This work is a mock application to include the historic El Torreon building of Kansas City, Missouri on the National Historic Register. It was produced as coursework in my studies at UMKC Dept. of Architecture, Urban Planning + Design
El Torreon 3101 Gillham Plaza, Kansas City, Missouri
The El Torreon building at 3101 Gillham Plaza in Kansas City, Missouri has served as a community gathering place for the citizens of Kansas City since it was constructed in 1927. It has served as a significant recreational institution for much of its 90 year history. Three consecutive generations of Kansas Citians have come to the El Torreon for dances, concerts, and other special events. In the 1930’s and 1940’s it hosted large dances and nationally known big-band jazz ensembles. In the 1950’s and 1960’s it served as a popular roller skating rink. The 1970’s saw the El Torreon host internationally known rock’n’roll acts. In the 1990’s and 2000’s the venue was the home-away-from-home for a small but potent underground punk community at which time it hosted local, national, and international acts. Because of this cross-generational importance I am nominating the El Torreon for designation on the National Historic Register.
I will show that the El Torreon is eligible for inclusion on the National Historic Register based on Criterion A. This category specifies that a property must “…make a contribution to the major pattern of American History.” The El Torreon’s long history as a commercial event space has led to its participation in a number of culturally important periods for the performing arts. Broadly these periods are the big-band jazz era, the classic-rock era, and the on-going underground rock movement. Each of these periods left a large mark on culture at the local, national, and international level. The El Torreon reflects Kansas City’s participation in these movements and is a testament to their significance.
In addition to hosting these recognizable artistic movements in the performing arts, other past and current uses have also reflected aspects of importance to American culture. The property’s tenure as a roller rink and its current use as a wedding and events space are examples of important community events which reflect sociological aspects of the American experience through time.
Location:
The El Torreon is located at 3101 Gillham Plaza in the Midtown area of Kansas City Missouri in a neighborhood known as Union Hill. This neighborhood is named for the large Union Cemetery, a National Historic Landmark, and early burying ground for 19th century Kansas City. The neighborhood is typical of 19th century and early 20th century development patterns with a mix of single-family homes, small apartment buildings, and commercial corridors. The El Torreon is located at the intersection of two of these commercial corridors, 31st Street and Gillham Plaza. There are a number of properties within the vicinity with local or national historic designation and the El Torreon buildings fits in with the character of this environment.
Property Description: Exterior
The El Torreon is a two story, red brick structure and the main facade faces the north and is symmetrical, predominantly brick and features carved limestone detailing. The first floor is single-height and features sets of large picture windows flanking a central arched entryway. The main entrance consists of double doors with plate glass side and transom lights under an arch of carved limestone blocks. Two courses of carved limestone blocks separate the second floor from the first. Between these two courses of limestone are simple decorative elements also done in limestone.
The second floor is double-height and features two sets of three arched window-openings, capped with limestone arches and flanking a larger, central arched window, also capped in limestone. Above the sets of flanking arches are eight stone gargoyle-faced rain spouts. Smooth-faced, limestone quoins in an off-set pattern decorate each corner of the facade.
A series of small brick arches follows the complete extent of the roofline and each is connected to the next by a small limestone footing. Above these arches, a course of horizontal limestone blocks caps the roofline. Two brick pilasters rise on either side of the main entry and terminate at the roofline in a simple brick pediment. The center of this pediment is decorated with a small limestone rosette.
The west facade of the building fronts Gillham Plaza and is very similar to the north face of the building. The small arches along the roofline, central pediment and double entry door are all the same. It is however longer than the main facade and the windows on the second floor, rather than being in groups of three, are single windows that are spaced evenly across the facade. There are also two small storefront entrances with single doors and display windows; one to the left of center and the other to the extreme right.
The south facade is mostly hidden from view by a neighboring building. A ten foot, gated alley separates the two properties. The visible portion of this southern wall is partially covered in vines but appears to be mostly unadorned.
