAD BITTEN OFF A BIT OF IT AT THAT POINT. BUT, BY THE AGE OF THIRTY, I WAS WORKING FULLTIME IN THEATRE, WRITING, DIRECTING, PRODUCING PRODUCTIONS FOR NEW WEST THEATRE AT THE YATES.” “[I WAS] PROFESSIONALLY EMPLOYED AT THE YATES BY [THE] LATE ‘80S, EARLY ‘90S. THERE WAS A MIX THERE BECAUSE WE WERE DOING FULL-TIME THEATRE PRODUCTIONS BY THE LATE ‘80S BUT THEN I TOOK TIME OFF TO TAKE A TOURING COMPANY THROUGH ALBERTA AND B.C., FOR NEW WEST THEATRE. [I] ENDED UP LIKING IT SO MUCH THAT I STAYED IN VANCOUVER FOR A COUPLE OF YEARS. [I] CAME BACK FOR A TWO-WEEK VISIT ON MY WAY TO TORONTO TO GO INTO FILM AND TV. AS I WAS HERE FOR TWO WEEKS, THE ASSOCIATE DIRECTOR QUIT AND THEY SAID, 'PLEASE, PLEASE, PLEASE – ', AND SO I SAID, 'I’LL DO IT FOR A YEAR.' THAT IS NOW TWENTY-FIVE YEARS AGO. IT WAS JUST CIRCUMSTANCES.” “WE [HAD] REPLACED THE SEATS IN THE YATES AND REPAINTED THE WHOLE THING. IT WAS PROBABLY ONE OF THE MISTAKES THAT WAS MADE, IN MY OPINION, WAS THAT BLUE COLOUR WE PUT ON THE WALLS. THEY CHANGED [THE PAINT COLOUR] TO THIS LIGHT BLUE THAT CAUSED THE LIGHTING DESIGNS TO BE SUCH A CHALLENGE.” “WE DID EVERYTHING. WE RAN THE LIGHTS, HUNG THE LIGHTS, FOCUSED THE LIGHTS. THEY MADE ME SEW COSTUMES. I REMEMBER MAKING A POODLE SKIRT FOR A SHOW IN 1986. I’VE LEARNED HOW TO MAKE A POODLE SKIRT. IT WAS TERRIBLE, BUT I LEARNED HOW TO MAKE IT. IN MY DEGREE AT THE UNIVERSITY OF LETHBRIDGE, YOU HAVE TO GET SO MANY, WHAT THEY CALL ‘BACKSTAGE CREDITS’, IN RUNNING BACKSTAGE SHOWS, HANGING THE LIGHTS, DOING WARDROBE. THEY WAIVED THAT REQUIREMENT FOR ME BECAUSE, GROWING UP IN NEW WEST AND DOING EVERYTHING IN NEW WEST, THEY KNEW WE DID EVERYTHING. WE BUILT THE SETS, PAINTED THE SETS, HUNG THE LIGHTS, DID EVERYTHING. I WAS VERY FORTUNATE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170029001-GA.
Catalogue Number
P20170029004
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20170029005
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
1970
Materials
WOOD, PAINT
No. Pieces
1
Length
91.6
Width
54.1
Description
WOOD BOARD WITH WHITE PAINTED BACKGROUND AND RED TEXT WITH YELLOW SHADOW READING “NOTICE” AND BLACK TEXT “AFTER YOUR REHEARSAL OR PERFORMANCE, PLEASE CLEAR THE STAGE AND RETURN EVERYTHING TO ITS PROPER PLACE. IF WE HAVE TO DO IT, THEN YOUR GROUP WILL BE CHARGED.” FRONT OF SIGN HAS BLACK PAINT SMEAR IN LOWER RIGHT CORNER AND LOWER LEFT CORNER; SIGN HAS PAINT STAINS ACROSS FRONT AND IS CHIPPED; SIGN HAS FOUR HOLES DRILLED IN EACH CORNER. BACK OF SIGN IS BROWN WITH WHITE PAINT SMEARS AND SPOTS, AND WHITE PAINT STAINING EDGES. BACK OF SIGN HAS GREY SPOTS STAINING AND LOWER EDGE OF SIGN SHOWS SIGNS OF WATER DAMAGER; OVERALL VERY GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
FURNISHINGS
