Download QuarterlY - Rutland Historical Society

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