Louis Tussaud's Wax Museum
Attraction Type: Wax Museum
Location: Niagara Falls, Ontario
Year(s) Operational: 1959-2001 (Clifton Hill location), 2005-Present (Victoria Ave. location)
Designer(s): Stubergh-Keller/Ripley's Wax Studios, Louis Tussaud's Waxworks, Deroy & Associates, Waxattract
By the 1950s, it had become clear that using Clifton Hill as a series of budget, away from The Falls tourist camps wasn't nearly as lucrative as the land could potentially be. Welland Securities had opened the Quality Inn Fallsway where Dinosaur Adventure Golf now sits in 1955, and the Park Motor Inn where Niagara Speedway now is in 1956. The Clifton Inn had also torn down it's old structure and built anew as the Pilgrim Hotel. Darling Cabins had torn down most of their cabins to make way for a low-rise motel building and rebranded as the Darling Motel. Change was afoot in the wake of Marilyn Monroe's breakthrough film "Niagara" in 1953, both cementing The Falls as a honeymoon destination and creating further general interest in visiting the city.
Architects McPhit & Kelly's original 1925 sketch of the Clifton Hill side of the Foxhead Hotel, 1925.
Tussaud's in the former section of the Foxhead, opening year.
In 1959, Clifton Hill's first amusement attraction came onto the scene, Louis Tussaud's Wax Museum, located in a former section of the Foxhead Hotel that was just up Clifton Hill from the main building. The first floor, second floor and basement would become the museum with the third floor remaining the accounting offices for the neighboring hotel. The story behind the museum's early ownership and licensing is a bit hazy. It was an officially licensed franchise of the original Louis Tussaud's Wax Museum in Blackpool Beach, England, who also had their own art department dating back to the titular member of the Tussaud family in the late 19th century. That being said, the story goes that most of the Niagara museum's detailed figures were designed by Stubergh-Keller Wax Models, of Niagara Falls, NY who also owned the attraction. There's evidence to support both Louis Tussaud's and Stubergh-Keller studios contributing to the museum since day one, suggesting that perhaps Stubergh-Keller owned the museum but licensed the Tussaud's name, with Stubergh-Keller producing more work for the attraction simply due to it being much closer to home. The background and set design however was originally provided by Deroy & Associates of Toronto.
The Foxhead and the museum in 1960.
Guests were greeted with impressive displays before even entering the lobby. The attraction's sign would be a 22ft tall rotating Louis Tussaud himself, adorned in vibrant, colourful neon. There was also massive billboard-esque neon signage on the roof reading "Louis Tussaud Wax Museum." The signs were created and leased to the attraction by Pattison Signs, a large corporation who specializes in signs and billboards to this day. A figure of daredevil Charles Blondin was also suspended across Clifton Hill from the attraction to a pole across the street, actually appearing to be crossing over the road as if it were the Niagara Gorge. Though the figure was static and didn't move or cross the wire, this was still incredibly impressive for the time, and remains an incredibly unique feature today.
Looking up Clifton Hill towards Blondin and the iconic sign, mid 1960's.
1960's advertisement showing only a handful of the royalty on display.
Originally upon entering the museum, guests would see a depiction of Robert Cavalier De La Salle and Louis Hennepin overlooking The Falls, as their record of it is one of the earliest found. Next was a figure of Madame Marie Tussaud herself, the famed 17th and 18th century wax artist. Marie Tussaud is who the popular global chain of historic Madame Tussaud's Wax Museum attractions is based off, Louis Tussaud was her great grandson and the two chains share zero relation. One could argue the Louis Tussaud's chain may have been trying to get a slice of that pie, as "Stubergh-Keller Wax Museum" (as the Niagara location perhaps more accurately should have been called) doesn't have quite the same ring to it, despite the studio's artwork being gorgeous all the same. Other original scenes included Beethoven, Gandhi, Nikita Khrushchev (then premier of the U.S.S.R.), Joan of Arc, Mark Antony, Robin Hood and Friar Tuck, Winston Churchill, Cleopatra, Christopher Columbus, Niagara daredevil Red Hill Jr., and the assassination of Lincoln. The "Hall of Kings" was popular, featuring Henry VII, George III, Charles I (and VII), Edward VII, William III, Queen Victoria, and Queen Elizabeth I (and II) among others.
Lincoln assassination, 1960's.
Red Hill Jr., 1960's.
Construction of the Robin Hood scene in June 1959. In this image from left to right, architect William Cartmel Jr., manager of Louis Tussaud's England William Cartmel Sr., and set designer Derek Deroy.
Completed Robin Hood scene, 1960's
The finale of the museum was the dim, dark Chambers of Horror in the basement. It included depictions of fictional monsters like Dracula and Frankenstein's Monster, and things loosely based on history like the "Streetsville Ghouls" or the "Compte De Lorge." The real show however were the real torture and execution methods showcased in the museum. These included the "Algerian Hook", a scalping scene, the "Cell of Little Ease", the "Woman in the Iron Cage", and burning of the eyes. While there was no motion featured in the figures and the gore wasn't as intense as it would be in later years (more on that later), it was still unlike anything most people had seen at the time, especially at that level of realism.