BUSINESS
History
THE CITY OF LETHBRIDGE RECREATION AND CULTURE DEPARTMENT DONATED OBJECTS FROM THE YATES THEATRE IN LETHBRIDGE UPON RENOVATIONS TO THE YATES THEATRE IN SEPTEMBER 2017. THE OBJECTS DONATED WERE USED IN THE YATES AFTER ITS CONSTRUCTION IN THE 1960S. ON DECEMBER 18, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND LINDA BAYLY REGARDING THEIR INVOLVEMENT WITH AND MEMORIES OF THE YATES THEATRE. ED AND LINDA BAYLY IDENTIFIED THE OBJECTS DONATED FROM THE YATES AND RECALLED THEIR OWN EXPERIENCES WITH THE OBJECTS. ON THE SIGN, ED BAYLY ELABORATED, “THAT WAS DONE BY OUR SIGN WRITER IN THE CITY OF LETHBRIDGE. WE HAD A REGULAR SIGN WRITER THAT DID THE…TRAFFIC SIGNS AND THINGS SUCH AS THAT. THEY USED TO PAINT THEM BUT THEY DON’T DO THAT ANYMORE OF COURSE. THEY USE THAT VINYL STUFF NOW. THAT SORT OF GIVES YOU AN IDEA – THAT SIGN THERE THAT SAYS 'AFTER YOUR REHEARSAL OR PERFORMANCE PLEASE CLEAR THE STAGE AND RETURN EVERYTHING TO ITS PROPER PLACE. IF WE HAVE TO DO IT, THEN YOUR GROUP WILL BE CHARGED.' WE WERE JUST SO DEPENDENT UPON VOLUNTEERS TO MAKE SURE THAT THEY DID THAT TYPE OF THING. WE COULDN’T HAVE OPERATED WITHOUT THE VOLUNTEERS THAT WERE THERE. THEY DID SO MUCH OF IT. IT HAS CHANGED LATELY, TOO, IT’S MORE AND MORE DIFFICULT TO FIND PEOPLE THAT ARE WILLING OR ABLE TO DO THAT. SIGN OF THE TIMES I THINK…” “[THAT SIGN] IS REMINISCENT OF THE VOLUNTEERS THAT WE HAD. IT REMINDS ME OF THEM.” “[VOLUNTEERS WERE] INVALUABLE. NO WAY THAT WE COULD OPERATE WITHOUT THEM. THE NUMBER OF HOURS THAT THEY PUT IN WAS PHENOMENAL. FOR INSTANCE IN MUSICAL THEATRE IT WOULD TAKE CLOSE TO A HUNDRED THOUSAND DOLLARS TO MOUNT A PRODUCTION AND THAT WAS WITH NOBODY GETTING PAID.” LINDA BAYLY ADDED, “THERE WAS AN ATTITUDE AT THE TIME OF ‘IT BEING JUST SO MUCH FUN TO BE INVOLVED’. ED’S FATHER USED TO COME OUT. HE WAS A CARPENTER BY TRADE AND HE JUST LOVED TO HELP. HIS MOTHER LOVED TO SEW COSTUMES AND THEY HAD THEIR LITTLE GROUP OF LADIES DOWN IN [THE] COSTUME ROOM MAKING COSTUMES. THE GUYS WOULD BUILD THE SET AND THEY WERE PART OF THEIR OWN LITTLE CREW. THERE WERE OTHERS THAT WERE KEEPING THINGS MOVING, STAGE MANAGERS, AND PEOPLE THAT WERE CUING. IT WAS JUST ALL A FUN THING TO DO. A LOT OF PEOPLE JUST WANT TO BE ON STAGE AND SING AND DANCE AND HEAR THE APPLAUSE AND IT’S WONDERFUL. IN THOSE YEARS WE WERE INVOLVED WITH MUSICAL THEATRE AND PLAYGOERS TO BE PART OF SOMETHING FUN TO GIVE TO THE AUDIENCE. THEY WOULD COME IN AND BUILD EVERYTHING, MAKE THE MESS, CLEAN UP THE MESS, LEAVE AND GO HOME FEELING GOOD ABOUT IT. TIMES HAVE CHANGED. ALL THEATRE GROUPS FOR EXAMPLE ARE SCRAMBLING RIGHT NOW BECAUSE OF THE YATES. THE YATES IS SO IMPORTANT BECAUSE IT’S A SMALLER THEATRE, BUT THEY’RE HAVING TO GO TO SCHOOLS AND