Forest Theater Foundation Newsletter: Centennial Celebration Forest Theater (July 9, 1910, July 9, 2010)

ABSTRACT: Today, at the Local History Lecture ‘Happy 100th Birthday, Forest Theater!’ at the Carmel Youth Center, the Forest Theater Foundation Newsletter ‘Centennial Celebration’ with the ‘History of the Forest Theater,’ by Rose McLendon (Local History Librarian) was available to attendees. The text of the Centennial Celebration Newsletter is reproduced, including ‘History of the Forest Theater,’ ‘Important Dates’ and sidebar information.

Centennial Celebration
July 9, 1910 – July 9, 2010

Forest Theater

Celebrating 100 years of plays and musicals, children’s theatre, Shakespeare, and the classics of yesterday and today.

Forest Theater Foundation Newsletter

History of the Forest Theater
By Rose McLendon
with additional material by the Forest Theater Foundation

Attending a play or musical at the beloved Forest Theater is a long-standing Carmel tradition, followed annually by residents and visitors alike. Longtime Carmelites treasure memories of their first magical visit to the city’s “open-air playhouse,” or of long-forgotten words to a role in one of the early plays or pageants. Visitors have heard tales of renowned luminaries gracing the stage. Young and old share in the wonder of live dramas, comedies, musicals, children’s theater, and feature films, all presented under a summer’s night sky.

As the Forest Theater begins to celebrate its first centennial, you are invited to discover the rich history of the “oldest outdoor theater west of the Rockies.”

Depending on who tells the story, the Forest Theater was started by several different people. Mary Austin is often credited as the one who first suggested the idea. Others say that George Sterling, Michael Williams, Austin, Herbert Heron and others developed a shared vision of a theater beneath the stars. No matter who claims this distinction, there is no mistake as to who can be considered “the father of the Forest Theater” – Herbert Heron.

Herbert Heron came to Carmel in 1908. He had worked extensively on the stage in Los Angeles and came from a background of writers and dramatists. On a visit from Los Angeles, Heron fell in love with the village by the sea. He soon settled in Carmel, bringing with him his young bride Opal Heron, the daughter of a Polish Count. In 1910, the Herons found a concave hillside looking out, surrounded by oaks and pines, and thought it would be an ideal space for an outdoor theater. Heron’s idea was to stage plays by Carmel authors starring local residents – a true community theater. He approached Frank Devendorf, co-founder of the Carmel Development Company, and asked about purchasing the plot for such a purpose. Devendorf, wanting to attract artistic spirits and “brain workers” to the nascent village, i.e. teachers, librarians, etc., agreed and let Heron have the space rent-free.

By February of 1910, construction began on the theater. It was a simple plan: a wooden proscenium stage with a scrim of pines and plain wooden benches. Meanwhile, Heron was busying organizing the first production with the help of the newly minted ‘Forest Theater Society.’ The first theatrical production, David, a biblical drama by Constance Lindsay Skinner, inaugurated the Forest Theater on July 9, 1910. Reviewed in both Los Angeles and San Francisco, it was reported that over 1,000 theatergoers attended the production. There was no electricity at the theater – calcium floodlights were brought by covered wagon from Monterey to light the stage. Two bonfires were also lit on opposite ends of the proscenium, a tradition which continues today. By all accounts, the performance was considered a success and the packed house helped to solidify the role of theater in Carmel-by-the-Sea.

The Forest Theater Society produced numerous plays over the next decade. Of note was the 1912 production of The Toad, a play written by Berta Newberry, the wife of Perry Newberry, an early Carmel leader. Also produced that year was the first children’s play staged at the Forest Theater, Alice in Wonderland, adapted by Newberry and Arthur Vachell, and the first Shakespeare production, Twelfth Night, directed by Herbert Heron. There was so much enthusiasm for live theater, and varying ideas on how the Forest Theater should be run, that two additional theater groups began participating – The Western Drams Society (including Heron and other members of the Forest Theater Society), whose goal was to focus on California authors, and the already established Carmel Arts and Crafts Club, which had been active in the theater arts in Carmel since 1906. In 1913, theatergoers witnessed the world premiere of Mary Austin’s Fire, which she also directed, and in 1915 – a season that boasted 11 separate productions – audiences saw the premiere of Perry Newberry’s Junipero Serra, a historical pageant focusing on the life of Father Junipero Serra.

