Here are some examples of nineteenth-century scenery created for the Tabor Opera House in Leadville, Colorado. When the Elks (BPOE) purchased the building and renovated the stage (1901-1902), the original scenery was replaced with new; the older collection tucked away in the attic. In September 2020, I led a group of volunteers to document the attic scenery and lower many pieces to the stage floor. There were three scenic pieces depicting rocks for a mining setting, painted sometime between 1879 and 1890. I have yet to identify the scenic artist. Diamond dust was liberally sprinkled in the rock to simulate silver veins. Keep in mind that H. A. W. Tabor was known as the “Silver King.” For more information about scenery created for the Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, keyword search “Tabor.”
Three nineteenth-century flats on stage at the Tabor Opera House, ca. 1879-1890.A painted flat on stage at the Tabor Opera House, Leadville, Colorado, ca. 1879-1890.A painted flat on stage at the Tabor Opera House, Leadville, Colorado, ca. 1879-1890.A painted flat on stage at the Tabor Opera House, Leadville, Colorado, ca. 1879-1890.Remnants of diamond dust on the painted surface to simulate silver veins int he rock. Tabor Opera House, Leadville, Colorado, ca. 1879-1890.Remnants of diamond dust on the painted surface to simulate silver veins int he rock. Tabor Opera House, Leadville, Colorado, ca. 1879-1890.
In 1884, scenic artist Henry C. Tryon (1847-1892) wrote: “A general overhauling is made of the stacked-up scenery, and anything will do which is near the size of what is required – the shape doesn’t matter… The same set pieces have done versatile duty in most of the theatres here for years.”
Here is an example of what Tryon was talking about. A previous door flat was flipped on its side and repurposed for a garden scene, despite the door. I have also included some remaining pieces of the scene as it no longer exists in its entirety. The repainted door flat was again repurposed for the wall of a shack.
A door flat at the Tabor Opera House that was repainted for a garden setting.Remaining pieces from the repainted scene.Remaining pieces from the repainted scene.Painted detail. Remaining pieces from the repainted scene.Painted detail. Remaining pieces from the repainted scene.Painted detail. Remaining pieces from the repainted scene.Painted detail. Remaining pieces from the repainted scene.
From September 21-27, 2020, Dr. Wendy Waszut-Barrett led a group of local volunteers to document historic stage settings in the attic of the Tabor Opera House, in Leadville, Colorado. These stage artifacts should be considered much more than “old scenery.” Much of the historic scenery collection is comprised of large-scale artworks painted by nationally recognized artists.
Below are two shutters painted by scenic artist and theatre architect Tignal Frank Cox for the Tabor Opera House in 1888.
These shutters formed a backing for stage stage. Rolled together, shutters were a perfect solution for theaters that did not have room to raise backdrops out of sight. Wings and shutters slid on and off the stage in grooves to form scenic illusion on nineteenth and twentieth century stages across the United States.
Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.Seam between the two rolling shutters. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.Painted detail. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.Painted detail. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.Painted detail. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.Painted detail. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.Painted detail. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.Flat sheaves on bottom of shutters allowed them to easily slide on an off stage.1888 stage hardware referred to as flat sheaves. these were placed on the bottoms of wings and flats to help them roll on and off stage for settings.
We finished the attic scenery documentation today, cleaning and measuring the last nine borders by noon. The 28’-0” wide borders had holes for only two operating lines, much different that the current ones designed for use with three operating lines. The nineteenth-century borders depict blue sky, treetops and a fancy pink interior ceiling. These were intended to accompany the wing and shutter sets for the 1879 stage; the borders measuring just 2’-4” in height. This narrow strip of painted fabric would have been just enough to conceal the gas jets above the stage. No sandwich battens at the top of the borders either, just a 4” board and double rows of tacks. I have encountered this technique several times. It is astounding that these tattered border curtains managed to survive in the attic for over a century without irreparable damage, but it is a testament to a long succession of stewards.
