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Thursday, November 05, 2020
Travels of a Scenic Artist and Scholar: Boott Mills Standard Sheeting for Stage Scenery at the Tabor Opera House in Leadville, Colorado.
Drypigment.net: While traveling across the country, I documented historic scenery at several venues, including the Tabor Opera House in Leadville, Colorado. We pulled into Leadville on June 18, having scheduled a quick stop at the Tabor Opera House, before heading to Twin Lakes and Independence Pass. The next day was my 49th birthday, and I decided to treat myself to a morning in the attic at the Tabor Opera House.
1 comment:
Katie Pyzowski
said...
I always find the articles from this blog fascinating. The painting done on this century+ old flats are phenomenal. Also, I’ve definitely been to that cotton mill before. It’s wild to me to think about how long the lead time is on the purchasing of materials from Lowell Massachusetts to make painted flats that end up all the way in Colorado, prior to widespread railroads or high speed communications. It’s making me think a lot about the importance of word of mouth networking in the theatre industry. Pre-internet, I guess you had to find people by asking around, and honestly, the industry still works the same way. I wonder if 19th century theatres constantly used the same artistic team, since a designer working on a show in two parts of the country simultaneously seems like a no-go. I would be interested to see how the theatrical artistic and production calendar has morphed over time. My guess is the time it takes for each component to come to completion has shortened drastically.
1 comment:
I always find the articles from this blog fascinating. The painting done on this century+ old flats are phenomenal. Also, I’ve definitely been to that cotton mill before. It’s wild to me to think about how long the lead time is on the purchasing of materials from Lowell Massachusetts to make painted flats that end up all the way in Colorado, prior to widespread railroads or high speed communications. It’s making me think a lot about the importance of word of mouth networking in the theatre industry. Pre-internet, I guess you had to find people by asking around, and honestly, the industry still works the same way. I wonder if 19th century theatres constantly used the same artistic team, since a designer working on a show in two parts of the country simultaneously seems like a no-go. I would be interested to see how the theatrical artistic and production calendar has morphed over time. My guess is the time it takes for each component to come to completion has shortened drastically.
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