RUTLAND

HISTORICAL SOCIETY

QuarterlY

VOLUME 34 NO.3

2004

A History of the Paramount

Theatre - Rutland, Vermont

1914 - 2004

A drawing of the facade of the new Paramount Theatre.

About the Author Paul J. Crossman, Jr. is a Rutland native. He received his educa­ tion at Rutland High School and the University of Vermont. He re­ tired from General Electric Company in 1990 after 36 years service as an electrical engineer. His duties included field engineering and design and testing of complex surface weapons systems for the U.S. Navy. He is a Vermont licensed professional engineer (Electrical) and was a Vermont licensed private investigator. Paul also volunteers as an usher at the Paramount Theatre. His interests include the crimi­ nal justice system, court watching, forensic science, research, geneal­ ogy, computers, photography and traveling. He has written previous Quarterlies for the Rutland Historical Society entitled "Pine Hill Stone Crusher and Early Stone Crushing Practices in Vermont 1887-1932 (Volume 28 Number 2), "Development of Rocky Pond Recreational Area, Rutland, Vermont 1952-1954" (Volume 29, Number 1) and "Rutland Vermont Jails 1784-2000" (Volume 30 Number 1).

Chronology 1913 - The Playhouse built.

1914 - The Playhouse opens (January).

1914 - Thomas Boyle becomes manager of the Playhouse.

1931 - Paramount Theatre opens and later "The Movies" showing

motion pictures.

1931 - Frank Vennett becomes new manager of the Paramount

Theatre.

1975 - "The Movies" closes.

1985 - Paramount Theatre mortgaged to Paramount Center, Inc.

1988 - Paramount Center assumes ownership.

1995 - Adjoining Richardson Block Building purchased.

1999 - John Russell Corporation selected as construction manager;

work begun in January.

1999 - Don Hirsch selected as executive director.

2000 - Restoration completed (February).

2000 - Opening Night for artisans and contributors (March).

2004 - Ron Naples becomes new executive director.

The Quarterly is published by the Rutland Historical Society, 96 Center Street, Rutland i VT 05701-4023. Co-editors: Jim Davidson and Jacob Sherman. Copies are $2 each plus $1 per order. Membership in the Society includes a subscription to the Quarterly and the Newsletter.Copyright © 2004 The Rutland Historical Society, Inc. ISSN 0748-24493.

2

A History of t Theatre - Rut 1914 By Paul J.

~

THE PLAYHOUSE The Playhouse at 30-32 Cen called the Paramount Theatre, Tl: Theatre, first opened its doors to . opened a 17 -year era of minst vaudeville. The Playhouse was built in 19 building was constructed and ( Manager was Thomas A. Boyle, 1 who had come to Rutland in 1 Rutland Opera House at 65-67 1 the Economy Department Store. The Playhouse was considel America outside the larger cities, appointed than most in the metI Son, Theatrical Architects of R original design for the building. 1 Remington. Mrs. Chaffee arrang appointments. The Playhouse was of neo· veneer, 2 1;2 stories in height, aI marble, arcading keystones, pres: and etched glass windows. There the orchestra divided by a middl boxes of seven seats each). The h hat racks and brass railings. Col ornamental drapes) were of DuB side walls were covered with D stuccowork was of old ivory and painting on the ceiling above tl: lyric art, and drama. The lighu ceiling was finished in stucco l

ld native. He received his educa­ e University of Vermont. He re­ y in 1990 after 36 years service ; included field engineering and :e weapons systems for the U.S. ~ssional engineer (Electrical) and ;tigator. Paul also volunteers as His interests include the crimi­ )rensic science, research, gene al­ veling. He has written previous l Society entitled "Pine Hill Stone Practices in Vermont 1887-1932 mt of Rocky Pond Recreational " (Volume 29, Number 1) and Volume 30 Number 1).

Y').

;er of the Playhouse.

nd later "The Movies" showing

~w

manager of the Paramount

d to Paramount Center, Inc.

wnership.

~uilding purchased.

lected as construction manager;

Ltive director.

