Pre-contact history

Prior to European settlement, the Tumut Valley area was home to the Wiradjuri Aboriginal people and a regular meeting place of several other groups including the Bigewal, Ngarigo, Wolgol of the southern, tableland and highland Monaro area and Ngunawal from around the Canberra area. During the warmer months of the year these groups travelled through what became Tumut on their way to the Snowy Mountains where they performed ceremonies and feasted on the Bogong moth.^[2] The word Tumut is derived from a possibly Wiradjuri word for the area, possibly doo-maaht or doormat, meaning "a quiet resting place by the river".^[3]

Post-contact history of the area

The explorers Hume and Hovell were the first Europeans to visit the area when they crossed the Tumut River and entered the Tumut Valley in 1824. The area was first settled in the 1820s.^[1][4]

During the early years of settlement and contact around the Tumut area it seems that the Aboriginal people continued to a large extent to visit the mountains and perform ceremony regularly. A property, "Yellowin", in the nea by Blowering Valley was noted as an important meeting place for the Murray, Yass and local Aboriginal people. Large corroborees were held and the women camped there while the men travelled further into the mountains to perform ceremony.^[1][4]

During the 1840s and 1850s settlement continued with land being selected and taken up with grazing and cropping throughout the Tumut Valley. The township of Tumut was slow to develop. It was surveyed and laid out in 1848 and by 1856 comprised a school building, three hotels and a few huts. The first site for the town was down by the river near the current racecourse. This site was abandoned as a town centre after a major flood in 1952. During the late 1850s and 1860s in response to the activity accompanying the gold rushes in the area, the township began to take off and by the 1880s boasted 18 hotels, a blacksmith, a post office a courthouse and lockup, a local newspaper outfit and many other commercial services and residences.^[1][4][5]

As a consequence of settlement and the growth of the town Aboriginal people were more and more alienated from their traditional lands and tradition way of life. By the 1840s many local Aboriginal families were camped on a large pastoral station at Brungle which is close to the township of Tumut. By 1889 it was reported that 100 Aboriginal people resided there in what were described as huts with corrugated iron supplied by the Government.^[6] In fact the previous year the Aborigines Protection Board had built a weatherboard schoolhouse near the camp for Aboriginal children. The people subsisted on the Government Ration provided by the Aboriginal Protection Board, which by accounts was frugal and the people were expected to supplement this by hunting fishing and tending vegetable gardens.^[1][6]

In 1890 a small area of one point two hectares (three acres) was gazetted as a reserve for a mission management precinct and a cottage was built for the first manager, Mr Usher. By 1909, with the establishment of the Aborigines Protection Act a further 142 acres of land coinciding with the Mission's housing area was gazetted and managed by a Government appointed manager who had far reaching control over the lives of the Aboriginal residents. Through the 1890s and into the twentieth century the Mission developed as a community village with the establishment of a dairy, cess pits for houses tree planting and various vegetable and crops raised there.^[1]

By 1940 Government philosophy towards the Government Reserves was changing and as a consequence the Mission Manager at Brungle was withdrawn. In 1941 the Board was encouraged to buy housing outside reserve areas and thus facilitate Aboriginal assimilation into towns. The Reserve officially closed in 1951. During this period of time conditions at Brungle reserve declined and by the later 1960s most families had left what remained of the Reserve and moved to Tumut or farther afield. During the 1980s Aboriginal families moved back to the reserve and new accommodation was erected.^[1]

The Theatre and its owner

The Montreal Community Theatre in Tumut was originally commissioned by John J. Learmont in the late 1920s. The name Montreal is an anagram of the name Learmont, declaring the family association with the building. The Learmont family had a long history in Tumut with John J's father John Learmont setting up a Draper and Mercer shop next door to the site of the Montreal Theatre in 1889. After a number of years John Learmont moved to Young, leaving his older sons living and engaged in business in Tumut. His younger son John J Learmont grew up in Young then return to Tumut where he also set up as a Draper and Mercer in an "empty shop" in Russell Street, Tumut in 1912. In 1927 John J Learmont applied to build a new brick shop on the north west side of the land on which the Montreal theatre stands.^[1][7]