The ensuing decade saw the Forest Theater reach the height of production, with 50 plays and musicals staged between 1915 and 1924, including a 1922 production of Shaw’s Caesar and Cleopatra, when director Edward Kuster was almost run out of town for erecting a giant backdrop that hid Carmel’s beloved canopy of trees. Kuster defended himself admirably, noting that the play was, after all, set in a desert!

Unfortunately, this overabundance of plays became a serious strain on resources, such as players, donations and attendees, which were, understandably, spread thin. Inevitably, factional strife erupted between the groups and the quality of theater in Carmel began to decline. In 1924, in order to solve this dilemma and rebuild a healthy theater scene, the producing organizations merged under the auspices of the old Carmel Arts and Crafts Club, forming the Forest Theater Corporation, a unifying entity to produce and manage the plays staged at the Forest Theater.

Once again, the picturesque outdoor theater became extremely popular in the small village and it seemed the whole town added to the creative process. The many carpenters and woodworkers built highly intricate sets; those handy with a thread and needle created costumes. And just about every9one found their way on stage. Productions at the Forest Theater were truly a village affair. The resulting success enabled the Forest Theater Corporation to buy the land from the Carmel Development company in 1925. The corporation continued to produce plays throughout the 1920s and early 1930s. While the state of theater in Carmel was in a precarious position due to a glut of indoor theaters and theatrical companies, the Forest Theater continued to flourish. In 1934, the Forest Theater saw its 100th major production, The Man Who Married a Dumb Wife, by Anatole France. Heron directed the comedy, which features set and costume designs by Helena Heron.

The Great Depression struck and it affected all aspects of local life. When repairs were needed and no money could be found from local donors, the idea of applying for Works Progress Administration (WPA) money was proffered. Funds were only available to government entities and the private non-profit Forest Theater was not eligible.

In 1937, it was decided to deed the Forest Theater to the City of Carmel-by-the-Sea in order to obtain WPA funds for major renovations. Improvements to the facility included building new benches, laying a concrete foundation for the stage, and replacing the surrounding barb-wired fences with a simple grape-stake fence. While renovations were taking place there were no productions, no rehearsals – for almost 3 years, the Forest Theater was dark.

With a rejuvenated space in 1940, the amphitheater was ready to get back into the theater business. The works of Shakespeare had proven highly popular beginning with Heron’s early production of Twelfth Night, and upon completion of the WPA project, Heron formally resumed productions under a new banner – the Carmel Shakespeare Festival. In its first three years festival audiences saw Macbeth, Hamlet, Merry Wives of Windsor, and two productions of Twelfth Night as well as the work of several Carmel authors, including the world premiere production of Robinson Jeffers’ The Tower Beyond Tragedy.

With the advent of WWII, however, mandatory blackouts were ordered for coastal towns and cities. The residents of Carmel participated and halted all Forest Theater activity, essentially closing the facility in 1943-44, and again in 1946. In 1947, the facility resumed annual productions for two more years.

Throughout this time, Herbert Heron maintained his intense involvement with the Forest Theater, continuing to write, produce, direct and star in productions. Growing tired of the constant activity, Heron retired from active involvement. Theater was in Heron’s blood, though, and he could not completely leave the theater behind. As part of deeding the Forest Theater to the City of Carmel-by-the-Sea, the city took over responsibility for the physical plant.

In 1949, realizing that a supporting organization was needed for the City-owned facility, Heron organized and co-founded the Forest Theatre Guild. Guided by Cole Weston and Philip Oberg, the Forest Theater Guild continued to produce plays by local authors, Shakespeare, and classic drama. In 1950, under the energetic guidance of Cole Weston, the Guild built dressing rooms, and a small theater underneath the main outdoor stage. Eventually, the space became known as the Theater-in-the-Ground, and today is called simply, the Indoor Forest Theater. In 1960, Herbert Heron finished his 50th year at the Forest Theater with his own play, Pharaoh.

By 1963 the theater had presented over 140 plays, including scores of world premieres by California authors, and works of Shakespeare, George Bernard Shaw, Greek tragedies, local history, children’s plays, light operas and musical comedies. One production even features real horses on stage.