Lary).

ld contributors (March).

lcutive director.

torical Society, 96 Center Street, Rutland! Jacob Shennan. Copies are $2 each plus es a subscription to the Quarterly and the 5£Orical Society, Inc. ISSN 0748-24493.

A History of the Paramount Theatre - Rutland, Vermont 1914 - 2004 By Paul J. Crossman, Jr. THE PLAYHOUSE The Playhouse at 30-32 Center Street in Rutland, later to be called the Paramount Theatre, The Movies, and again the Paramount Theatre, first opened its doors to the public on 15 January 1914. This opened a 17 -year era of minstrels, grand and light opera, and vaudeville. The Playhouse was built in 1913 on the site of a livery stable. The building was constructed and owned by George T. Chaffee. The Manager was Thomas A. Boyle, well known in the theatre business, who had come to Rutland in 1903. Mr. Boyle first managed the Rutland Opera House at 65-67 Merchants Row which later became the Economy Department Store. The Playhouse was considered one of the finest theatres in America outside the larger cities, and more artistically designed and appointed than most in the metropolitan areas. Leon H. Lempert & Son, Theatrical Architects of Rochester, New York, provided the original design for the building. The builder and contractor was F. H. Remington. Mrs. Chaffee arranged for the artistic decorations and appointments. The Playhouse was of neo-classical revival style with brick veneer, 2 lh stories in height, and featured entry pediment, quoins, marble, arcading keystones, pressed metal, full entablature, transom and etched glass windows. There was seating for 1000 patrons (490 in the orchestra divided by a middle aisle, 498 in the balcony, and six boxes of seven seats each). The boxes were furnished with gilt chairs, hat racks and brass railings. Color hangings and lambrequins (short ornamental drapes) were of DuBarry rose with gold decoration. The side walls were covered with DuBarry rose tapestry. The exposed stuccowork was of old ivory and gold leaf finish. A large oval shape painting on the ceiling above the orchestra section depicted music, lyric art, and drama. The lighted dome in the center of the main ceiling was finished in stucco and a border trimmed with lights. 3

There were 1500 softly illuminated lights in the theatre, a dimmer for effect, and an emergency use battery in the event of a power failure. A five- foot diameter electric fan at the center of the dome connected with ventilation ducts to provide air circulation. Carpet­ ing in the boxes, aisles, auditorium, and lobby areas was of Wilton green. This material, named after Wilton, England, was woven and had a velvety surface formed by cut loops of pile. The stage measured 40 feet deep by 54 feet wide with a gridiron positioned 65 feet above the stage to support lighting fixtures, ropes and pulleys. An arch measuring 32 feet wide by 26 feet high framed the area between the curtain and orchestra, known as the proscenium. The theatre was totally fireproof including DuBarry rose tapes­ try covering the side walls which was treated with a fire-resistant agent. In a demonstration given by then Fire Chief J. C. Dunn, a gasoline torch was applied to a section of tapestry for a period of time without noticeable damage or discoloration. Automatic sprinklers and numerous exits were also provided. There were nine dressing rooms, each accommodating three or more persons. The rooms were equipped with hot and cold water, electric lights, steam heat, marble makeup shelf and beveled glass mirrors. The chorus room with six large mirrors accommodated nine persons. The ladies rooms were finished in soft green with wicker furniture while the men's rooms were finished in yellow with mission furniture. The theatre lobby was beautifully appointed with a black and white marble floor, a wall coating of royal antique marble, a ceiling with rose and leaf design in Old Roman gold, and several various shaped small brass chandeliers. Front windows of the lobby were art glass set in copper and red stenciled in gold. Orchestra seats and the first six rows of seats in the balcony were made of Circassian Walnut (a mottled light-brown wood of English walnut) and upholstered in Span­ ish leather. Other balcony seats were finished in veneer. At the rear of the balcony was an asbestos-lined booth that provided space for two motion picture projectors and a spotlight. A brilliant opening night performance at The Playhouse on Thursday 15 January 1914 featured "The Chocolate Soldier", a comic opera by Oscar Straus based on G. B. Shaw's play "Arms and The Man." Stage Manager was Charles T. Webb. Manager of Vaudeville was R. H. Baum. Harry Levins was head usher. Orchestra Leader was Philip S. Johnson who later received national attention for his romance with the colorful New York heiress Victoria Morisini. Miss Agnes C. Parmalee, who later married Mr. Boyle, was in charge of 4