The east facade serves as the primary service side of the property. Beginning roughly 25’ back from the main facade, the brick takes on a different tonal quality. It appears much to be a much lighter shade of red. In addition, other than where the main facade quoins wrap around the corner, this side is undecorated. The property’s concrete superstructure is visible in between six bays of the lighter shade of brick work. This superstructure consists of 2’ square concrete columns up to the second floor. There, the columns terminate in a 2’ wide concrete floor plate and more slender concrete columns stretch to the roofline of the double height second floor. A rough limestone foundation becomes visible as the terrain falls from the front of the property to the rear.
There are two large doors indicating truck docks. One on the first floor, three bays in from the north side. The other, oddly, on the second floor one further bay to the left. A second floor fire exit opens onto a basic, steel staircase.
Property Description: Interior
The main entrance of the El Torreon opens into a small lobby with a staircase to the left and terrazzo floors stretching down a central main hall. Just inside the doors, the “El Torreon” moniquer is rendered in tiles set in the terrazzo. The first floor is segmented by 2’ square columns roughly every 25 feet. The layout of rooms has been altered a number of times through the years. The columns support the second floor which differs drastically from the first. One point of note is a large wall decorated by Kansas City artist Donald “Scribe” Ross in his typical graffiti style.
The second floor consists almost entirely of an open ballroom under a trussed roof system. The ballroom served as the main event space from the building’s opening in 1927 through the classic rock era in the 1970’s. The floors are polished wood and patterned in consecutively smaller squares from the exterior walls to the center of the dancefloor. Surrounding the dancefloor is a balcony which wraps around three quarters of the room. The balcony is decorated in a latin style, as if the dance floor were an open-air plaza in Spain or Mexico. There are numerous “towers” and standing areas which look out over the dancefloor.
Period of Significance: The Jazz Era
The property opened as the El Torreon Ballroom on December 15, 1927 to serve the growing popularity of big-band jazz orchestras. The construction of the new ballroom was financed by nightclub owner Thomas O. Bright and band leader Phil Baxter. Two groups headlined on opening night; Coon-Sander’s Night Hawks and the house band, The El Torreon Orchestra, directed by Phil Baxter. Opening night was attended by 3000 people and the new ballroom remained popular featuring two bands a night, every night of the week (Driggs, Haddix).
Numerous nationally famous acts played for crowds at the midtown venue. Band leader Cab Calloway and his group the Alabamians played a series of shows at El Torreon in 1929 (Figure 4). In 1932 the comedian Red Skelton, then aged 18, hosted a walkathon that went on for 117 days at the El Torreon and shortly after, married one of the participants (Reddig, 187-188) Louis Armstrong, Bennie Moten and Count Basie also played at the El Torreon in its Jazz heyday (Driggs, Haddix).
Period of Significance: Classic-Rock Era
After the popularity of big-band Jazz faded, the El Torreon spent time as a supper club and later, in the 1960’s a roller skating rink. The Cowtown Ballroom was opened as a rock-n-roll club by music promoter and venue operator Stan Plesser. After a number of years operating the Vanguard Coffee House at 43rd and Main, Plesser opened the old El Torreon Ballroom in 1971 (Trussel).
For three years the venue hosted some of the biggest names in early 70’s rock music. Some of the acts included Rock and Roll Hall of Fame artists; The Steve Miller Band, October 8, 1971; Frank Zappa, October 23, 1971; Aerosmith, November 2, 1973; Van Morrison, January 17, 1974; and the Electric Light Orchestra, April 26, 1974 (Cowtown).
The popularity and importance of the Cowtown Ballroom era was documented by filmmakers Joe Heyen and Anthony Ladeisch in the 2009 documentary film “Cowtown Ballroom… Sweet Jesus”. In the film, fans, musicians and owners reminisce about their experiences at the venue, thereby testifying to its cultural importance for their generation (Cowtown).