Carl, Mary Ann and Greg placing a wood border for documentationWrapping a border that was documented.Border for interior setting.Border for exterior setting.Border for exterior setting.
The most recent scenery collection
stewards for the Tabor Opera House include Mary Ann Graham-Best, Carl Schaefer,
Tammy Taber, as well as many, many other volunteers. Those who I have worked during
this month and last February Mary Ann, Carl, Tammy, Kan, Theresa, Ruth, Curt,
Janel, Greg, Allie, Derrick, Jen, Mike, Scott, Eric, Theresa “T”, Robin and
Donna. My apologies if I missed anyone.
Volunteers for Day 7 at the Tabor Opera House, Leadville, Co. (Left to right) Ziska, Mary Ann, Wendy, Tammy, Donna and Carl; we were holding out breath, so don’t panic.
This trip, Michael Powers also traveled with me to volunteer; his work in the attic with Carl helped make lowering the scenery from attic to stage floor safe and secure. Without their support, much of the scenery may be still sitting under a layer of dust, undocumented. The scenery has managed to survive despite a massive renovation (1901-1902), the Great Depression and a series of other financial obstacles. The survival of a historic venue is dependent upon strong leadership leader and community support. A small band of theatre people is not enough, you need the support from those outside of our industry too.
Evelyn E. Livingston Furman was one of
the great leaders and scenic stewards for the Tabor Opera House. She also wrote
“The Tabor Opera House: A Captivating History.” In the publication, Furman includes
some details of the early scenery. Her words leave a legacy.
There are a few things to keep in
mind as we explore the nineteenth century scenery delivered to the Tabor Opera
House…In 1879 Horace A. W. Tabor purchased wing and shutter scenery for the
Tabor Opera House. Some of the earliest scenes included a mountain setting (Royal Gorge), forest, garden, palace, plain
chamber with balcony, and a prison. We know that more scenery was delivered in
1888, and included a horizon (seascape), European street setting, rustic
country setting, rocky pass, and Eastern street scene. This is the same time
when some of the original stock scenery were repainted and a few new scenes
were added to the original wings, shutters and roll drops. Only eight shutters
that remain, some double painted. The six surviving settings include a rocky
pass, rustic country landscape, cut woods, European street scene, Eastern
street scene, and winter scene. These all have flat sheaves that make the settings
glide across the stage floor on wheels. In 1890, a series of eight jungle wings
were also added to the stock, built by William J. Moon and painted by H. E.
Burpey.
The technical specifications for the
Tabor Opera House stage paints a pretty picture, including a 6” rake. The 1884
issue of “Harry Miner’s Dramatic Directory” noted that the Leadville’s Tabor
Opera House had a seating capacity of 800. H. A. W. Tabor’s second theater, the
Tabor Grand of Denver, boasted a seating capacity almost twice that – 1,500. Tabor’s
second theater was much larger than that in Leadville. The proscenium opening
in Leadville was 23 feet wide by 17 feet
high , whereas the proscenium opening in Denver was 34 feet wide by 33 high.
The size of the Tabor Opera House
stage in Leadville measured 34-feet deep
by 60-feet wide. The Tabor Grand Opera House stage in Denver measured 45-feet
deep by 75-feet wide. The grooves (for wings) measured 16 feet in height at the
Tabor Opera House in Leadville and 20 feet in height at the Tabor Grand in
Denver.
“Harry Miner’s Dramatic Directory” also listed
that Leadville’s Tabor Opera House boasted 12 sets of scenery, whereas the Tabor
Grand had much more, 50 sets of scenery. The two venues were drastically
different when examining the types of stage scenery and machinery. In Leadville,
the Tabor Opera House used wings, shutters, and roll drops, there was only 19
feet from stage to rigging loft. In Denver, there was a grid 66 feet above the
stage floor, accommodating a series of leg drops, cut drops and backdrops., in addition
to grand interior setting.
At the current Tabor Opera House,
there is a significant amount of used scenery produced for an earlier, and
larger, venue. These pieces likely
belonged to the Tabor Grand, and the scenes include borders, interiors settings
and at least one set piece (step unit). There also pieces left on site from
touring shows.