the Box Office. Mary E. Murph, stage manager and projectionist, The sellout show was repeatE to accommodate patron demanc priced at 50 cents, 75 cents, and from Granville, New York, and N well presented and well receive( characterized as "beautiful" ar impressive. Ordinary conversatiol of the auditorium or balcony. Top performers, who travelc Montreal and Boston, would s' Playhouse. Tom Thumb, Will Barrymore and the Great Houdi1 local audiences. During the disastrous flood 0 driven from their homes in the I, refuge at the theatre.

PARTIAL LIST OF SHOWS PI AT THE PLAYHOUSE FROM; Aida A Pair of Silk Stockings American Legion Minstrels Barney Google Billy Markwiths Sax Sextette Birds of Prey Broadway Jams Carmen, Geraldine Farrar Cherries Are Ripe Come Across Concert Dante The Great, European Mag Faust Fisk O'Hara Flora Bella Follow Me Francis Barrett, Tenor Geraldine Farrar Gypsy Love Gus Hills Minstrels Harry Blackstone

lights in the theatre, a dimmer )attery in the event of a power .c fan at the center of the dome provide air circulation. Carpet­ , and lobby areas was of Wilton N"ilton, England, was woven and loops of pile. ) by 54 feet wide with a gridiron :> support lighting fixtures, ropes feet wide by 26 feet high framed md orchestra, known as the

including DuBarry rose tapes­ 'las treated with a fire-resistant , then Fire Chief J. C. Dunn, a m of tapestry for a period of time ~oloration. Automatic sprinklers lded. s, each accommodating three or Lipped with hot and cold water, makeup shelf and beveled glass arge mirrors accommodated nine Lished in soft green with wicker were finished in yellow with

,f

appointed with a black and white

.1 antique marble, a ceiling with

gold, and several various shaped lows of the lobby were art glass )ld. Orchestra seats and the first re made of Circassian Walnut (a walnut) and upholstered in Span­ "e finished in veneer. At the rear !d booth that provided space for l spotlight. brmance at The Playhouse on "The Chocolate Soldier", a comic B. Shaw's play "Arms and The T. Webb. Manager of Vaudeville LS head usher. Orchestra Leader ~eived national attention for his k heiress Victoria Morisini. Miss cied Mr. Boyle, was in charge of

the Box Office. Mary E. Murphy, who later married the theatre's stage manager and projectionist, Howard Mitchell, assisted her. The sellout show was repeated on Friday afternoon and evening to accommodate patron demand. Reserved matinee seats were priced at 50 cents, 75 cents, and one dollar. Special trains were run from Granville, New York, and Middlebury, Vermont. The opera was wen presented and well received. Theatre lighting and decor were characterized as "beautiful" and "perfect". Acoustics were also impressive. Ordinary conversation on stage was audible in any part of the auditorium or balcony. Top performers, who traveled the Rutland Railroad between Montreal and Boston, would stop to make appearances at The Playhouse. Tom Thumb, Will Rogers, Sarah Bernhardt, Ethel Barrymore and the Great Houdini were among those who delighted local audiences. During the disastrous flood of 1927 Rutland residents who were driven from their homes in the lower part of the city were provided refuge at the theatre.

