Detroit's Theatre Architect C. Howard Crane

**Gistok** · May-20-12, 12:57 AM

When it comes to theatre architects of the early 20th century, C. Howard Crane was one of the genius's of American architecture.

Born in Hartford Connecticut in 1885, Charles Howard Crane moved to Detroit in 1908 and remained here until the Great Depression [[1930).

He is regarded as one of the world's most prolific theatre architects, designing more than 325 theatre's worldwide, including 52 here in the Detroit area.

Crane and Detroit theatre impressario John Kunsky both started their careers around the same time, and Crane designed many of Kunsky's theatre's, starting with the Casino [[1906), the Hippodrome and [[soon to be renovated) Garden Theatre's [[1912). Crane went on to design Kunsky's Majestic Theatre in 1915 [[originally it had a Venetian Gothic facade, before the widening of Woodward). The most famous of Crane's Detroit theatre's were around Grand Circus Park and Woodward. He designed the Madison and Adams in 1917 [[both razed).

In 1919 he was hastily commissioned to design Orchestra Hall along Woodward. He used many features of his 1917 Madison in that design, and the hall was finished in the astonishing time of 4 months.

Orchestra Hall images...
1) Woodward facade.
2) Inner [[rotunda) Lobby.
3) Outer [[storm) Lobby.
4) Auditorium.
5) Architectural view of auditorium.

[[To be continued...)

**Gistok** · May-20-12, 03:05 AM

I'm going to add at least a post every few days. about C. Howard Crane's work. Next up... the January 12, 1922 opening Capitol Theatre... now Detroit Opera House. I've got early renderings of the Capitol before the final designs were implemented.

One fact that very few people know about the Detroit Opera House.... that the box [[or mezzanine/loge) level of DOH is not resting its' weight on supports from the main floor... instead, it is suspended underneath the balcony, which carries most of the weight of the box level.

**Wesley Mouch** · May-20-12, 09:58 AM

Thanks, Gistok -- his birthday should be celebrated in Detroit.

**Gistok** · May-20-12, 10:03 AM

The Capitol Theatre [[C. Howard Crane's first major movie palace) opened in January 1922, was renamed the Paramount in 1929, closed during the depression in 1933, renamed/reopened as the Broadway Capitol in 1934, closed for a new theatre paint scheme in 1960, reopened/renamed the Grand Circus that year, and closed after some years of abuse as a rock concert and movie hall in 1985.

It was all but abandoned, the heat was shut off, the water pipes burst in winter, ruining much of the plasterwork interior [[there was a piano floating in water in the orchestra pit).

In the late 1980s Michigan Opera Theatre was looking for a new home after its' many years of using both the Nederlander Organization controlled Masonic Theatre and Fisher Theatre. They were causing scheduling problems for MOT, and the stage size produced the dilemma of inadequate size and function. Detroit at this time was the only one of the top 15 opera companies in the USA that didn't have its' own permanent home.

MOT was [[very briefly) looking at the former Michigan [[too expensive to renovate) and the State Theatre [[not for sale, only for lease) before looking at the Grand Circus [[nee Capitol). Many of the MOTs patrons thought MOT General Director Dr. David DiChiera crazy for even considering the Grand Circus, but it was available for only $300,000 so MOT purchased it in 1989 with the intent on also buying the 2 buildings at the corner of GCP, which were needed [[razed) for expanding the 30 ft. deep stage of the Grand Circus Theatre.

The theatre underwent a $42 million dollar [[1991-2006) expansion [[new stage house) and renovations that were done piecemeal as the donations became available. The house was christened by Dame Joan Sutherland and Luciano Pavoratti in April 1996, although much work still had to be done.

90% of the buildings plasterwork was replaced, and paint studies were done to determine the original colors of the hall before the 1929 and 1960 repainting schemes. The hall returned to its' 1922 paint scheme of gold and blue, with accents in rose and green.