Period of Significance: The Punk Era
In November of 2000 the El Torreon opened again as a music venue. This time under the direction of owner Abe Haddad and booker/promoter Brian Saunders. This variation of the venue contrary to its history, held concerts on the first floor in a room at the northeast corner of the building. A small stage was constructed and a used sound system, dating to the 1980’s Lawrence, Kansas venue, The Outhouse, was installed. The site ran under its original El Torreon moniquer as an all-ages, underground and independent music venue until 2006 (Miller).
Many of the shows at El Torreon through this time period featured local acts. Some of these included street-punkers like Tanka Ray, Rock Over London, and The Blackouts; hardcore acts such as Alert! Alert!, Craps Corps, and Idiot Box; and the uncategorizable, such as When Good Robots Go Bad. El Torreon in this time period was known as a place where bands, no matter how green, could book an opening slot on a weekday show.
In addition to the innumerable local musicians who began their careers on the stage at the El T’, the venue’s bookers were known for setting up shows with regional, national, and international acts. Weekend shows in particular would often feature headliners such as The Dropkick Murphys, Sick of it All, and Fugazi. The best of the local acts would often get asked to play opening slots on these shows, giving young local acts exposure to seasoned talent.
The venue’s operation as an all-ages club created some built-in difficulties for the operators. Policing young and insolent patrons who attempted to bring in booze or drugs was a constant occupation of the staff. In addition, in order to prevent patrons from drinking in the parking lot between sets, a strict no-re entry policy was enforced. These impositions were often viewed with annoyance by patrons, however, I would argue that they increased exposure for unheard acts and prevented many fights by keeping the crowd mostly sober (Miller).
Eventually, the costs of running an all-ages venue became too much for the proprietors. Without alcohol revenue, the burden of turning a profit was solely on ticket sales and with an often cash-strapped teenage clientele, shows costing more than $10 were a tough ask. With only a few shows a month recouping operating expenses, the operators were forced to shutter the beloved venue. For a few years other operators tried to rejuvenate the space, but none managed to stay in operation for longer than six months (Miller).
Conclusion
Today, after being purchased and renovated by a church, El Torreon is operating again under the original name. In its latest incarnation the site is operated as an event space for parties and, in particular, weddings (ElTorreon.com). The first floor has been renovated considerably and much of the punk rock grime scrubbed away. The current owners are in the process of renovating the 2nd floor ballroom in order to expand their event hosting operations (ElTorreon.com).
Many of the people who experienced the venue in its original incarnation have passed on. However, there are a great number of Kansas Citians who fondly remember the 1970’s Cowtown Ballroom era and the 2000’s punk era. Listing the El Torreon Ballroom on the National Historic Register would be an important step to recognizing and preserving the unique cultural legacy of this property.
Bibliography
Cowtown Ballroom …Sweet Jesus. (2009). Retrieved December 10, 2018, from https://cowtownbr.weebly.com/
Driggs, F., & Haddix, C. (2015). Kansas City Jazz From Ragtime to Bebop–A History. Cary: Oxford University Press.
El Torreon and The Pla-Mor. (2014). Retrieved December 10, 2018, from http://kcjazzhistory.kcai-sites.com/el-torrean-and-the-pla-mor/
El Torreon: Historical Images. (n.d.). Retrieved December 10, 2018, from https://www.eltorreonkc.com/gallery/
Miller, A. (2003, August 7). Rebel Yell. Retrieved December 10, 2018, from https://www.thepitchkc.com/news/article/20611154/rebel-yell
Reddig, W. M. (1947). Tom’s Town: Kansas City and the Pendergast Legend. Columbia, MO: University of Missouri Press.
Trussell, R. (2011, September 2). KC music promoter Stan Plesser dies. Retrieved December 10, 2018, from https://www.kansascity.com/entertainment/article299295/KC-music-promoter-Stan-Plesser-dies.html