PARTIAL LIST OF SHOWS PRESENTED AT THE PLAYHOUSE FROM 1914 TO 1931 Aida A Pair of Silk Stockings American Legion Minstrels Barney Google Billy Markwiths Sax Sextette Birds of Prey Broadway Jams Carmen, Geraldine Farrar Cherries Are Ripe Come Across Concert Dante The Great, European Magician Faust Fisk O'Hara Flora Bella Follow Me Francis Barrett, Tenor Geraldine Farrar Gypsy Love Gus Hills Minstrels Harry Blackstone 5

Harry Lauder Heink, Madame Schumann His Bridal Night Hitchy Koo Hurricane with Olga Petrova II Travatore, Boston English Opera John McCormack Just Married Katzenjammer Kids Little Women MacBeth Mary's Ankle Merchant of Venice Merry Minstrel Shows, Neil O'Brien Minstrels Mother's Millions Mutt & Jeff's Dream Mutt & Jeff in College Mutt & Jeff in the Wolly West Mutt & Jeff's Wedding My Lady's Garter Never Say Die No. 13 Washington Square Nothing But Lies Oh Lady Lady Oliver Twist Peg 0' My Heart Petite (musical comedy) Playthings Quincy Adams Sawyer Rebecca of Sunnybrook Farm Rigoletto, NY Grand Opera Company Robert B. Mantell Ruddigore Russian Symphony Orchestra of New York Ruth St. Denis and Ted Shawn Rutland Theater Musicals and Melodramas Sinners Sweet Rosie O'Grady Taming of the Shrew The Belle of Broadway The Bohemian Girl The Bo'sn's Bride, RHS Chorus

6

The Brat The Chocolate Soldier The Death of Cleopatra The District Leader The Emperor Jones The Girl in Waiting The Great Divide The Great Houdini, Harry Houd The Kiss Burglar The Little Cafe The Man On The Box The Mikado The Old Homestead The Red Rose The Road to Happiness The Saving Grace The Second Mrs. Tangneray, Et The Spendthrift The Very Idea The White Peacock with Olga P Tish Tom Thumb and Wife Lavinia Tommy Uncle Seth and the Hoodoo Uncle Tom's Cabin Under Cover Up in Mabel's Room Upstairs and Down Vanities, Earl Carroll Very Good Eddie When the Cat's Away Will Rogers Women's Law Ziegfield Follies, Ruth St. Denis PARAMOUNT THEATREfrm When "talking pictures" can taken over by The Paramount. rated, and made more attractivi equipment was installed for be: quee was constructed in the fr< reopened on 29 June 1931.

a

en Minstrels

my

rew York ~lodramas

The Brat The Chocolate Soldier The Death of Cleopatra The District Leader The Emperor Jones The Girl in Waiting The Great Divide The Great Houdini, Harry Houdini The Kiss Burglar The Little Cafe The Man On The Box The Mikado The Old Homestead The Red Rose The Road to Happiness The Saving Grace The Second Mrs. Tangneray, Ethel Barrymore The Spendthrift The Very Idea The White Peacock with Olga Petrova Tish Tom Thumb and Wife Lavinia Tommy Uncle Seth and the Hoodoo Uncle Tom's Cabin Under Cover Up in Mabel's Room Upstairs and Down Vanities, Earl Carroll Very Good Eddie When the Cat's Away Will Rogers Women's Law Ziegfield Follies, Ruth St. Denis and Ted Shawn

PARAMOUNT THEATREfl'HE MOVIES (1931-1975) When "talking pictures" came to the town the Playhouse was taken over by The Paramount. The theatre was renovated, redeco­ rated, and made more attractive. State of the art Western Electric equipment was installed for best sound reproduction. A new mar­ quee was constructed in the front of the building. The doors were reopened on 29 June 1931. 7

