Waszut-Barrett Scenery Documentation – Page 13

TABOR OPERA HOUSE, LEADVILLE, COLORADO: Nineteenth-century double-painted wing with practical opening.

This wing was discovered in the attic of the TaborOpera House; one of several wings that had been cut down and tacked to a wall in the attic.

*Front side. A double-painted wing that was once nailed to an attic wall. Tabor Opera House, Leadville, Colorado.*

*Back side. A double-painted wing that was once nailed to an attic wall. Tabor Opera House, Leadville, Colorado.*

The original height of the wing was 16′-0″. During June 2018, I first visited the Tabor Opera House attic and uncovered some of the wings and shutters in a dusty pile.

*Tabor Opera House attic, Leadville, Colorado, June 2018.*

Wings revealed behind the pile of dusty scene. Tabor Opera House attic, Leadville, Colorado, September 2020.

This was one of many pieces hidden under a vast pile of beautiful artwork. I returned to Leadville earlier this year (February 2020) to document the historic scenery contained on the stage of the Tabor Opera House. During a second trip to Leadville (Sept. 21-27, 2020) I led a group of local volunteers to document the attic scenery. The attic pieces received a preliminary cleaning before being lowered to the stage floor 40 feet below.

*Double-painted wing after it was lowered to the stage floor.*

This double painted wing is the only example that remains, depicting an exterior garden and rocky pass.

Travels of a Scenic Artist and Scholar: The Tabor Opera House, Leadville, Colorado. Painted Shutters by T. Frank Cox, 1888.

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, 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 the stage picture. 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.

*Painted detail. Shutter by T. Frank Cox, 1888.*

*Painted detail. Shutter by T. Frank Cox, 1888*. *Notice the two flat sheaves at the bottom that allow the unit to effortlessly roll.*

*Flat sheaves allowed shutters and wings to roll.*

The two shutters are also double-painted, with a rocky mountain scene on the back. Here is a link to the backside composition: https://drypigment.net…/travels-of-a-scenic-artist-and…/

Tabor Opera House, Leadville, Colorado: Double-painted Garden Setting, ca. 1879-1890.

Here are two double-painted flats created for the Tabor Opera House. One side depicts a rocky mine setting (with diamond dust for silver veins) and the other side depicts a garden setting.

The rocky mine setting included three pieces; one was double-painted with clouds and the other two double-painted with a garden scene.

All three pieces were created between 1879-1890.When the Leadville Elks (BPOE) purchased the building and renovated the stage and auditorium (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. I have yet to identify the scenic artist for this particular piece, or exact date. For more information about historic scenery collections at Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, use the keyword search function at www.drypigment.net

Tabor Opera House, Leadville, Colorado: Double-painted Cloud Stage Setting, ca. 1879-1890.

Here is a double-painted flat from the nineteenth century; one side depicts a rocky mine setting (with diamond dust for silver veins) and the other side depicts a cloud setting (with gold paint outlining the clouds).

Double-painted flat, ca. 1879-1890. Tabor Opera House, Leadville, Colorado. Scenic artist currently unknown.

The rocky mine setting included three pieces, but only one was double painted with clouds. The other two flats were back painted with a garden scene and will be posted tomorrow. All of these pieces were created for the Tabor Opera House in Leadville, Colorado, ca. 1879-1890.When the Leadville Elks (BPOE) purchased the building and renovated the stage and auditorium (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. I have yet to identify the scenic artist for this particular piece.

Metallic gold outlines each cloud, causing the scene to sparkle under stage lights.

For more information about historic scenery collections at Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, use the keyword search function and type in “Tabor.”

Tabor Opera House, Leadville, Colorado: Rocky Mine Stage Setting, ca. 1879-1890

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.

Remnants of diamond dust on the painted surface to simulate silver veins int he rock. Tabor Opera House, Leadville, Colorado, ca. 1879-1890.

Tabor Opera House, Leadville, Colorado – Repainted Garden Scene, ca. 1884

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.

Painted detail. Remaining pieces from the repainted scene.

Travels of a Scenic Artist and Scholar: The Tabor Opera House, Leadville, Colorado. Painted shutters by T. Frank Cox, 1888.

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.

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.

Travels of a Scenic Artist and Scholar. Day 7 at The Tabor Opera House. September 27, 2020.

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 documentation

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)

To be continued…

Travels of a Scenic Artist and Scholar. Day 6 at The Tabor Opera House. September 26, 2020.

For additional installments, go to www.drypigment.net

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.

To be continued…

Travels of a Scenic Artist and Scholar. Day 5 at The Tabor Opera House. September 25, 2020.

I feel wonderfully exhausted after today’s activities. There have been too many long days spent at the theatre, and too many short nights spent at home deciphering the day’s information.

I was asked tonight by Colorado Public tonight what it felt like to uncover scenic treasures at the Tabor Opera House in Leadville Colorado. It took me a minute to respond, as “magical” is too simple a response; the experience is much more than that for me.

Removing the layers of dust from an historic stage setting is like stepping back in time and embracing old friends. Seldom am I overwhelmed with emotion when a scene is lowered to the stage. In most cases, it is like the comfort of a warm banket on a cold day. Today, I teared when the first two shutters were joined, creating a rustic country scene. We sat in the audience admiring the painted shutters by Frank Cox from 1888. It had taken more than a century for this onstage reunion and we reveled in the moment.

Two shutters by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.

Painted detail. A shutter by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.

Lowering a shutter by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.

Two cut shutters by T. Frank Cox for the Tabor Opera House, Leadville, Colorado, 1888.

Some of us feel we were born into the wrong era, embracing the aesthetic of another time and place our entire lives; I am one of those people. Today, I would have given anything to stand in the wings and help position these freshly painted new shutters into place for the next scene.

What a transformative experience.

To be continued…