In short, there is a treasure trove
of scenic art and stagecraft, depicting the delightful
transition from Nineteenth-century itinerant artists painting stock scenery on site to early twentieth-century studio artists painting scenery at a distant location.
I have about four
weeks of work in front of me once I return this week. It will take a while to
decipher the information collected on site, compiling historical analyses, conditions
reports, appraisals and a collections care and management program. Although I
have written about 700 pages pertaining to the 1902 collection delivered by Kansas
City Scenic Co. and Sosman & Landis Scene Painting Studio, there is much
more to go. I am taking three days off to return home and then will resume “Tales
of a Scenic Artist and Scholar,” about the life and times of Thomas Gibbs Moses
(1856-1934)
Saturday was our last big day to
lower scenery from the attic at the Tabor Opera House in Leadville, Colorado. It
was the sixth of seven workdays in a row. We did manage to hit our goal of
lowering all remaining shutter scenes, plus a few other pieces, to the stage
floor. The attic looks positively bare. Only eight borders remain for me to
document today. That being said, some scenic pieces still remain in the loft
above the attic and on platforms high above stage right and stage left. Documenting
the final shutters, wings and borders will have to wait until next time. The amount and the scope of the scenery at
the Tabor Opera House is staggering.
Two rocky pass shutters pieced together on the stage of the Tabor Opera House after spending a century in the attic. The shutters were painted by Frank Cox in 1888.The backside of the rocky pass shutters. This scene was also painted by Frank Cox in 1888.Two shutters forming a European street scene. The Tabor Opera House in Leadville, Colorado.Two horizon shutters and three wings. There are five remaining wings, but all have been cut down; one is missing.
The biggest surprise this week was
discovering a marked piece of scenery from the Tabor Grand Opera in Denver. This
was Tabor’s second theater. There are some interior set pieces and borders obviously
created for another, and much larger.
There are also a few pieces from touring productions that never left the
Tabor during the nineteenth century. It will be fun to track down more
information in the upcoming weeks.
The majority of the work this week
was completed by volunteers without any background in theater. Their careers
varied from nursing and teaching to law and public service. Some were born in
Leadville and others not; all were passionate about the project.
Volunteer crew on day 6 at the Tabor Opera House in Leadville, Colorado.Painted border, likely created for another venue due to size. This border matches the palace interior setting that we assembled earlier this week.
Painted scenery produced for the
stage a century ago continues to have a
broad appeal to the general public. Well painted scenes still cause people to gasp,
as did much of the scenery at the Tabor Opera House. It is just magical.
Painted detail from the rocky pass shutters. Note the seam between the to shutters.
For the next few weeks, I will continue
to post images from this week’s documentation, focusing on individual scenes
and painting techniques. More tonight.
Volunteer crew at the Tabor Opera House, day four of the attic scenery documentation.
There is more scenery at the Tabor
Opera House in Leadville, Colorado than I expected – go figure. In addition to the
attic scenery and that in the attic loft, historic scenery was spotted in two
other locations – the fly gallery and the corresponding stage left platform. This
is on top of that already documented on the stage. I had to check the finds
out.
The first thing that I did this morning was to climb up a wooden ladder to the stage-left platform. This was about twenty-five feet above the stage floor; one of those wooden original wooden ladders that always make me a little nervous.
Top of the ladder near more historic scenery.A side view of a ground row depicting water, stored high above the stage at the Tabor Opera House.Some of the dust encrusted scenery high above stage left.
Yes, there are more treasures up there, including a bridge profile piece, some ground rows depicting water, several platforms and a few crumpled soft goods. I doubt that they will come down this trip. There was also a deteriorated flat on the fly gallery level, once used to block sunlight from a window. It was from the same setting that we set up yesterday; the missing sixth wing. Sever deterioration and faking allowed me to examine the primer and a previous base coat of paint.