Early scenes from the original Chamber of Horrors. From left to right: Entrance to the area, an incredible Count Dracula figure sculpted by Ron Booker of Stubergh Wax Models, and Frankenstein's Monster courtesy of Timothy Randall of Waxipedia.
Tussaud's next to the rebuilt Foxhead, early 70s.
The attraction was a smash hit, and kicked off the future of Clifton Hill, becoming Niagara's must visit location second only to The Falls itself. It opened the tourism floodgates further, and by 1960, all the cabin courts in the area had been demolished to make way for new motels, hotels, restaurants, and souvenir stores. In 1964 the Foxhead Hotel officially rebranded as the Sheraton Foxhead, demolishing the original structure and building a high-rise hotel in its place, but leaving the part of the building housing Tussaud's the same as the English Tudor style matched the theme of the museum.
When the second wax museum in The Falls, the Burning Springs Wax Museum opened in the Fallsview district in 1963, Tussaud's attempted to sue the attraction for the giant words "Wax Museum" painted on the side of the building overlooking the busy Queen Victoria Park below, arguing it was knowingly causing confusion over which wax museum was Niagara's original. The case was obviously thrown out, as Tussaud's didn't have monopoly over the term Wax Museum (and the chain had even somewhat stolen their own Tussaud family name themselves.) Tussaud's losing the case (unknowingly then) forever changed the path of the Niagara Falls tourism industry. By the end of the 60s, there were six other wax museums/oddity museums with wax figures in the Clifton Hill area, with two more over in the Fallsview district.
To stay above this new competition, change was necessary. Things would be shuffled around often to remain relevant and keep up to date. In 1964, the local Niagara Falls Women's Institute petitioned to get a figure of local hero Laura Secord placed in the museum. The museum accepted whole-heartedly, and the figure was one of the ones confirmed to have been sculpted by Louis Tussaud's wax studios back in England by 45 different artists. The figure was sent to Tussaud's in Niagara, and unveiled first to members of the Women's Institute who made the figure possible. The death of Lee Harvey Oswald was added as one of the museum's first scenes, and a "Hall of Assinated Leaders" later in the attraction. Marie Tussaud was eventually made the museum's first figure upon entering, and Charles VII the second. Whoever the current Canadian Prime Minister or U.S. President was also got a figure in the attraction during their time in office. Waxattract, Robert Dunham's company which was still in its infancy at the time, was also commissioned to create certain figures and displays for the attraction between the late 60s and early 70s after the success of his impressive Boris Karloff Wax Museum.
Museum guide Phyllis Reese presenting the Laura Secord figure to reporter A. E. Huggens, and Wilfred Stewart of the Women's Institute who made it possible.
Sidewalk advertisements outfront the museum, 1964.
A fire broke out in the attraction the morning of February
16th, 1967 which destroyed the Streetsville Ghouls scene in
the Chamber of Horrors. The flames were extinguished by
the attraction's sprinkler system which also automatically notified fire crews, and limited the damage to the one scene. The attraction was extremely lucky, sprinkler systems wouldn't be mandatory in commercial businesses for nearly another 50 years, and their foresight paid off. If it were not for the sprinkler system, the attraction would have likely been lost, and clicking around on this site you'll find several other wax museums and attractions both in Niagara Falls (and abroad) weren't so lucky. The damage capped out at a relatively low $4,000, and was theorized by fire crews to have been started by a lit cigarette butt tossed into the scene (a usual culprit), however the fire alarm was tripped at 4:53 A.M. while the building was empty, so if that was the case it must have certainly been a slow, smoldering start.
Many different displays would grace Tussaud's front window over the years, however perhaps it's most memorable would be added at this time to keep the attraction eye-catching. In 1970, local artist and engineer Derek Costello created a moving riser platform for the front window, which was decorated using Stubergh-Keller figures depicting the moon landing and set to music. This scene was later moved inside. A booth offering horoscope readings was constructed along the sidewalk and attached to the front of the building in the late-70s. It eventually became a discount photo developer in the late-80s and expanded in the early-90s, but was eventually later removed when Tussaud's got a new facade coinciding with the Sheraton next door remodeling in 1997.
The discount photo booth and building facade in the late 80s.
Ripley's International had bought out Stubergh-Keller Wax Studios back in 1970, and therefore the museum with it. This provides further evidence that the original Tussaud's in England had no stake in the attraction at all and simply licensed the name/provided some of the early figures. Ripley's eventually moved the Stubergh-Keller studios to the former Sheraton Foxhead accounting offices on the third floor of the attraction's building later in the decade. The 80s would understandably be a turbulent time for the attraction, with figures being shuffled around, refreshed and switched out constantly partially due to the ease of the studios being located in the same building. A 1982 Niagara Falls Review article talks about Ron Booker, one of the wax artists employed on the third floor, being interviewed for an episode of an unnamed U.S. morning show hosted by film critic Steve Reid. At the time Booker was working on a figure of Princess Diana destined for the Ripley's-owned Louis Tussaud's location in Copenhagen. Footage of this T.V. episode has yet to surface and remains lost media, but would be a fantastic glimpse into both the original Tussaud's and the legendary waxworks above it.