Unfortunately, despite some continued play production, parts of the theater were left in disrepair. Upkeep was not maintained by the City and, during the mid-1960s, the weed in the stage and seating rotted and the grounds became rundown. By this time, the Forest Theater Guild had become dormant, and, with a few minor exceptions, no plays were being shown on the main stage. The City began to use the site for other purposes, such as a Boy Scout camp, and a city-storage yard, The Cultural Commission recommended to the City that either repairs should be made to the aging Forest Theater, or it should be unloaded from the City’s holding. At the time, no action was taken. In 1966, rumblings about the usefulness of the Forest Theater were made by the City Council during the 1966-1967 budget meetings. Discussions included whether it was cost effective to keep the theater, resulting in an uproar by Carmelites determined to save the historic site. In 1968, to keep the Forest Theater in use, Cole Weston, who had then become the city’s first Cultural Director, leased the Theater-in-the-Ground to the Children’s Experimental Theater, founded and operated by Marcia Hovick. The Children’s Experimental Theater (CET) was formed in 1960 to encourage children of all ages to develop confidence and creativity by teaching theatrical skills such as diction, characterization, memorization, classical movement, stage combat, technical theater, and more. CET had been temporarily using space at the Golden Bough Theatre and Sunset Center, and needed a permanent place for their activities.

At the Forest Theater, CET flourished and expanded. In 1969, staff of CET formed a new production entity, appropriately called the Staff Players Repertory Company, staging classical dramas and comedies in the Indoor Forest Theater, including plays by Shakespeare, Shaw, Moliere, and Giraudoux. In addition, CET formed a “Traveling Troupe” in order to being performances to school children who would not otherwise have the opportunity to see live theater. Not only has CET benefited generations of Monterey County children, but has also kick-started the theatrical carets of many of the areas’ current actors, directors and producers.

In spite of this new use of the Forest Theater, the main stage remained dark. And once again, reservations about the usefulness of the theater were voiced. This time, the Cultural Commission was seriously considering closing the theater for good. Again, the residents of Carmel rose up and voiced their opposition. The Forest Theater Guild (FTG) was reactivated and, in 1971, in order to raise needed funds as well as draw attention to the possible closure, produced a staged reading of Robinson Jeffers’ Medea and The Tower Beyond Tragedy, featuring an electrifying performance by world renowned actress Dame Judith Anderson. In 1972, FTG staged a second successful production with Shakespeare’s Twelfth Night. The success of these two productions showed the City that there was still public interest and support for the Forest Theater. The city council commissioned a study to evaluate the efficacy of the theater.

The public was invited to comment and, after several months of often-heated discussion, the council decided, on a two-year trial basis, to continue city operation of the site and lease the facility to the Forest Theater Guild. The trial was a success, and, after negotiations over calendar and use of space with CET, the lease with FTG was renewed. Over the coming decade, FTG would produce over 20 major plays, focusing on the great classics from the world stage, including memorable production of such important American works as Eugene O’Neill’s Moon for the Misbegotten and A Long Day’s Journey into Night, both staged by Cole Weston, son of the well-known photography icon, Edward Weston, and a renowned photographer in his own right.

In 1984, a new organization joined the Forest Theater community – GroveMont Theater, founded in 1982 by Stephen Moorer. As a youth, Moorer acted and assisted in the CET program, and had performed major roles in several Forest Theater Guild productions. Inspired by his theater experiences in Carmel and on the Monterey Peninsula, as well as the rich performing arts tradition in the region, Moorer founded GroveMont Theatre. In 1984, at the request of the Carmel Cultural Commission, GroveMont began producing at the Forest Theater. Their first production there was Jeffers’ Medea, starring local acting legend Rosamond Goodrich Zanides, which proved a successful fundraiser for the company. Following Medea, GroveMont continued to stage productions at the Forest Theater every September and October, expanding into August in 2000. In 1994, in addition to the seasonal use of the amphitheatre, Moorer found a year-round home at the golden Bough Playhouse, the historic Carmel theatre founded by Edward Kuster. In 1993, to better reflect the company’s growth and development, GroveMont changed its name to Pacific Repertory Theatre (PacRep), began performing at the golden Bough, Circle, and Forest Theaters, and became the only professional theatre in Carmel.