We continued to lower attic scenery
to the stage throughout the day, forming neat little piles of flats, divided by
composition. Lowering each piece from the attic door, the scenes were guided by
an individual on the pin rail while a group in hard hats waited below. We are
now all in sync and the process is going beautifully. Regardless, this is a
relatively slow process, and I desperately tried to be in two places at once – both
the attic and stage, while still documenting scenery in various locations. The
surges of adrenaline from each new discovery kept me energized throughout the
day, well into the board meeting this evening.
Preparing to lower a scene from the attic of the Tabor Opera House in Leadville, Colorado.Allie working guidelines as scenery is lowered to the stage from the attic.One more scene successfully lowered to the floor. This is the backside of a jungle wing painted in 1890.Scenery against the upstage wall at the Tabor Opera House in Leadville, Colorado.
The majority of the scenery (once
stored in the attic) has been removed and is patiently awaiting further instructions
on stage. We have saved many of the larger pieces for tomorrow; reducing the number
of smaller pieces that surrounded the largest ones. Despite the camaraderie and
constant stream of adrenaline, it was another physically exhausting day for
all. The entire crew, including myself,
are volunteers. We each have participated in the documentation process because we
believe in the cultural significance of these artifacts. That being said, I am
being hired to create documents containing a historical analyses, condition
reports, replacement appraisals and collections care managements forms.
I ended by day attending a zoom
meeting with the Board of Directors and the architects. It is so wonderful to
meet with such a group of passionate individuals. We all understand that this
is a crucial moment in the future if the Tabor Opera House. We see the
potential in the building and scenery collections; it extends throughout the
area. Even Ziska Childs drove over from Aspen and volunteered today, cleaning
off some dust from flats before they were sent to the stage floor. It was so wonderful to share the beauty of
these painted shutters with a friend and colleague. Similarly, Bruce Bergner from the University
of Colorado, Colorado Springs, has also been on site for two days. It is so
wonderful to work with him on this project. And I cannot forget to mention that
Michael Powers traveled with me from Des Moines, Iowa, to help on site this
week.
Sharing shutter discovery with friend and colleague, Ziska Childs.Cleaning scenery before it is lowered to the stage floor. Note the contrast on the back of the wing.
The most exciting discovery for
every are the shutters. I have been waiting for over two years to see each
shutter on stage with its mate. Of course, the shutters have been waiting even
longer since they were placed into storage over a century ago. Tomorrow, we will commence with the arduous
task of lowering the shutters to the stage floor. The 12’ x 16’ pieces will be
a challenge as they are lowered floor some 40 feet below.
Volunteer crew for day 3 of scenery documentation at the Tabor Opera House in Leadville, CO.
We all experience those tactile moments
that conjure up images from the past, offering an instantaneous connection. It
can be as simple as using your grandmother’s mixing bowl or your grandfather’s
tools. There are so many ways to reconnect and remember times gone by.
Handling historic scenery offers a special connection to the past, especially if the setting has not been assembled for decades. I often wonder if the original creators are patiently waiting in the wings for their scene to appear once again on stage, occasionally stepping in to guide our fumbling hands.
Today, we set up two historic scenes
on the stage of the Tabor Opera House in Leadville, Colorado; ones that had
been stored in the attic for well over a century. Damaged and dusty, we
carefully pieced together two interior sets. I spent a significant amount of
time, both last night and this morning, contemplating how I would “put Humpty
Dumpty back together again.” Some of the of pieces were intended to work with grooves,
effortlessly sliding on an off stage. Others had anchors for stage braces. Some
had no indication as to how they were supported. In the end, it just took time,
muscle and a crew that trusted my gut instincts.
Stage setting stored in the Tabor Opera House attic for more than a century.Doors added to setting, but the appropriate plug for the arch is still missing.The doors and arches were the backside from the first setting. They are double-painted with a composition on each side.The doors and arches were the backside from the first setting. They are double-painted with a composition on each side.
The process was almost as satisfying
as the outcome. It is hard to express my emotions as the stage was transformed
today.