THEY HAVE TO GO TO CHURCH BASEMENTS. THIS WAS A HOME FOR PEOPLE WHO LOVED THE ARTS AND IT WAS MUSIC AND DANCE…IT WAS GOOD.” “PEOPLE MADE LIFELONG FRIENDS - BECAUSE THEY HAD A PLACE TO GO.” MACLEAN ADDITIONALLY INTERVIEWED JEFF CARLSON ON NOVEMBER 15, 2017. CARLSON WORKED FULL-TIME IN THE YATES THEATRE PRODUCING, WRITING, AND DIRECTING WITH NEW WEST THEATRE, LETHBRIDGE. CARLSON ELABORATED ON THE SIGN, “THIS WAS VERY RELEVANT. NEVER ENFORCED. IT’S THE JOY OF COMMUNITY THEATRE. YES, THE STAFF WANTS TO BE AS COST-EFFECTIVE AS POSSIBLE AND MAKE SURE THAT…IF TEN O’CLOCK COMES AND THEY LEAVE AND EVERYTHING NEEDS TO BE CLEANED UP, THE STAFF’S THERE FOR TWO MORE HOURS, THEY’LL BE BILLED BACK. TO THE BEST OF MY KNOWLEDGE, THAT’S NEVER BEEN ENFORCED BECAUSE IT IS COMMUNITY THEATRE, IT’S A COMMUNITY SPACE, AND EVERY PERSON THAT’S EVER WORKED IN THE YATES, THEIR HEART AND SOUL WAS THERE. IT WAS THERE TO DO WHAT’S RIGHT FOR THE COMMUNITY, SO I THINK IT WAS A STERN WARNING AND MOST OF US, BEING GOOD CANADIANS, FOLLOWED IT. I DON’T THINK IT WAS EVER ENFORCED. IT COULD HAVE BEEN AND THAT WAS THE THREAT.” “I DOUBT THIS WAS UP FIRST DAY. I COULD TELL YOU TALES ABOUT THE EARLY DAYS OF THEATRE WHERE…THE SHOW WOULD START AT EIGHT, BE DONE BY TEN THIRTY AND THEN WE WOULD DRINK AND SMOKE AND PLAY THE PIANO DOWN IN THE GREEN ROOM UNTIL THREE OR FOUR O’CLOCK IN THE MORNING. WE WERE A FAMILY, WE ALL LOVED AND TRUSTED EACH OTHER SO THERE WAS NEVER ANY FEAR THAT WE WERE GOING TO DAMAGE ANYTHING. I WISH PEOPLE WOULD SIGN THINGS ON THE BACK…SO YOU ALWAYS KNEW WHERE IT CAME FROM.” ED AND LINDA BAYLY RECALLED THEIR YEARS SPENT WORKING WITH THE YATES THEATRE IN LETHBRIDGE, WITH ED BAYLY NOTING, “I WAS MANAGER AT THE YATES FOR 35 YEARS. I WAS INVOLVED WITH THE LOCAL DRAMA GROUPS FOR A NUMBER OF YEARS BEFORE THAT SO THAT WAS PARTIALLY THE REASON THAT I WAS CHOSEN FOR THE JOB. I HAD THE CONTACTS." “WHAT I REMEMBER MOST OF ALL WAS THE FACT THAT THE CITY PUT THE FUNDING FOR THE YATES UP TO THE PUBLIC IN A PUBLIC PLEBISCITE, AND IT WAS TURNED DOWN TWICE BEFORE THEY WENT AHEAD WITH THE MONEY THAT THEY HAD AND BUILT THE PLACE. PEOPLE WERE SAYING, 'WELL, WHAT DO YOU WANT THAT FOR, NO ONE’S EVER GOING TO USE IT.' THEN WE HAD THE OPENING AND FRED WEATHERUP, WHO WAS THE OWNER OF ENERSON MOTORS, BROUGHT IN SOME GO-GO DANCERS AND THEY HAD CARS PARKED OUT IN FRONT OF THE YATES, AND THAT SORT OF BROUGHT IN OTHER PEOPLE THAT WEREN’T REALLY INTERESTED IN THE ARTS AND THEY GOT A CHANCE TO SEE THE PLACE.” “THE REST OF THE PROVINCE GOT THE JUBILEE AUDITORIUMS WHICH WE DIDN’T. THOSE ARE WAY BIGGER OF COURSE AND A LOT MORE EXPENSIVE. WE WERE VERY FORTUNATE IN THIS MATTER–WE HAD A BEQUEST FROM THE YATES FAMILY THAT PRETTY WELL PAID FOR