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mittee on the Citizens' Planning Council; and subsequently, chairman of a like group on the Citizens' Bond Committee. He was disappointed when they cut the proposed outdoor theatre construction budget from $750,000 to $500,000. But he kept at it! 'He nursed it, rehearsed it and gave out the news.' And when Kansas City celebrated its Centennial in 1950, funds subscribed by citizens for an outdoor historical pageant made possible construction of a skeleton Starlight Theatre Amphitheatre, seating 7600 persons.
"No architect, meanwhile, had ever approached a professional task with greater zest than Delk. Talented and temperamental, he had built castles for Oklahoma oil kings; planned suburban shopping centers and store buildings that became models for real estate developers throughout the nation; he had designed memorial towers and public buildings. But the outdoor theatre was a dream assignment! In order to make it as attractive and practicable as possible, Delk visited every outdoor theatre of consequence in America, conferring with architects and theatre officials on technical details.
"The construction bill on the theatre amounts to $1,243,000 to date. At least $350,000 in additional fund? will be included to add two more permanent buildings backstage and to build pergolas at the rear and along the outer aisles; so the spectators may find haven in the event of a sudden shower.
"Everything's been done with a bold hand. The electrical contractor tells you there are more than five miles of conduit, carrying 25.5 miles of wire of various kinds and sizes. A substantial portion of the conduit and wire may be seen in an underground tunnel that is four feet wide and six feet deep, extending from the stage to one of the pylons in the rear of the theatre, a distance of 300 feet.
"The backstage area is a city peopled with more than 200 artists, craftsmen, specialists and players — in the ballet and choru« rehearsal pavilions; dressing
and wardrobe buildings; office; music library; shops; paint scaffold; transformer room; first aid station; and cafe.
The stage is occupied from morning until night, seven days a week. The production director has a large staff of experienced stage practitioners who whip together a new show for Monday night opening, each week from June through Labor Day weekend. The scenic designer has a crew busy building and painting sets that roll over the concrete slabs on rubber tire casters.
"One of the brick pylons down front houses the $64,000 dimmer board controlling banks of lights. On the light bridge suspended between the two rear pylons are spotlights with sufficient power to throw a white-hot light on a singer or dancing ensemble 250 feet away. Here, too, is the control board for the sound system with its ten stage microphones that will pick up even a whisper. A special feature is a tunnel underneath the stage used by orchestra members in taking their places in the pit; and by singers and dancers in crossing from one side to the other."
Moore served for the first two seasons as president of the Starlight, turning over the reins for the 1953 season to vice-president Herbert H. Wilson.