I first laid eyes on a piece from the
setting two years ago. At the time I could
only envision how this would look on stage. Seeing it assembled surpassed all of
my expectations. Although some of the colors are faded and some of the fabric
is torn, there is an insuppressible beauty to the painting. It was absolute magic.
There is a variety of historic
scenery tucked away in the attic at the Tabor Opera House in Leadville,
Colorado. When the building was renovated, the stage was enlarged, and all of
the original wings and shutters were carefully tucked away above the auditorium
ceiling. This attic space was also once home to a few hotel rooms, divided by a
central sky hall that allowed natural light for each room.
Over the decades, the walls dividing
each hotel room were removed and the third floor became home to abandoned artifacts,
including theatre scenery, drop rollers, and much more. By the way, it is quite
a climb to the attic, over 70 steps in all. This climb, combined with an
altitude of 10,000 feet, certainly separates the locals from the flatlanders, like
me.
On the attic wall adjacent to the stage and above the proscenium arch is a loft. Well, not quite a “loft,” as there are no floorboards, just joists. We threw down a few planks to walk on.
Loft in the attic of the Tabor Opera House, Leadville, CO.Loft in the attic of the Tabor Opera House, Leadville, CO.
In this space are some additional wings, rolls, and shutters placed high above. I started my second day in the attic loft. This involved climbing up a wooden ladder with my camera, balancing my way across a few boards, and contorting myself to photograph a few dust-encrusted wings and shutters.
In the meantime, the crew started to
clean and remove some of the wings from the attic wall above the proscenium
arch. Several flats had been cut down and nailed into the wall above the proscenium
arch; no idea why this happened at all. The careful removal of 10’ wings involved
detaching the ladder that led to the loft and grid, as it partially covered one
wing. A team of three then carefully
carried each wing down the winding staircase to the stage.
Ladder to the loft in the attic of the Tabor Opera House, Leadville, CO. Painted wings were cut down and nailed to the wall.Removing the painted wings for documentation purposes at the Tabor Opera House in Leadville, CO.
Meanwhile, plans for the lowering
all other stage scenery commenced in earnest. The majority of pieces range from
5’ x 16’ to 12’ x 16’ – sizes too large to carry down the staircase. These pieces were lowered directly from the
attic by way of about fifteen feet above the pin rail. By the end of the day,
seventeen scenic pieces were lowered with this method. Although there were a
few rough starts, some frightening moments, and a couple panicked cries, each piece
made it safely to the stage floor. By
the end of the day, we established a system, and everything worked like
clockwork.
Lowering one of the scenes from the attic to the stage floor.One of the seventeen scenes lowered to the stage floor tonight.
Tomorrow we will set up two of the
scenes before lowering more. Due to size, we are saving the shutters for last, focusing
on interior sets these first few days. Despite
the hard work, it was a wonderful experience and a fantastic group of people to
work with. My sincere thanks go out to Carl, Mary Ann, Tammy, Greg, Kan, Curt, Michael,
Jane, and Bruce; such an outstanding group of individuals.
The volunteer crew for Day 2 at the Tabor Opera House in Leadville, Colorado.
Today was my first day on site at the Tabor Opera House. I am in town to document the historic scenery collections in the attic; last spring I documented the scenery collections on the stage. This is such a very important collection, in both in the scope of American theatre history and world theatre history.
Some of the volunteers handling historic scenery in the Tabor Opera House attic. Leadville, Colorado.
We spent much of the day cleaning and organizing about 75 pieces; shutters, drops, borders and other set pieces were placed in storage when the Leadville Elks purchased and renovated the stage and auditorium in 1901-1902. New scenery was delivered to the opera house and old scenery carefully tucked away. Much of it is still there, albeit a little worse for wear and covered in a century’s worth of dust.
Some of the scenery piles in the attic of the Tabor Opera House, Leadville Colorado.