He moved into the new premises in 1927 and by 1929 had commissioned the architects Kaberry and Chard, to design a moving picture theatre on the parcel of land to the south east of the shop. During the planning and design stages for the theatre John J Learmont is said to have maintained an active interest in the design and his son recalled his father's many visits to Sydney where he visited many theatres and took inspiration from their design features and decor details. The Learmont family still owns the adjacent shop which is now leased to as a Stock and Station Agent. The family also retained ownership of the theatre until 1998.^[1][7]

Kaberry and Chard, who commenced their partnership in around 1916, became well-established cinema and theatre architects in NSW and Australia. They designed over 150 theatres throughout Australia, 57 of these in NSW. Some of the NSW theatres designed by Kaberry and Chard included: the Lyric Wintergarden and the Lyceum in Sydney, both of which no longer stand; the Enmore Theatre in Sydney, which was extensively restyled in the 1930s, and a plethora of smaller theatres in the Sydney suburbs and rural towns in NSW. Most of these smaller theatres have been demolished or adapted. The Montreal Community Theatre in Tumut is one of only 3 Kaberry and Chard theatres remaining intact in NSW, the rest having been demolished or adapted beyond recognition.^[1][8]

The theatre at Tumut remains in its original condition apart from the removal of the splayed stage exit fins on the stage which were removed in 1955 to accommodate a cinemascope screen. The splayed fins as well as the design of the stepped loge boxes as part of the dress circle are two of the distinctive elements of Kaberry and Chard's design.^[7] The Athenium Theatre in Junee and the Roxy in Leeton are the other two extant theatres designed by this architectural partnership. The formerly carpeted foyer floor of the Montreal Community Theatre has also been tiled in a design sympathetic with the style of the theatre.^[1][9]

Exterior

The Montreal Community Theatre is designed in the Inter-war Stripped Classical architectural style, a transitional style between the Classical and the later Moderne or Art Deco style. The theatre building comprises the theatre shop to the left of the theatre entrance, the foyer, box office, managers office auditorium and dress circle and the stage area with a small backstage area with kitchen storage and a dressing room.^[1]

The theatre's street facade is simple but imposing with a cantilevered awning extending across the front of the building above the footpath. Originally a pressed metal Wunderlich ceiling lined the underside of the awning. This was replaced by masonite sheeting and more recently by a new pressed metal ceiling. Above the awning the facade has two slim columns on either side and, a stepped parapet with coping. Within the columns on either side are windows with glazed panes and panels with rendered frames. In the centre the framed word Montreal is written in render. Above this are three projection room windows, capped by a small awning.^[1]

Below the large footpath awning are four sets of glazed timber framed double doors, approached by a set of steps from the footpath. Above the entry doors are decorative glass panels. The theatre shop has two large windows either side of a recessed entry with a timber and glass door. The same decorative glass panels as over the entry doors of the theatre lie above the door and windows of the shop.^[1]

At the rear of the theatre are two sets of toilets for patron's use.^[1]

Entrance Foyer

Inside the entry is a small foyer, on the rear wall in a central position is the box office with the original copper security grille. Above the box office are vents covered with a striking spider web pattern. Steps on either side of the box office lead to the auditorium. The foyer was originally carpeted but is now tiled in white with a central star motif in black tiles and a border of black tiles. In the mid 1980s the walls were papered with a flock wall paper. Subsequently, they have been painted. Hung in the foyer are the original architectural plans for the theatre and original light fittings On the south east side of the foyer is a staircase leading to the dress circle.^[1]

Auditorium

A narrow hallway extends the width of the building between the foyer and auditorium which provides access to the auditorium and also the emergency exit on the northern side of the building. A glass case stands in the hall which contains moveable items relating to the operation of the theatre.^[1]

The auditorium floor is of timber and the aisles are covered with carpet reflecting the colour and design of the original linoleum floor covering. The dress circle is cantilevered with loge boxes stepped towards the stage along both sides of the theatre. They are now used to accommodate lights and sound system.^[1]

The roof is vaulted with a geometric design of sunken panels which give both an unimpeded view of the stage from all positions in the theatre and provide an impressive and pleasing design finish to the space. A pressed metal cornice of egg and dart pattern along the top of the northern and southern walls of the theatre. While most of the seats in the theatre have been replaced, a number of the original blue leather and velvet seats remain in situ including a couple of the "love seats". Each row of original seating ends with a wrought iron support.^[1]

