Copyright © 2020 by Wendy Waszut-Barrett
On Dec. 24, 1879, an article in the “Chicago Tribune” described the mining town of Leadville, Colorado, and the newly constructed Tabor Opera House. The opera house was described in detail under the heading, “The Legitimate Theatre” and mentioned a portrait of H. A. W. Tabor painted over the drop curtain. Here is a section from the article:
“It had often been asserted that only low variety-shows could flourish, and that a first-class theatre could not be supported. Lieut.-Gov. Tabor, W. H. Bush and others of our leading citizens, having a better faith, accepted the challenge, erected a substantial and ornate building, supplied it with all the required fixtures and appliances, seated it with the latest improved opera chairs from the shops of your A. H. Andrews & Co., and finally engaged a first-class company; marshaled by Colorado’s favorite actor, J. S. Langrishe, and, with the genial Lou C. Leonard as Treasurer, they opened it several weeks ago. Full houses have ever since greeted the players and indorsed the enterprise. The auditorium, without having the florid gildings of many Easter cities, is neat, graceful and complete,- the only defacement being a picture of Gov. Tabor over the drop curtain, which is rather a caricature than a portrait” (page 9).
The wording of the last sentence is important: “a picture of Gov. Tabor over the drop curtain.” The article does not state his portrait was painted on the drop curtain, but over the drop curtain. This suggests that the portrait was painted on a grand border, sounding board, or mural above the proscenium arch; something permanently positioned above the drop curtain. This also mean that the portrait was visible throughout a performance and at all times, which in many ways closely adheres to the public recognition sought out by Tabor at the time.
https://digital.denverlibrary.org/digital/collection/p15330coll22/id/17428
Years later, tales would tell that Tabor insisted his portrait replace that of Shakespeare before the Tabor Opera House opened to the public, making the scenic artist repaint the central medallion.
Including a portrait of Shakespeare in a nineteenth-century American opera house or theater legitimized the venue; a practice that was still in place until the early twentieth century. Shakespeare was even placed on the sounding board above the proscenium arch at the Matthews Opera House in Spearfish, South Dakota, 1906.
When the Tabor Opera House opened in 1879, there were other examples of Shakespeare portraits placed over a drop curtains across the country. One example includes fresco work about the proscenium at the Academy of Music in Akron, Ohio; it included a portrait of Shakespeare.
For additional context, a grand border curtain frequently included a central medallion featuring something significant. At the Salt Lake Theatre, the border curtain’s central medallion included a beehive. On border curtains for other theaters, Shakespeare’s portrait was painted in the center medallion, visually reinforcing the legitimacy of the venue in producing classical works. Keep in mind that the Tabor Opera House was constructed in 1879 and noted as Leadville’s only legitimate theater that fall. A portrait of Shakespeare on the grand border of the opera house would have been extremely appropriate for the new venue.
There is one other factor to consider when contemplating the placement of Tabor’s portrait on a scenic piece. The border curtain was often permanently fixed, positioned in the upper third of the proscenium opening. It provided the much-needed masking for overhead machinery and border lights. Although the drop curtain greeted the audience as they took their seats, it was raised when a performance commenced; ideally out of sight. Even after the Tabor Opera House was renovated in 1902, the grand border still included a central medallion, just without a portrait. However, between 1879 and 1901 the grand border was repainted before being replaced in 1902 after the stage was renovated.
Newspapers would mention the opening of Tabor’s theatrical investment in Leadville, with the common tag line “finest theatre in the west.” On May 5, 1880, the “Greenville Democrat” reported, “The Tabor Opera House was built by Gov. Tabor, who, a few years ago, worked by day with pick and shovel, right where Leadville now stands; but as Leadvillians say, “he struck it,” and to-day the Governor is worth $7,000,000. The Governor is not extraordinarily smart, and is no in office on that account, but his pocket-book was elected” (page 2). Newspaper would later observe, “Without time of any preparation to grow accustomed to the possession of unlimited wealth (contrasted with his former condition), he has made the mistake of supposing that his money could buy public opinion and recognition favorable to any freak he may see fit to indulge in” (Democrat and Chronicle, Rochester, New York, 9 June 1883, page 4).
Tabor increasingly fell outside of societal norms after he left his first wife for local actress Baby Doe. He was able to secure many things with his new wealth, but could not buy the respect of others, especially those who envied his wealth and position. This caused a toxic situation for Tabor, casting a poor light on both Tabor and his projects. He became the recipient of jabs across the country. Almost two decades after the completion of the Tabor Opera House, a story appeared in newspapers across the country about Tabor’s portrait in the original opera house. I believe that this is when the story changed, placing Tabor’s portrait on the drop curtain.
On January 23, 1898, “The Saint Paul Globe” shared the following tale:
“Tabor’s Opera house has long passed out of his hands, and also the Tabor block. His opera house in Leadville is no longer his, and I am not sure his picture is still left on the drop curtain. It was there at a time for any rate, and the way in which it was put there forms the subject of the story I heard yesterday. It was when the building had been completed and the artist was painting the drop curtain that Tabor came in. As he watched the progress of the work, he asked the artist: “Whose picture is that which you are painting in the center of the curtain?”
“Shakespeare,” replied the artist.
“Who is Shakspeer?” asked the future senator.
“Why,” said the artist, “he is a great man who has written the greatest plays – the Bard of Avon, you know.”
“Shakspeer?” said Tabor. “Seems to me I’ve heard the name somewhere. But what in thunder has Shakspeer done for Leadville!”
“Nothing that I know of,” said the artist.
“Then paint that picture out and put me in.” And that is the way Tabor’s picture came to be in the drop curtain.
Also, for the untrained eye, an audience member might not be able to discern between the painted grand border and the drop curtain. The two would complement each other beautifully, and may be considered one complete composition, not two scenic pieces.
Finally, the original drop curtain was described in 1879 when the Tabor Opera House opened, and there was no mention of Tabor’s portrait in the middle of the composition.
On November 15, 1879, the “Leadville Weekly Herald” described, “The drop curtain is a masterpiece from the brush of Mr. Lamphere, and represents a glorious mountain scene, at the base of which is a fine old castle, with a stream running at the foot; alongside of the water is a rugged road, which ends in the winding of canyon” (page 3).
To be continued…