Although the auditorium's procenium arch and sounding board were restored and painted/gilded for the 1996 reopening, the auditorium sidewalls, opera boxes and balcony remained unpainted for many years. Ditto for the Grand Foyer, which although the plasterwork was repaired/replaced, the walls remained pure white until an anonymous donor gave $500,000 for a 1998 painting/re-gilding of all wall and ceiling surfaces. The original chandeliers were cleaned and restored.

The outer [[Ford) Broadway Lobby did not have the stained glass ceiling [[missing after the abandonment of 1985) replaced for many years, because someone erroneously estimated the cost at $2 million. As it turned out, the replacement was actually $50,000, and was done with loving care.

The Madison and Broadway shallow office blocks [[separated by the bulk of the theatre) were refurbished by 2006, for use as an operatic library/archives, costume/sewing areas, addition of workshops, a donor's lounge, and a small dance theatre on the 6th floor.

The very expensive stage addition provided the Detroit Opera House with loading docks, a large rehearsal hall, and at nearly 8,000 sq. ft., the 3rd largest theatre stage in the country. MOT can now stage practically any opera in the world.

Behind this $42 million stage, auditorium, circulation space and office floor expansion are several prominent donors. The big 3 auto companies were major donors. Ford wanted to pay for the naming rights [[Ford Center for the Performing Arts), but MOT General Director Dr. David DiChiera likely thought better of the plan, lest it eliminate GM and Chrysler donations. So the Broadway Lobby was rechristened the Ford Lobby and various other parts of the 6 story building were named after other auto companies. For example, the cafe on Madison Ave. on the first floor became the Cadillac Cafe.

Besides the Big 3, others were large donors towards the DOH restoration. Major among these were local area foundations, such as the Kresge and Skillman Foundations.

And among the individual patrons, 2 names stand out... Jennifer Nasser, the soon to be ex-wife of [[soon to be ex) Chairman of Ford Jacque Nasser. Jennifer was a tireless supporter of the DOH, and her prodding of her husband, provided rich funding from Ford for the DOH restorations. Even after her husband's departure from Ford [[and her departure from him), she continued to be close to both the restoration efforts, as well as a friend in good standing with the Ford family.

A second great patron of DOH was a lady with deep pockets. Her name was Maggie Allesee, a widow of a wealthy businessman [[who left her with a company that she sold for $200 million) who later married Detroit radio and TV spokesman "Bob Allison" [[real name Robert Allesee). Maggie was a great patron of dance, and besides large donations to WSU and other colleges, also donated heavily to DOH. She has a dance series at DOH named after her, as well as the DOH's Dance and Opera Resource Library.

There are many other well to do Detroit area patrons who contributed generously towards the $42 million restoration of the Detroit Opera House. As Dr. DiChiera said... "this theatre was born to be an opera house". And today DOH's Italian Renaissance splendor has returned, making it "the most Italian of all American Opera Houses".

The Italian character of the Detroit Opera House was was given a worldwide stage last fall on October 27, 2011, when Detroit PBS, the Detroit Opera House, and Universal Music, Geffen, Interscope and A&M Records of Los Angeles used the Detroit Opera House to stage a $3 million lavish production of a new Italian singing sensation and created a DVD and CD "IL VOLO - Takes Flight - Live from the Detroit Opera House", which is becoming an international best seller. The runner-up losing venue for performing this concert?... the Roman Coliseum...
http://www.youtube.com/watch?v=DyCjhBkqKB4

Facebook is now filled with fan comments who now want to visit Detroit to see its' "famous" Opera House. And interestingly enough, there is a good chance that IL VOLO's next album cover may be of an image taken in the Detroit Opera House Grand Foyer [[2nd image), in keeping with the "Operatic-Pop" nature of the singing group.

**Gistok** · May-20-12, 12:05 PM

When the Capitol Theatre opened on January 12, 1922, theatre owner John Kunsky stated that it was the 5th largest theatre in the world with 4,250 seats. Well.... like all theatre owners... they liked to exaggerate the number of seats [[often counting all seats in the house, including toilet seats!

).