At the rear of the dress circle are the projection box, work room and store room. None of the original projectors remain but there is one Cumming and Wilson projector similar to that originally used at the theatre.^[1]

The walls of the auditorium are bagged and painted deep cream and dados and window ledges picked out in Indian Red. Large windows along the north and south walls of the theatre have shutters which are detailed similarly to the spider web air vents. The shutters are casement shutters downstairs and are opened using a sliding mechanism in the dress circle. Originally, in the absence of air conditioning the shutters were essential to providing air and comfort to the audience. Further control of temperature and airflow was provided by the Venturi air ventilation system, consisting of a set of air vents in the walls of the auditorium which drew cool air from the sub floor area which rose to the roof as it heated and was drawn outside through a set of large vents in the ceiling. The air vents were opened in summer and closed in winter when the theatre needed to be warmed. The system is no longer used but is still in situ. Original night lights are located along the walls of the auditorium and the exits are marked both by modern exit lights and the original kerosene emergency lighting system.^[1]

The stage is defined by a large decorative proscenium arch made from pressed metal and featuring deep cove and an egg and dart pattern painted in blue, off white and gold. The stage curtains are blue velvet with gold embroidery. These were purchased by the Montreal Community Theatre committee from a production of Beauty and the Beast. The floor of the stage has been enlarged firstly in the 1970s by covering in a small orchestra pit. This facilitated use by local schools. More recently it has been further enlarged to accommodate a full symphony orchestra and also school "spectacular" style performances. The decorative stage exit fins were removed in 1955 to allow the installation of a cinemascope screen. More recently an electrically controlled screen has been fitted to facilitate the theatres program of both film and live performance.^[1]

Backstage area

The backstage area is small and contains storage and ropes for curtains and sets. Behind the stage is a small dressing room and a small greenroom/kitchen. There is also a storage area under the floor of the auditorium.^[1]

Moveable heritage items

There is a collection of moveable items some of which are associated with the theatre from the early years of its operation including:^[1][7]

• a set of ticket dispensing boxes and ticket stub boxes
• a 1930s pedestal fan;
• a set of hand made timber and glass exit signs;
• the original stage curtain valance;
• a 1930s Cumming and Wilson, 35-millimetre (1.4 in), silent movie projector fitted with Raaco sound heads which utilised a carbon arc lamp; and
• the reel box associated with this projector containing spent and unspent carbon arc lamps.

Many of the moveable items have been in storage for a number of years and are yet to be catalogued. A catalogue of moveable heritage will be produced indicating items originally associated with the theatre. This will be revised from time to time and the Director of the Heritage Branch notified.^[1]

Condition

As at 7 May 2004, very good.

Modifications and dates

Major modifications include:^[13]

• 1955 – Decorative stage exit fins removed to allow for Cinema Scope Screen;
• 1992 – Refurbishment of foyer undertaken;
• 1998 – Refurbishment of proscenium and curtains; and
• 2003 – Restoration of roof and vents.

Bibliography

• Apperly, Richard; Irving, Robert; Reynolds, Peter (1989). Identifying Australian Architecture.
• Banner, Scott (2000). Tumut Montreal Community Theatre.
• Brand, Simon (1983). Picture Palaces and Flea Pits.
• Thorne, Ross (1997). Cultural Heritage of Movie Theatres.
• Thorne, Ross (1983). Theatres/Cinemas in NSW A Report to the Heritage Council.
• Thorne, Ross; Tod, Les; Cork, Kevin (1996). Movie Theatre Heritage Register for NSW 1896 - 1996.
• Turnbull, Craig; Valiotis, Chris (2001). Beyond the Rolling Wave, A Thematic History of Greek Settlement in NSW.

Attribution

This Wikipedia article was originally based on Montreal Community Theatre and Moveable Heritage Collection, entry number 01909 in the New South Wales State Heritage Register published by the State of New South Wales (Department of Planning and Environment) 2018 under CC-BY 4.0 licence, accessed on 2 June 2018.