CONSTRUCTION OF THE BUILDING. AFTER A VERY FEW YEARS, YOU [STARTED TO] WONDER HOW YOU GOT ALONG WITHOUT IT BECAUSE IT WAS IN CONSTANT USE, AND STILL IS. IT WAS VERY WELL BUILT AND IT WILL CONTINUE TO SERVE THE COMMUNITY FOR ANY NUMBER OF YEARS BECAUSE WE’RE IN THE PROCESS OF RENOVATING IT, ADDING ON TO IT.” “I WAS HIRED ON BEFORE THE BUILDING WAS FINISHED SO I WAS THERE DURING THE CONSTRUCTION OF IT. I HAD SOME INPUT. IT WAS EXCITING. [THE] JOB WAS DIFFERENT ALL THE TIME. THEY HAD THESE GROUPS COME IN, AND…IT WAS AN EVERYDAY EVENT FOR ME. THEY ALL USED TO SAY, 'HOW COME YOU STAY SO CALM?' AND I WOULD SAY 'WELL, BECAUSE I DO IT EVERY DAY, AND YOU ONLY DO IT ONCE A YEAR.'” LINDA BAYLY SPOKE ABOUT HER OWN EXPERIENCES WITH THE YATES THEATRE, NOTING, “I WAS THE SECRETARY IN THE FRONT OFFICE AND WORKED WITH MAKING BOOKINGS FOR THE BUILDING AND GENERAL SECRETARIAL WORK AT THAT TIME. ED WAS THE TECHNICIAN FOR A NUMBER OF YEARS BEFORE HE BECAME HE MANAGER. HE HAD TO MAKE SURE ALL THESE RULES BACKSTAGE WERE LOOKED AFTER AND ATTENDED TO AND COMPLETED.” JEFF CARLSON ELABORATED ON HIS TIME WITH THE YATES THEATRE, STATING, “I SPENT MY ENTIRE PRETTY MUCH LIFE…IN THE YATES, IN THE GENEVIEVE YATES MEMORIAL THEATRE. I STARTED GOING TO THE YATES PROBABLY IN THE ‘70S WITH THE KIWANIS MUSIC FESTIVAL AND SCHOOL BAND AND CHOIR EVENTS…BACK IN LAKEVIEW ELEMENTARY SCHOOL. AFTER THAT I STARTED ACTING IN THEATRE AND EVENTUALLY PRODUCING AND DIRECTING THEATRE UP UNTIL LESS THAN A YEAR AGO.” “[AT THE TIME] I FIGURED 'NOW THIS IS FUN, I LIKE THIS, I THINK I’M OKAY AT IT' SO I GAVE MYSELF SOME DEADLINES. I SAID, 'I’LL PURSUE THIS UNTIL I’M THIRTY AND IF I HAVEN’T MADE A CAREER IN IT BY THEN, THEN I WILL DO MY FALLBACK EDUCATION OR POLITICAL SCIENCE OR RUSSIAN HISTORY.' I HAD BITTEN OFF A BIT OF IT AT THAT POINT. BUT, BY THE AGE OF THIRTY, I WAS WORKING FULLTIME IN THEATRE, WRITING, DIRECTING, PRODUCING PRODUCTIONS FOR NEW WEST THEATRE AT THE YATES.” “[I WAS] PROFESSIONALLY EMPLOYED AT THE YATES BY [THE] LATE ‘80S, EARLY ‘90S. THERE WAS A MIX THERE BECAUSE WE WERE DOING FULL-TIME THEATRE PRODUCTIONS BY THE LATE ‘80S BUT THEN I TOOK TIME OFF TO TAKE A TOURING COMPANY THROUGH ALBERTA AND B.C., FOR NEW WEST THEATRE. [I] ENDED UP LIKING IT SO MUCH THAT I STAYED IN VANCOUVER FOR A COUPLE OF YEARS. [I] CAME BACK FOR A TWO-WEEK VISIT ON MY WAY TO TORONTO TO GO INTO FILM AND TV. AS I WAS HERE FOR TWO WEEKS, THE ASSOCIATE DIRECTOR QUIT AND THEY SAID, 'PLEASE, PLEASE, PLEASE – ', AND SO I SAID, 'I’LL DO IT FOR A YEAR.' THAT IS NOW TWENTY-FIVE YEARS AGO. IT WAS JUST CIRCUMSTANCES.” “WE [HAD] REPLACED THE SEATS IN THE YATES AND REPAINTED THE WHOLE THING. IT WAS PROBABLY ONE OF THE MISTAKES THAT WAS MADE, IN MY OPINION, WAS THAT BLUE