Presentations alternated between "talkies" and vaudeville. The movies ranged from frivolous to sentimental. The opening attraction at the new Paramount was "I Take This Woman" starring Gary Cooper and Carole Lombard. The film was based on the novel "Lost Ecstasy" by the well-known author Mary Roberts Rinehart who spent her vacations in Vermont. A four-hour Civil War epic "Gone With The Wind" (1939) and other films attracted huge audiences. Frank A. Vennett was the Paramount's manager and impresario. Frank had sung at the Playhouse in 1920 as a tenor in a male quartet with the Murkie-Harder Stock Company. The onset of World War II in 1939 brought more patriotic and inspirational films to the screen. Elvis Presley, James Dean, Marilyn Monroe and Elizabeth Taylor dominated the screen in the 1950's The Rutland contingent of the 43 rd Infantry Division, commanded by Brig. General Leonard F. Wing, was given a farewell sendoff from the Paramount stage in the summer of 1941. Subsequent rallies to raise pledges for war bonds were also conducted from the stage. Many other activities ensued during the 1950's and 1960's. Several Rutland residents got their start as ushers or projectionists and later became prominent in the business and political communities. The Rutland Herald reported on 26 June 1931: "The new Para­ mount is designed to supply the people of Rutland County and surroundings, a modernly equipped, high class place of entertain­ ment, worthy of central Vermont, a spacious home where the finest things in the world of entertainment can be presented properly, where they can be enjoyed in comfort and ease." A storm in the 1960's caused the roof to cave in. Workers patched the hole. The beginning of the end came shortly after the theatre name changed to "The Movies". As with many small theatres across the country, and decline in the film industry due to the advent of television, "The Movies" closed its doors in 1975. Other motion picture theatres in the area, who also reached their demise, were the Shrine which became the Strand at 73-77 Wales Street, the Colonial at 107-109 West Street and the Grand at 112 West Street. PARAMOUNT THEATRE - 2000 TO PRESENT The theatre was empty and neglected for nearly 10 years until Sue Darrow formed the Center On The Alley (COTA) in 1983. The intent was to acquire the building for use as a performing arts center. COTA purchased the building from Joseph and Barbara Giancola on 12 February 1985 for a selling price of $165,000 after the Giancolas had previously made major roof repairs. COTA then became the

8

Paramount Center. Using pledgE gage was paid off on 11 Febf1 disrepair the theatre was structt its decorative detailing preserv~ The Paramount Theatre was "l Victorian opera houses remaini period the Paramount Center Wf; funds through local, state and fe tions. The Paramount Board had be of $25,000 per year which includ and paying a full-time staff to grant applications. During the 1 volunteer work parties performe~ ing old pipes and clutter under t Fred Bagley. Architectural and feasibility 1980's and early 1990's to dE Paramount and Richardson Blod modern amenities with a fully future expansion. The architec1 was retained to develop this pIa In 1991 the Paramount rece was unable to provide a state ( loan payback from Domistyle Fl ness failed. A $200,000 matchinl In February 1994 a Connec develop a marketing plan for Hampshire firm, Roche and Com: shape a comprehensive capital f In March 1995 the Paramoun at 36-40 Center Street from Fl selling price of $170,000. The b was purchased to allow larger pl of the theatre, rest room faci Restrooms were originally locatE was deemed "critical" to the suc, Damian Zamias, a Pittsburg: Paramount on 15 October 1993 ~ the city to offset the impact of tb city's economy.

n "talkies" and vaudeville. The timental. The opening attraction lm This Woman" starring Gary m was based on the novel "Lost Ir Mary Roberts Rinehart who four-hour Civil War epic "Gone lms attracted huge audiences. lount's manager and impresario. 1920 as a tenor in a male quartet pany. ,939 brought more patriotic and is Presley, James Dean, Marilyn ated the screen in the 1950's 1m Infantry Division, commanded vas given a farewell sendoff from ~r of 1941. Subsequent rallies to also conducted from the stage. S the 1950's and 1960's. Several ushers or projectionists and later md political communities. 26 June 1931: "The new Para­ people of Rutland County and " high class place of entertainspacious home where the finest ent can be presented properly, :t and ease." roof to cave in. Workers patched came shortly after the theatre with many small theatres across 11 industry due to the advent of : doors in 1975. Other motion o reached their demise, were the 73-77 Wales Street, the Colonial Id at 112 West Street.