Actually when the Capitol opened, it had 3,434 seats [[1,766 orchestra level seats, 282 mezzanine [[box) seats, and 1,386 balcony seats).

However, originally many more seats were planned within the existing structure. As the first of three attached rare architectural sketches show... the seating was going to extend well into the grand foyer. But it appears that the last 7 or so rows of seats were never installed [[thus reducing the seating count by many hundreds).

It would have placed an enormous strain on circulation patterns if the seating did indeed go as far as the grand foyer. But interestingly enough, until the renovation as the Detroit Opera House, there was never a wall separating the auditorium at the orchestra or mezzanine level. The back of the auditorium opened onto the grand foyer. [[Note: this same "openness" scenario is still found between the auditorium and grand foyer of Crane's 1925 built State [[Fillmore) Theatre.) It wasn't until the Detroit Opera House came into being that walls and doors were added separating the main floor and box level from the grand foyer.

The first attached image shows the grand foyer with auditorium seating going actually into the foyer. Also the design of the ceiling of the grand foyer was changed in the final building of the theatre. Plus the mezzanine bridge ended up having thick beam supports partially holding up the mezzanine level in the center. Otherwise, the mezzanine was suspended and held up via beams from the balcony above it.

The 2nd image shows the auditorium pretty much as it finally appeared. Only the sounding board pattern [[with the 5 octagons) was changed to a more geometric Italian Renaissance look. Also, there were indeed curtains covering the organ grilles when the theatre opened in 1922. These were replaced in 1925 when the weak sounding Hilgreen-Lane organ was replaced by a more powerful Publix 1 Wurlitzer Organ, and the drapery [[muffling the organ sound) was replaced by the huge organ grilles that still frame the Procenium arch today. Note: the organ was removed in 1957, and eventually found its' way to the Oakland Paramount in California. The Detroit Opera House wouldn't mind having a theatre organ return to the house. For a while discussions were taking place about the Fisher Theatre organ, but that one will remain in the still operating Senate Theatre on Michigan Ave. Perhaps the former Michigan Theatre's 4/28 [[upgraded to 4/32) mighty Wurlitzer organ [[removed in 1955) can one day return from a private residence in Racine WI, still owned by a now elderly gentleman. But that's just speculation.

The 3rd image is of the Broadway side of the theatre. This side was where several trolley lines converged, and was considered the main entrance to the theatre [[the Madison side was for the "carriage" [[automobile) patrons). The marquee over the Broadway entrance was small [[like many early theatre marquee's). And the tall vertical "blade" sign [[you can barely make out the words "CAPITOL" in the image, was replaced within a few years by a larger vertical sign with a "US Capitol dome" type image at its' top.

**p69rrh51** · May-20-12, 12:46 PM

Looks like Gistok has the theatres covered quite well so a little of his lesser known works around the city.

2163 Seminole built in 1912 Indian Village Historic District Detroit, MI.
1709 Burns Built in 1913 Indian Village Historic District Detroit, MI
1731 Seminole built in 1914 Indian Village Historic District Detroit, MI.
1244 West Boston Boulevard built in 1914 Boston-Edison Historic District Detroit, MI.
1630 Wellesley built in 1924 Palmer Woods Historic District Detroit, MI.
383 Lennox built in 1927 Grayhaven Detroit, MI.
63 Cloverly built in 1927 Grosse Pointe Farms, MI.
69 Cloverly built in 1929 Grosse Pointe Farms, MI.
450 Keelson built in 1929 Grayhaven Island Detroit, MI.
79 Cloverly built in 1930 Grosse Pointe Farms, MI.

**Gistok** · May-20-12, 06:59 PM

Thanks p69rrh51 !

Besides the John Kunsky house and the Fisher mansion [[Hare Krishna), I know little about Crane's residential work.

One of the thing I remember best about C. Howard Crane [[according to architectural historians) is that there was no "Crane" style or telltale features that would instantly identify his work. His design repertoire was so vast and varied that [[at least among his theatre commissions) having a large group of his buildings nearby would not be monotonous or repetitive, as say with other architects.