Throughout the 1980s and 1990s, facility maintenance and play production remained constant. In 1988, the City spent $200,000 for much-needed renovations, which included replacing the seating, rebuilding the stage, and addressing necessary safety issues. CET/Staff Players continued its twofold mission, and in the process, educated thousands of area youth while staging hundreds of productions featuring children and adults from the local regions. With the FTG’s production of Canterbury Tales, one of the first musicals staged at the Forest Theater since the 1950s, annual large-scale musicals began to be produced on the outdoor stage, with great success. Of particular note was the 1989 FTG production of Showboat, directed by long-time FTG leader Hamish Tyler, and featuring hundreds of members of the community working backstage, onstage, and in the house. The production recalled the unifying spirit upon which the theater was originally founded, bringing together people from all walks of life to participate in true community theater. In 1994, FTG initiated the “Films in the Forest,” a program showing classic and newer films during the summer months, which proved highly popular with the community.

In 1990, PacRep reinstated the Carmel Shake-speare Festival, hearkening to the early days of the theater, and when Herbert Heron inaugurated his own Carmel Shakespeare Festival in 1940. PacRep used the hyphenated version of “Shake-speare” to acknowledge interest in the Shakespeare authorship question. In 1997, Pacific Repertory Theatre began staging annual family musicals, some of which have included “high-flying” technology, including The Wizard of Oz and Peter Pan. Among the many successful productions at the Forest Theater over the years, PacRep’s version of Disney’s Beauty and the Beast proved to be a benchmark for attendance records. Directed in 2005 by Walt deFaria, with Musical Direction by Stephen Tosh, the play sold over 10,000 tickets, and was repeated in 2006 with similar success.

Today, as the community prepares for the centennial celebration of the historic site, the City of Carmel-by-the-Sea is planning a significant renovation of the aging facility, which is again showing considerable wear and tear. The Children’s Experimental Theatre, Forest Theater Guild, and Pacific Repertory Theatre continue to bring the joy of live performances to the venerable old theatre. In 1999, the three organizations joined together to form the Forest Theater Foundation, dedicated “to the preservation and enhancement of the Forest Theater and its historic programs.” Since it inception, the foundation has raised donations to purchase portable dressing rooms, as well as shared lighting and sound equipment, and recently funded the pre-design process for the upcoming theater renovation. The Forest Theater Foundation’s aim is to continue the rich history of the theater, inspiring those who create the magic at the unique “open-air playhouse,” while maintaining the Forest Theater as a treasure for residents and visitors alike. Longtime Carmel advocate and former mayor Perry Newberry perhaps said it best: “There is not other thing here – save only Carmel’s beauty – more important to preserve and protect than the Forest Theater.”


Important Dates:
1910: The first theatrical production, David, by Constance Skinner, inaugurates the Forest Theater on July 9, 1910.

1949: Heron creates the Forest Theater Guild

1968: The Indoor Forest Theater is leased to Children’s Experimental Theatre

1984: Pacific Repertory Theatre begins producing on the outdoor stage.

Sidebars include, as follows:
Herbert Heron, the Forest Theater’s guiding light!
Heron arrived in Carmel in 1908, and for over 50 years guided the community in the development and operation of the oldest public amphitheatre on the West Coast.

The inaugural production of David opened July 9, 1910.

The historical pageant Junipero Serra, written by former Mayor Perry Newberry, received its world premiere in 1915.

A capacity crowd enjoys Shakespeare’s Twelfth Night, in 1911.

WPA workers rebuild the Forest Theater stage in 1939. Note the large trees (now gone_ which formed a natural proscenium.

The works of Shakespeare have been presented on the outdoor stage since 1911.

The Forest Theater Guild was created in 1949, by theater founder Herbert Heron.

Marcia Gambrell Hovick, CET’s visionary force for over 4 decades.

Dame Judith Anderson in the Robinson Jeffers’ version of Medea.

Pacific Repertory Theatre offers family musicals such as Peter Pan and The Wizard of Oz, and an annual Shakespearean production.

Reg and Vel Huston as 'Tevye and Golda’ in the Forest Theater Guild production of Fiddler on the Roof.

Harrison Shields, Ken Cusson and Nancy Williams in PacRep’s 2006 production of Disney’s Beauty and the Beast.

In 1910, the original bohemian community of Carmel-by-the-Sea created the first public amphitheater ‘west of the Rockies’

Today, in a true Carmel experience, plays and musicals at the Forest Theater entertain thousands of residents and visitors each year.

Come explore the history...

Forest Theater Foundation
P.O. Box 1087
Carmel-by-the-Sea, CA. 93921


The ol’ gal is turning 100!