'0 PRESENT rlected for nearly 10 years until The Alley (COTA) in 1983. The ~ use as a performing arts center. Joseph and Barbara Giancola on ! of $165,000 after the Giancolas epairs. COTA then became the

Paramount Center. Using pledges and cash contributions, the mort­ gage was paid off on 11 February 1988. Although in a state of disrepair the theatre was structurally sound and intact with much of its decorative detailing preserved. The Paramount Theatre was unique in that it was one of only seven Victorian opera houses remaining in the country. Over a ten-year period the Paramount Center was able to raise 3.8 million dollars in funds through local, state and federal support, and private contribu­ tions. The Paramount Board had been maintaining the building at a cost of $25,000 per year which included property taxes, small repair jobs, and paying a full-time staff to handle publicity, and research and grant applications. During the period 1989-1993 Saturday morning volunteer work parties performed maintenance tasks such as remov­ ing old pipes and clutter under the guidance of Bob Brunelle and Dr. Fred Bagley. Architectural and feasibility studies were conducted in the late 1980's and early 1990's to determine feasibility of uniting the Paramount and Richardson Block buildings. The plan was to combine modern amenities with a fully restored historic theatre and for future expansion. The architectural firm of Nimtz-Berryhill-Figiel was retained to develop this plan. In 1991 the Paramount received a financial blow. Rutland City was unable to provide a state development grant of $200,000 on a loan payback from Domistyle Furniture Company because the busi­ ness failed. A $200,000 matching grant was also lost. In February 1994 a Connecticut consulting firm was hired to develop a marketing plan for revitalizing the theatre. ANew Hampshire firm, Roche and Company, was also hired in April 1995 to shape a comprehensive capital fund-raising campaign. In March 1995 the Paramount purchased the Richardson Building at 36-40 Center Street from Frank Lieberman of Woodstock at a selling price of $170,000. The building, adjacent to the Paramount, was purchased to allow larger public areas at the front lobby section of the theatre, rest room facilities, and additional office space. Restrooms were originally located in the basement. The acquisition was deemed "critical" to the success of the Paramount project. Damian Zamias, a Pittsburgh developer, donated $70,000 to the Paramount on 15 October 1993 as part of a financial agreement with the city to offset the impact of the planned Diamond Run Mall on the city's economy.

9

An estimated two million dollars was needed to restore the theatre. One of the many fund-raising efforts was the sale of naming rights to the 848 theatre seats at $250 each. Once paid, a brass nameplate was affixed to the seat engraved with the name desig­ nated by the purchaser. Following "tremendous" support for the Paramount by the people of Rutland, U.S. Senator from Vermont, James Jeffords, urged passage of a federal grant. In November 1997 President Clinton signed a $1.35 million grant for Rutland City's Paramount Theatre. A few of the major contributors to the project were: Federal Grant State Funds Damian Zamias Federal Community Development Block Grant Anonymous Donors Sale of 650 Seats Lyman Orton & Vermont Country Store Housing and Conservation Board Rutland City Preservation Trust of Vermont Central Vermont Public Service Corp

$1,350,000 $200.000 $70,000 $325,000 $100,000 $162,500 $100,000 $71,500 $70,000 $50,000 $50,000

In January 1999 the John A. Russell Corp. was contracted to per­ form the restoration and construction began that spring. Extensive research was done to determine original materials, colors and fix­ tures. The DuBarry rose fabric covering the walls was recreated by the F. Schumacher Company of New York. Artisans began the me­ ticulous task of repairing the damaged ornamental plaster, retouch­ ing the faded stenciled ceiling and reapplying the gold leaf to the plaster surfaces. J & R Sprinkler of Rutland installed 300 ceiling sprin­ klers. Larry Beaudry was the project painter. His work on the pink and white dome lined with gold leaf serves as the theatre's center­ piece. The single most costly item in the renovation budget was the construction of a new seven-story brick stage house, including the fly gallery, at a cost of approximately $250,000. The fly gallery is a nar­ row platform at the side of the stage from which a stagehand works the ropes that control the lights and other equipment directly over the stage. The successful restoration of the Paramount was completed in February 2000. The newly renovated theatre is a fully accessible state-of-the-art performing arts facility. The new lobby, now an integral part of both Paramount and Richardson Block buildings, provides for box office 10

space and a functional area 1 ings. All seats in the orchestra the 1931 era were refurbishe orchestra section of the theai physical disabilities. A ramI enables access to those in nee( A corps of 135 volunteers Sl other capacities. It takes app: show. Parking for theatre patrol] accessed from West Street. FI Center Street leads to the Pal weekends, holidays and on wet Opening night on 11 Marc1 skilled workers, artisans and 1 historic project possible. Over The main act was The Gizmo I first show open to the public WI Arlo Guthrie and the Vermont event sold out in less than 24 ] Executive Director of the fit a Manchester, Vermont, resi manager. Naples replaced Dom after serving as director for phase. The theatre posted a $100,( 2003. Naples plans to increase supporters and adjust rental fel season is optimistic. The nn three-fold over the 2003-2004 Sl have already been booked.