**p69rrh51** · May-20-12, 07:41 PM

Missed one 3001 Seminole built in 1928 Indian Village Historic District Detroit, MI.
This home has an Oak covered Chrysler-Koppin refrigerator that is fabulous. Mostly an eastside phenomenon [[I have never seen a C-K frig outside of Indian Village and Grosse Pointe) if anyone has a pic of a C-K frig and the location I would love to know.

Another commission I have to take a pic of but have not been able to is Oakland Hills Country Club. If I remember correctly the clubhouse was built in 1918 and Cyril Schley was the point man on the project. This link had a decent image of the clubhouse http://oaklandhillscc.com/

**DetroitPlanner** · May-20-12, 11:15 PM

Did he do much work in other cities? I understand that many of the major Fox Theatres were his [[i.e. St Louis).

**p69rrh51** · May-20-12, 11:42 PM

Originally Posted by DetroitPlanner

Did he do much work in other cities? I understand that many of the major Fox Theatres were his [[i.e. St Louis).

As Gistok stated he designed over 325 theatres including 52 in the Detroit area. Here are a few of them and the one remaining skyscraper since we lost the Lafayette Building.

Paramount Theatre 142 Federal Plaza West built in 1918 Youngstown, OH.
Allen Theatre 147 Danforth Avenue built in 1919 Toronto, ON.
Guild Theatre 245 West 52nd Street built in 1925 New York City, NY.
Amherst Theatre 1004 rue Sainte Catherine Est built in 1925 Montreal, QC.
LeVeque Tower 50 West Broad Street built in 1927 Columbus, OH.
Fox Theatre 527 North Grand Boulevard built in 1929 Saint Louis, MO.

**Gistok** · May-21-12, 01:13 AM

Crane's finest [[and tallest) office tower was his 1927 Leveque Tower in Columbus [[not original name). It soars 47 stories to 555 ft. [[about the same as the Penobscot Building). However the Leveque Tower has a verticality that is much more pronounced than the Penobscot Building. Ironically it also contains a theatre, but since it was going to be a Palace Theatre [[from the Orpheum chain, later RKO... Radio Keith Orpheum)... Thomas Lamb was the chief architect for Orpheum Theatres... in a much tamer Adams [[18th Century English) classic style, common for Lamb's theatres from 1917-27. It wasn't until 1928 that Lamb got out of his classic theatre phase, which Crane exited by 1926. So the Leveque Tower has a much more exotic office building lobby [[by Crane) that the Palace Theatre design in the building.

Crane's largest commissions were the Detrot [[5,174 seats) St. Louis [[4,500 seats) and Brooklyn [[4,088 seats, razed) Theatres.

Crane also helped architect C. A. Blackall design the largest theatre in New England... Boston's 4,000 seat Metropolitan Theatre [[later renamed the Wang Center).

Crane designed the 3 flagship theatre's for the United Artists chain [[which I'll get into later)... the LA, Chicago and Detroit United Artists Theatres.

Crane also designed the Warner in Washington DC [[only surviving downtown palace in DC), several theatres in Chicago [[such as the Roosevelt), and the Allen Theatre in Cleveland's Playhouse Square theatre district.

In fact Crane was the principal architect for Canada's Allen Theatre circuit, which overextended itself by 1923, and went bankrupt. More to come...

**KJ5** · May-21-12, 01:38 AM

What about the United Artists Theater and the adjacent office tower? Me and that place go back...
Also, the State Theater. I'm not calling it the Fillmore. It's still the State, the same way Prince was always Prince despite whatever he was telling us.

**p69rrh51** · May-21-12, 01:58 AM

Originally Posted by KJ5

What about the United Artists Theater and the adjacent office tower? Me and that place go back...
Also, the State Theater. I'm not calling it the Fillmore. It's still the State, the same way Prince was always Prince despite whatever he was telling us.

I think if we wait Gistok will be dazzling us with all of Crane's existing theatres!