I knew what to expect when we climbed steep steps to the third floor today and had my game plan. But there was so, so, so much more scenery than I expected; much more than anyone expected to find today. We uncovered and shifted scenic pieces produced in 1879, 1888, and 1890. This is on top of the 100+ scenic pieces from 1902 currently housed on the Tabor Opera House stage.
Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.One shutter, leaning against an attic wall at the Tabor Opera House, Leadville, Colorado.Painted detail from a shutter at the Tabor Opera House, Leadville, Colorado.
By the end of the day, the scenery was divided into piles, organized by setting, and I am starting to compile an inventory. We were also able to clean and lower some pieces to the floor. There were many big surprises; surprises included shipping tags and scenic art signatures.
Signature by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.Cartoon by T. Frank Cox on the back of a wood shutter. Tabor Opera House, Leadville, Colorado.
It was a delightful, yet exhausting, day for me; one that ended with a Colorado public radio interview. I’ll write much more tomorrow, but too pooped to pen any more now.
I return to my “Travels of a Scenic Artist
and Scholar” storyline today. Tomorrow I leave for Leadville, Colorado, departing
in the wee morning hours and driving to Denver. I am stopping by Des Moines to
pick up Michael Powers, and we will arrive in Leadville, Colorado, on Sunday,
September 20. My week-long project is to document all of the scenery currently stored
in the attic of the Tabor Opera House.
Originally built in 1879, the
building was later purchased by the Leadville Elks and substantially renovated
in 1901-1902. The renovation included enlarging the auditorium and stage. Previously
used roll drops, wings and shutters were replaced with new fly scenery from the
Kansas City Scenic Co. and Sosman & Landis Scene Painting Studio; Sosman
& Landis was subcontracted by the Kansas City Scenic Co. for this project. Much
of the original scenery never left the building it was simply tucked away in
the attic.
In 1879, ten stage settings were delivered to the Tabor Opera House. This was a standard a stock scenery collection at the time. Keep in mind that larger theaters would order as many as 25 to 35 sets. The height of the Tabor Opera Houses’ original grooves purportedly measured 16’-0,” accommodating painted wings and shutters. The height of the original proscenium was listed in theatrical guides, varying from 17’-0” to 20’-0”.
By 1884, “Harry Miner’s American Dramatic Directory” noted there were 12 sets of scenes, increasing the original installation by two sets. This was also common, as new theaters continued to increase their stock over the years, even within the first decade. I have verified that some additional scenery was delivered in 1888, painted by T. Frank Cox on site. There was also a signed piece by Cox on site that has helped verify the dates on a few other pieces.
I first visited the Tabor Opera
House in June 2018, documenting some scenery on the stage and in the attic. My
49th birthday was spent carefully shifting scenery to get a sense of
what was in the attic. At the time, I
knew that this was a really special find, maybe one of the most significant
scenery collections in North America due to its scope. I returned this spring (February 2020) to document
all of the 1902 scenery on the stage. This was the first of two phases to
document all of the scenery on both the stage and in the attic. I have been hired to provide historical
analyses, conditions reports, replacement appraisals and final collections care
programs and management for the Tabor Opera House scenery. These documents will
help guide the future preservation and use of these remarkable artifacts.
In anticipation of this second-phase
project, I also painted historic replicas of some shutter scenes that are
stored in the attic. I referred to my 2018 images for color and some much older
slides (gifted from Ken Kurtz) for composition, creating small 8” x 10” acrylic
paintings. This step was solely to help convey was is currently stored in the Tabor
Opera House attic, hidden under a century’s worth of dust. It is difficult for
board members and the local community to understand these hidden treasures. I
am planning to paint many more scenes
after fully documenting the attic collection.
The interior of the 1879 Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a rocky pass setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a street setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.Two shutters composed a horizon setting at the Tabor Opera House, interpreted by Wendy Rae Waszut-Barrett. 8×10 acrylic painting.
My plan is to post scenes at the end
of each day, sharing many on site discoveries.
Keep your fingers crossed that all travel goes well, and we stay
healthy; the N95 masks are already packed!