THEATRE TECHNICAL SPl

Performance Specs: Proscenium Stage House capacity: 848 Proscenium Height: 26 ft Proscenium Width: 32 ft Distance plaster line to back w Apron Depth: 4 ft Grid Height: 53 ft 9 in

lars was needed to restore the

ing efforts was the sale of naming

$250 each. Once paid, a brass

; engraved with the name desig­

for the Paramount by the people Vermont, James Jeffords, urged ovember 1997 President Clinton utland City's Paramount Theatre. the project were:

Block Grant

Store

Irp

$1,350,000 $200.000 $70,000 $325,000 $100,000 $162,500 $100,000 $71,500 $70,000 $50,000 $50,000

ssell Corp. was contracted to per­ on began that spring. Extensive iginal materials, colors and fix­ ering the walls was recreated by w York. Artisans began the me­ ged ornamental plaster, retouch­ . reapplying the gold leaf to the ~utland installed 300 ceiling sprin­ ct painter. His work on the pink If serves as the theatre's center­ n the renovation budget was the ick stage house, including the fly 250,000. The fly gallery is a nar­ e from which a stagehand works ld other equipment directly over of the Paramount was completed

a fully accessible state-of-the-art )by, now an integral part of both mildings, provides for box office

space and a functional area for pre-show and intermission gather­ ings. All seats in the orchestra are new. Loge and balcony seats from the 1931 era were refurbished. There are removable seats in the orchestra section of the theatre to allow seating for persons with physical disabilities. A ramped passage from audience to stage enables access to those in need. A corps of 135 volunteers serves as ushers, box office aides and in other capacities. It takes approximately 25 volunteers to put on a show. Parking for theatre patrons is available at the Transit Center, accessed from West Street. From the Transit Center a walkway to Center Street leads to the Paramount. Free parking is available on weekends, holidays and on weekdays from 5:30 PM to 11:00 PM. Opening night on 11 March 2000 was to honor the many highly skilled workers, artisans and contributors who worked to make the historic project possible. Over 400 people attended the gala event. The main act was The Gizmo Boys, a juggling and comedy team. The first show open to the public was 18 March 2000 featuring folk singer Arlo Guthrie and the Vermont Symphony Orchestra. Tickets for that event sold out in less than 24 hours. Executive Director of the new Paramount is Ronald Naples. He is a Manchester, Vermont, resident and former Broadway theatre manager. Naples replaced Donald Hirsch who retired in August 2004 after serving as director for five years including the renovation phase. The theatre posted a $100,000 loss in 2002 and a $60,000 loss in 2003. Naples plans to increase activity at the theatre, reach out to supporters and adjust rental fees. The outlook for the new 2004-2005 season is optimistic. The number of performances will increase three-fold over the 2003-2004 season. A total of 50 new performances have already been booked.

THEATRE TECHNICAL SPECIFICATIONS Performance Specs: Proscenium Stage House capacity: 848 Proscenium Height: 26 ft Proscenium Width: 32 ft Distance plaster line to back wall: 34 ft Apron Depth: 4 ft Grid Height: 53 ft 9 in