**gumby** · May-21-12, 07:51 AM

Originally Posted by KJ5

What about the United Artists Theater and the adjacent office tower? Me and that place go back...
Also, the State Theater. I'm not calling it the Fillmore. It's still the State, the same way Prince was always Prince despite whatever he was telling us.

Actually if you want to be like that then you should call it the Palms.

**kklemmer** · May-21-12, 12:12 PM

I understand that One Keelson Drive, also known as the Gar Wood Mansion, was also a Crane commission. Can anyone verify this? It certainly makes sense considering the theatrical nature of the house and its acoustics.

**p69rrh51** · May-21-12, 01:15 PM

Originally Posted by kklemmer

I understand that One Keelson Drive, also known as the Gar Wood Mansion, was also a Crane commission. Can anyone verify this? It certainly makes sense considering the theatrical nature of the house and its acoustics.

George Dewitt Mason

**Gistok** · May-21-12, 01:25 PM

I'm slightly amused, although not surprised by the reaction that some folks have to the name change of the State Theatre to the Filmore! The Detroit Opera House, nee Grand Circus, nee Broadway Capitol, nee Paramount, nee Capitol Theatre has undergone many name changes in its' now 90 year roller coaster history.

So has the State, although I'll save that topic for when I get to the discussion about that theatre. But the Live Nations folks who lease and renamed it to the Fillmore, have been taking loving care of the former State Theatre... leaving it much better condition than before they took over billing acts there.

**DetroitPlanner** · May-21-12, 02:52 PM

Originally Posted by Gistok

I'm slightly amused, although not surprised by the reaction that some folks have to the name change of the State Theatre to the Filmore! The Detroit Opera House, nee Grand Circus, nee Broadway Capitol, nee Paramount, nee Capitol Theatre has undergone many name changes in its' now 90 year roller coaster history.

So has the State, although I'll save that topic for when I get to the discussion about that theatre. But the Live Nations folks who lease and renamed it to the Fillmore, have been taking loving care of the former State Theatre... leaving it much better condition than before they took over billing acts there.

They should call this place 'Clubland!'

**Gistok** · May-21-12, 05:52 PM

Getting back to the Detroit Opera House, here is an image of the Broadway facade, after a $2 million restoration of the terra cotta Italian Renaissance detailing. [[The large new stage house is in the left foreground, and the new Opera House Garage is in the background.) No longer does the venue have a large marquee, nor a tall verical blade sign, but the facade is so nicely designed, that we really don't miss it.

When you enter from the Broadway entrance, you immediately enter the 2 story Ford Lobby. This fancy space with "marble" Corinthian topped columns, and spectacular stained glass ceiling.

The opposite side of the building has the Madison Ave. lobby, which is a much tamer 1 story lobby. Between them is the 3 story Grand Foyer, which curves around the back of the auditorium. The auditorium is a very wide fan shaped space, and the back of the balcony is actually above the 3 story Grand Foyer.

The Grand Foyer [[connecting the Ford Lobby with the Madison Lobby) is a magnificent space in royal blue and gold, a really rich color combination [[as the photos will attest). This large space is divided in the middle with a mezzanine bridge, that allows mezzanine patrons to access the box level. There are 19 boxes, of which only 17 are used [[the 2 on either end are very small and have poor sight lines).

During intermission, the orchestra level, mezzanine [[box) and balcony patrons have a beautiful overlook onto the DOH Grand Foyer, the finest of any Detroit theatre. The 3 chandeliers in this space are magnificently restored originals, and behind each one the back walls have large arched segmented mirrors surrounded by rich pilasters and detailing.

The last image is from the landing of the mezzanine bridge looking towards the arched back wall and central chandelier.

The following images are miniatures of high resolution originals owned by Michigan Opera Theatre and a DYESer by the name of DecoJim.

Enjoy!

**p69rrh51** · May-21-12, 10:32 PM

An image of 1244 West Boston Boulevard from a 1916 issue of Western Architect.

**Bluenote132003** · May-22-12, 12:38 PM

Thanks for all the interesting Crane history! Love it!