The attraction underwent a massive overhaul in 1991 which debuted in June of that year, adding more pop culture figures in exchange for many of the remaining historical figures. Other historical scenes were updated such as a new Hall of Presidents, or new higher-tech ones added such as a projection effect in an ice cave showcasing indigenous peoples' story of Niagara Falls. The real update however, came to the Chamber of Horrors.
The Ice Cave projection, 1991.
Gone were the tamer fiction displays like Frankenstein's Monster and the Streetsville Ghouls, and in their place was a bloody, gory, pulls-no-puches torture chamber, completely historically accurate as well just in case guests wanted to try and brush it off as fiction. Several of the more brutal scenes that already existed were retained and updated to be more detailed, turning the basement into an extremely gruesome torture chamber that still haunts the minds of those who experienced it. While still featuring no animation other than a switch-activated electric chair and a shaking wooden trunk with screams emanating from it, the eerie atmosphere of the basement coupled with the Gregorian chanting that echoed through the halls added to the area's creep factor. The scenes were also particularly brutal, including updated eyeball torture and Algerian Hook scenes, the rack, flaying alive, starving prisoners, and a variety of severed heads that had met brutal ends, all in stunning realism. Local artist Bruce Randall, who had been employed by Stubergh-Keller in the 60's and rejoined them when they moved the studio to the Canadian side, was an integral part of the remodel.
Above: Torture scenes seen in photos courtesy of Timothy Randall (son of artist Bruce Randall) of Waxipedia, who grew up running freely in the halls of the museum below his father's office.
Top left: the original eyeball torture before the remodel. Bottom left: the much more graphic updated eyeball torture after the remodel. Above: The gruesome Algerian Hook.
Another part of the remodel would be updates to the exterior, as the lease with Pattinson Signs ended. Local sign shop Signatures Signs would be asked by Tussaud's to rebuild the signage from scratch using only photographs of the old sign for reference. They did a fantastic job on making it identical to the original, and the giant neon Tussaud remains at Tussaud's current location. The rooftop billboard signage however would not be remade identical and would now be updated. While still reading "Louis Tussaud's Waxworks", the sign now had an updated font resembling the attraction's logo, and was on a black background to stand out more over the steel grid board used formerly. The same updated logo was also placed below the giant neon Tussaud. Ripley's International art department on the third floor would eventually be moved down to Florida in the 90's. While some materials were saved, many of the department's archives dating back to the Stubergh-Keller days were destroyed. The attraction meanwhile would remain popular until 2001, when the lease would be up with the Sheraton Foxhead
Left: Jeff Wallis of Signature Signs installing neon on the new iconic cavalier, 1991. Right: The original Clifton Hill location in it's final days in the early 2000's.
Sheraton didn't give Ripley's the option to renew the lease, as they had plans to completely revitalize the area around the Sheraton Foxhead and Sheraton Brock into the Falls Ave. entertainment complex in order to stay relevant with other major developments in the area. The original Tussaud's closed after nearly 42 years on The Hill, and the almost century old building originally part of the first Foxhead Hotel was essentially completely demolished. Very little of the structure was saved, and the building later home to the Extreme Movie Ride 4D and the MGM Great Movie Journey was built in it's place. Today the building is home to Niagara Distillery and BBQ (while the 4D Ride remains in the basement.)
Niagara Distillery in place of the former location of the museum, late 2010s.
The museum would rise again however after a four year hiatus in 2005, now reopening on Victoria Ave. in a former restaurant. It wasn't the first attraction in the space however, as the building was briefly home to the Wonderful World of Fantasy from 1974-1981. The old signage would be retained from the Clifton Hill location, as well as Blondin now crossing over Victoria Ave. The new location would be two floors rather than three, but in a much larger building. The new attraction would retain very little of the original collection, and while some figures would make a re-appearance, the majority would replaced with new scenes comprised of the computer-created figures (wax content debatable) that Ripley's uses in present day. Very few of the original figures from Stubergh-Keller and Louis Tussaud's studios remain, being mostly relegated to the historical figures on the balcony above the lobby.
The museum, Blondin, and neon Tussaud relocated to Victoria Ave,, early 2010's.
The Chamber of Horrors would now be more inspired by pop culture and fiction, and feature an animatronic zombie in a chair created by Lifeformations at the entrance to the area. The new building originally resembled the original style of the old Foxhead Hotel section the original museum occupied, but it was repainted in the mid-2010's to be more eye catching and given new lighting. It remains Canada's largest wax museum to this day, and while quite different than it's original form, Niagara's first amusement attraction is now entertaining it's sixth decade of visitors.
The historic museum as it appears today.