11

Loading Facilities Loading Door Dimensions: 12 ft clear width, 12 ft clear height Loading Door located stage right at stage level Soft Goods Grand Drape Flys and travels Legs: 4 sets, 21 ft H x 12 ft W, Black Borders: 4 ft 10 in H x 44 ft W, Black Mid-range stage traveler and upstage traveler Cyclorama is white and seamless Other Equipment 25 ft rolling A-frame ladder 8 ft x 8 ft drum riser 60 amp shore power located off loading door Iron and ironing board Freight elevator located stage right to dressing rooms Orchestra Pit is small, holds 12 musicians with stands Dressing Rooms/Green Room Located downstairs from stage level No access from stage left 2 main dressing rooms, 1 "star" room All dressing rooms have bathroom and shower facilities. Hot and cold running water Phones located in dressing rooms are for phone card use. Phones are digital. Electrics & Power Power Tie-In Stage Right 400 amp 3-phase posi-Iock connectors 200 amp 3-phase cam-lock connectors 60 amp 2-phase range receptacles (Stage L & Stage R on proscenium, NEMA 14-60R Hanging Positions 2 F.O.H. Coves Box Booms (House L and House R) 4 above stage electrics 6 floor pocket locations

12

Dimming and Control ETC Express 48/96 Console DMX access ports located in B()( rear), Stage Land R 48 ETC Sensor dimmer modules

Bibliography 1. Rutland Herald: 13 Jan 1914; 11 16 Jan 1956; 11 Nov 1991; 28 Jun 1996; 11 Nov 1997; 1998; 3 Mar 19 2000 and 12 Jan 2004.

2. Rutland Business Journal: A\ 3. The Stage Door - News From

~

4. Paramount Theatre Website: http://www.paramountvt.orgihis 5. Rutland Herald Archives Wet http://www.rutlandherald.com/p.

6. Documents from Paramount 1 7. Documents from Nimtz-BeITJ 8. Interview with John BerryhiI 9. Interview with Ron Naples, I 10. Interview with Bonnie Coher Volunteer Coordinator. 11. Rutland Historical Society fi

width, 12 ft clear height stage level

lr

Bibliography

k ~e

Dimming and Control ETC Express 48/96 Console DMX access ports located in Booth, House Land R (orchestra level rear), Stage Land R 48 ETC Sensor dimmer modules 2.4K (96 dimmers)

traveler

1. Rutland Herald: 13 Jan 1914; 16 Jan 1914; 26 Jan 1931; 15 Jan 1945; 16 Jan 1956; 11 Nov 1991; 28 Jun 1992; 16 Feb 1994; 14 Apr 1995; 2 Aug 1996; 11 Nov 1997; 1998; 3 Mar 1999; 10 Mar 2000; 17 Mar 2000; 18 Mar 2000 and 12 Jan 2004.

2. Rutland Business Journal: AuglSep 1998

ing door

3. The Stage Door - News From The Paramount Theatre: June 2004

to dressing rooms

icians with stands

4. Paramount Theatre Website: http://www.paramountvt.orglhistory.html 5. Rutland Herald Archives Website: http://www.rutlandherald.comlparamountlarchives.htm

1

and shower facilities.

Hot and

, for phone card use. Phones are

·s

'S

age L & Stage R on proscenium,

6. Documents from Paramount Theatre archives 7. Documents from Nimtz-Berryhill-Figiel, Architects 8. Interview with John Berryhill, Architect. 9. Interview with Ron Naples, Paramount Executive Director. 10. Interview with Bonnie Cohen, Paramount Box Office Manager & Volunteer Coordinator. 11. Rutland Historical Society file photos.

13

Se~

Theatre

STAGE

ORCHES TRA PIT

* K

J K

~ ,

~ , ~

~ ~

§ 9

~

0

0

~

1

~ ~ 9

1

5

3

Q

Q

R

R

~ ~ ~ 2

I

ORCHESTRA

~ , ~ , ~ ~ ~

1

T

* ~

*- ADA

J-

ACCESS REMOVABLE CHAIRS

14

~

,

LEVEL





Seating

tre

il' ~

:;:

g Z

-l

-l

:::

m

1:i

'"

m

PIT

~

A

~ N

~ ~ 8

0 p

Q

R

1\10' \IOS\IO~\I~' T

CESS BLE CHAIRS

~ 10

~ ~ ~ 2

1

'

2

1

'

~ LEy'EL 15

16