**EastsideAl** · May-22-12, 12:45 PM

My goodness the Opera House sure looks a lot nicer now than when it was the Grand Circus and I went there to see kung fu movies back in the '70s. Hopefully, it smells a bit better too.

**Hardhat** · May-22-12, 02:30 PM

Thanks for starting a great thread, with terrific information, Gistok!
These accounts of the renovation of the Opera House are from The Building Tradesman, official publication of the Michigan Building and Construction Trades Council.

Trades play leading role
in Opera House renovation
Sept. 1995

By Marty Mulcahy
Editor
The Building Tradesman
By springtime of next year, fat ladies in horned helmets will be singing on the stage of the Detroit Opera House.
Right now, it's the people wearing hard hats who are performing on the stage, in the wings, in the rafters, and in the addition of the 74-year-old building at 1550 Broadway in Downtown Detroit.
The trades, along with general contractor Walbridge-Aldinger, are in the process of transforming the former silent movie and vaudeville venue into a modern, updated home of the Michigan Opera Theatre. Project Manager Zelman Colbert and Project Supt. Mike Thompson are overseeing the job for Walbridge.
Our readers may recall that we visited the theatre about 18 months ago, when the project was starting to roll. At the time, we noted that a leaky roof ruined millions of dollars in plaster and fixtures. Abandoned since 1985, when it was last used for a rock concert, the theatre was desperately in need of a guiding hand, and a purpose, if it was going to be saved.
Enter stage right came the Michigan Opera Theatre, which needed a venue for its performances. Enter stage left came some $23 million in private donations to fund the construction work, which includes a massive re-plastering effort, demolition of the rear wall and construction of a new 75,000 square-foot stage house, new plumbing, wiring, ducts, masonry, and a whole host of other portions of the project.
"This job is a challenge, no doubt about it,” said plasterer foreman Chris Richardson of Local 67 and Commercial Interior Systems. He's a great admirer of the craftsmanship he is replicating. "Not only are we trying to get finished on time, we're trying to reproduce 1920s methods as we work. Sometimes we ask ourselves, "now how'd they do that?' We usually figure it out after a while.”
Construction-wise, there's a little bit of everything going on at the theater right now. Last week, iron workers were erecting structural beams for the staging addition, lathers and plasters were going about their trade, masons and laborers were teaming up to set block, pipe trades were on the job, and wiremen were in the bowels of the building running conduit.
“This is a nice, high-profile job,'' said Don Tollis, of Bricklayers Local 1, project manager for Baro Contracting, the job's mason contractor. "I'd like to see this become another Fox Theatre. It's an historic building, and it may help revive the downtown area.”
Ambling around a four-foot-tall crawl space below the seating area and installing conduit, electrician Chuck Baker of Local 58 and Edgewood Electric let out an animated "oh my God!” when asked what he thought about the theatre. A lot of work needs to be done, he said, in a lot of tight spaces, before the project will be through. With all of its nooks and crannies, it is obvious the building wasn't constructed with renovation in mind.
"This place can really be something special when it's completed,” he said. "It can be just as nice as the Fox Theatre.”
Since construction was completed in January 1922, the 2,700-seat theatre has been called the Paramount, the Broadway, the Broadway-Capitol, and most recently, the Grand Circus Theatre. Its most striking interior feature will be the proscenium arch that will ring the stage. Much of the original, elaborate interior design remains, including authentic murals, stencil work, Tiffany-style glass, crystal chandeliers marble and the hand-molded plaster.
Of course, as with any production, it's the work of behind-the-scenes players who help get the job done. For instance, in order to get access to repair the plaster ceiling of the building, a huge scaffolding had to be set up. The scaffolding creator was Jim Berger, who installed plywood sheets about six feet under the ceiling to allow ready access. Richardson called the scaffolding "a work of art.”
Laura Wyss, the MOT's public relations manager, said there won't be ""a bad seat in the house'' when the project is completed. Funds are still being raised to pay for the renovation.