COLOUR WE PUT ON THE WALLS. THEY CHANGED [THE PAINT COLOUR] TO THIS LIGHT BLUE THAT CAUSED THE LIGHTING DESIGNS TO BE SUCH A CHALLENGE.” “WE DID EVERYTHING. WE RAN THE LIGHTS, HUNG THE LIGHTS, FOCUSED THE LIGHTS. THEY MADE ME SEW COSTUMES. I REMEMBER MAKING A POODLE SKIRT FOR A SHOW IN 1986. I’VE LEARNED HOW TO MAKE A POODLE SKIRT. IT WAS TERRIBLE, BUT I LEARNED HOW TO MAKE IT. IN MY DEGREE AT THE UNIVERSITY OF LETHBRIDGE, YOU HAVE TO GET SO MANY, WHAT THEY CALL ‘BACKSTAGE CREDITS’, IN RUNNING BACKSTAGE SHOWS, HANGING THE LIGHTS, DOING WARDROBE. THEY WAIVED THAT REQUIREMENT FOR ME BECAUSE, GROWING UP IN NEW WEST AND DOING EVERYTHING IN NEW WEST, THEY KNEW WE DID EVERYTHING. WE BUILT THE SETS, PAINTED THE SETS, HUNG THE LIGHTS, DID EVERYTHING. I WAS VERY FORTUNATE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170029001-GA.
Catalogue Number
P20170029005
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19960010008
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD
No. Pieces
1
Height
0.6
Length
45
Width
35.4
Description
WOOD SIGN, PAINTED ECRU WITH BLACK AND RED STENCILLED PRINT. READS IN LARGE BLOCK LETTERS "BELL SIGNAL 1 BELL STOP 2 BELLS DOWN 3 BELLS HOIST". NAIL HOLE IN EACH CORNER. WOOD IS DRY AND SPLIT, AND PAINT IS CHIPPING THROUGHOUT. DENT IN TOP SURFACE, NEAR UPPER EDGE OF SIGN.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
COAL MINING
History
FOUND BY DONOR IN A MINE ON HIS SUMMER PROPERTY IN THE BEAVER MINES AREA. MINE WAS ABANDONED AFTER WWII DUE TO LOW GRADE OF COAL. ITEM SALVAGED PRIOR TO DONOR'S RETIREMENT FROM U OF L (PSYCHOLOGY PROFESSOR) TO THE WEST COAST IN 1996.
Catalogue Number
P19960010008
Acquisition Date
1996-03
Collection
Museum
Less detail
Other Name
GALT COAL
Date Range From
1920
Date Range To
1940
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19990035171
Material Type
Artifact
Other Name
GALT COAL
Date Range From
1920
Date Range To
1940
Materials
PAPER
No. Pieces
1
Height
0.1
Length
65.5
Width
50.5
Description
RECTANGULAR. YELLOW BACKGROUND. AT THE TOP, PRINTED IN BLACK IS "WE RECOMMEND". BELOW THIS IN BLACK WITH A WIDE BLUE OUTLINE IS "ALBERTA'S HIGHEST GRADE DOMESTIC COAL". IN THE MIDDLE IS A BLACK GALT COAL LOGO WITH "GALT COAL" PRINTED IN FLUORESCENT ORANGE, AND "BURNS ALL NIGHT" IN BLACK. TO THE RIGHT OF THE LOGO, IN LARGE BLACK LETTERS IS "GALT". BELOW THIS IS "THE DEEP SEAM HARD COAL MINED BY" IN BLACK, AND "LETHBRIDGE COLLIERIES LTD." IN BLUE.
Subjects
ADVERTISING MEDIUM
VISUAL COMMUNICATION T&E
Historical Association
COAL MINING
RETAIL TRADE
History
SEE P19990035001-GA FOR DONOR HISTORY.
Catalogue Number
P19990035171
Acquisition Date
2000-07
Collection
Museum
Less detail

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