Bravo! Trades resurrect
grand old opera house

April 1996
By Marty Mulcahy
Editor
The Building Tradesman

Most of the trades who worked at refurbishing the Michigan Opera Theatre don't know a thing about the productions that will be staged there. But for the rest of their lives, all of them will have a story about how they helped set the stage, the iron, the plaster, the wiring or the mechanical works, and brought a classic theatre back to life.
Working under the pressure of an April 21 deadline--when hundreds of black tie patrons would celebrate the grand opening by listening to Luciano Pavarotti belt out a couple of arias--the trades came through marvelously. While still not complete, the 2,700-seat theatre that night was a showcase for the skill of the trades, who have renovated an operatic temple that rivals any in the world.
Bravo!
The theatre at 1526 Broadway in Detroit was constructed 1922 as a vaudeville house, then it became a motion picture palace. It was built in the days before amplification, so the accoustics are said to be terrific. At various times the venue has been called the Paramount, the Broadway, the Broadway-Capitol, and most recently, the Grand Circus Theatre.
When Detroit's economic fortunes took a nosedive in the mid-1980s, the theatre was abandoned and also fell on hard times. Those who would refurbish the building found rain water in the orchestra pit, antique wiring and plumbing, ruined plaster, and a general mess.
Finding a diamond in the rough as their potential new home, the Michigan Opera Theatre first had to commit to raising $23 million for the renovation. They have mostly done that, and were helped by a big infusion of cash raised during opening night, when Pavarotti donated his time.
On that opening night, patrons found the ornate plaster work was omnipresent, and was perhaps the highest profile aspect of the job. Foreman Chris Richardson of Plasterers Local 67 and contractor Commercial Interior Systems said he has a great deal of respect for historical efforts like rebuilding the Opera House, because the plaster work it contains is a lost art.
"Nothing like this has come along in years," he said. "With the amount of work we had to do, and the time span we had to do it in, we really had to bring mechanics out of thin air." Richardson said at first few of the plasterers had the knowledge of how to replicate the original ruined plaster work.
"It was definitely learn as you go," he said. "But our people got quicker and quicker toward the end."
Several plasterers on the job for two years bemoaned having to return to more run-of-the-mill plaster work like smooth walls and fireproofing.
"There was kind of a let-down" after Pavarotti's appearance, said Richardson. "Sort of, "what are we going to do now?' "
A much-reduced crew of trades will be on hand to complete the theatre by September, said Douglas Kopel, project manager for Walbridge-Aldinger, the general contractor. Some 400 trades workers worked right up to the last minute to make theatre look nice.
"The trades have worked with us beautifully on this project, we couldn't have asked any more than the effort they gave us," Kopel said. "I think everyone should take a measure of pride in this building, it's quite an accomplishment."
That sense of pride was evident with Dennis Walker of Sheet Metal Workers Local 80, who noted that on Opening Night, there was only a 4-degree difference in temperature "from the ground floor to the nosebleed seats-- that's a good temperature balance," he said.
Apparently, a lot of the trades were invited to put away their hard hats on opening night, and watch the performance with the black tie crowd while making sure all systems were functioning properly. Walker, for one, stood by stage right with his walkie-talkie as Pavarotti sang.
"I'm not an opera fan but you can sure tell when people are good at what they do," he said. "And Pavarotti has a helluva voice."
The big tenor was the first of many operatic acts which will take place this year. La Boheme, La Traviata and Romeo and Juliet are among some of the operas that are scheduled. To put on such productions, a 75,000-square-foot stage house was built to handle the most elaborate sets. The new building will also have new offices, dressing rooms, and service areas.
On the job for 18 months, Chuck Baker of Edgewood Electric has snaked wire around and through many of the nooks and crannies in the opera house. When last we saw him in the fall, he was pulling wire through a four-foot tall crawl space with a dirt floor in the bowels of the building. "At times, it has been tough," Baker acknowledged, "but now I look around and get a real sense of accomplishment. We took a real dilapidated building and made it into this. It has been a lot of fun."