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Lindsey Marler

Professor Elisabeth Meyer

WRD 110 SEC 009

April 25, 2013

Space Analysis: Lexington Opera House

When analyzing a space, the researcher needs to be fully aware of their audience and prospective

readers and listeners to accurately portray the space as intended by the builder or constructer of

said space. I chose the Lexington Opera House in downtown Lexington, Kentucky for my space

to analyze. Lexington, Kentucky is rich in heritage, history and most importantly, people. The

Opera House on Broadway and Short Street in the middle of downtown Lexington is a wonderful

focal point for the arts of the city. The building itself is a historic landmark and is a stark contrast

to the hustle of Hamburg or Nicholasville Road. The downtown district is old and new

wonderfully mixed together to create an ambience unlike other cities of Lexington’s size.

The Opera House itself is very old, has been rebuilt twice and is still in operation every

week of the year. The art lovers of Lexington are able to utilize a historic building for their

purposes without the worry of an overestimated or underestimated venue. It is truly a

multifaceted building that perfectly suits the needs of the people of Lexington and the arts.

The Opera House is essentially a 19th century building with 20th century charm showing

21st century plays, musicals, comedy and ballet as well as a ton of other shows for all ages. I

personally grew up in the Opera House as my grandparents were the owners of the Lexington

Musical Theater and had a contract at the Opera House to use it as a venue for their many

performances. I was personally in Annie, Fiddler on the Roof and Hello Dolly, as were my

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parents, aunts and uncles. I have had many performances there but never really looked at it as a

spectator and not a performer.

During my space analysis, I went to the Opera House with a fresh perspective with the

object of looking at the House as a spectator and to research the history as much as possible so I

could fully understand every piece of the House and what it has done for our artistic community.

In order to understand the appeal of this space, a little history is needed. The Lexington

Opera House is on Short Street and Broadway in Downtown Lexington, Kentucky. The website

for the Opera House, www.lexingtonoperahouse.com is a wealth of information and history and

one of my primary sources of information. As well as the National Parks Services registry which

gave detailed history and informational essays at www.nps.gov.

The building does not look very special on the outside, just a large brick building with a

covered walkway and beautiful brick inlay leading to a few sets of double doors. The brick stair

case has bricks that are donated to the House by patrons of the arts. The House was built in 1886

after a fire damaged the original building. The new House opened their doors in 1887. After

years of transitions, the House became a vaudeville stage, a movie theater and finally in 1976,

thanks to the Opera House Fund, became the full time Opera Theater it is today. The House was

scheduled to be destroyed in the 1960’s when a small group of philanthropist’s created the Opera

House Fund along with the Lexington Corporation and saved the building from demise. Today

the house is a large building that can seat almost 1,000 people with close to 85,000 visitors

annually. The house was restored in 1976 before reopening and is virtually unchanged from the

original design in 1886.

The Lexington Opera House is a beautiful building and has many modern day amenities

while keeping to its old time charm. After visiting with fresh eyes, I noticed that upon parking in

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the curved valet in the front, the stairs are all stone as mentioned above, engraved with the names

of donors and patrons of the arts. (Figure 1: Front) There is a handicap accessible ramp and stairs

that further go down into the basement. There are multiple back doors and side doors for

performers and musicians alike. There is a “Garden Door” which leads to the dressing rooms,

back stage and the pit, where the orchestra performs. When you walk inside the House you are

greeted by numerous doors rimmed with gold inlay and bronze siding. The floors are red carpet

with gold designs on them. The great hall doors are to your left and the ticket office is to your

right. You are able to walk straight back to the back and side hall. This leads to a beautiful

winding white and gold staircase that takes you to the upper levels and a modern elevator for

convenience. (Figure 2: Stairs) Below levels is a bar and concessions area with stone floors and

Kentucky memorabilia like horses and old paintings some donated by patrons.

The Main Hall has many doors where you can enter at your convenience and during a

show you will be given a program at every entrance by volunteer ushers. The Main Hall is three

stories tall with a sound amplifier in the middle of the ceiling with lighting and sound in the back

of the third floor. There are three levels, one main floor and two balconies. The main floor

seating is curved like a normal theater seating chart. (Figure 3: Balconies) The second and third

floors are done in the same fashion but with bronze railings to keep people from failing to the

first floor. (Figure 4: Balcony) The seats are covered in red velvet and have wooden arm rests.

The seats are very small as it was not custom for people to be heavier in the 1800’s and therefor

the seats are only about 2 feet across. Each seat has a golden box with the seat number engraved

in the middle. There are two box seats on each side of the theater, stage left and right that are

designed in a half circle for maximum viewing. (Figure 5: BoxSeats)

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The stage is large and the wood is painted black. The curtains are old and musty but

effective and a beautiful shade of maroon/red with gold trim. The back stage brick is also

completely black. (Figure 6: Stage) There are dressing rooms below levels that were recently

remodeled for efficiency about six years ago. They connect to the pit room where the orchestra is

raised on a hydraulic system to the top and can be lowered below stage level. I have personally

been in the pit and actually was there when someone rolled off stage onto a tuba when I was a

kid. Everyone involved was okay but it was traumatic, nonetheless.

After viewing the Opera House with fresh eyes and seeing it again after a long absence as

a spectator and not just a performer, I discovered that I did not know much about this House that

I had frequented in my youth so many times. I had no idea about the rich history, the Opera

House Fund and the fire that took the first theater in Lexington. The people who saved the House

in the 70’s really did us a service and I can attest that Lexington would not be the same without

our Opera House. After debating with myself about whom I should interview, I decided to

interview my grandmother who started the very spark in me to enjoy theater and why I ultimately

chose the Opera House as my space to analyze.

I met with my grandmother, JoAnn Spivey on a sunny April day this year. We sat and

had tea and discussed current events before I began my formal interview. (Interview) My

grandfather who is an actor and accomplished painter was there as well and gave interesting tid

bits along the way. My grandparents together with many others helped save the Opera House in

the 70’s from sure demise. They have used the House many times since for their performances

and to be patrons as well. My grandmother stated that their group, The Lexington Musical

Theater, did over 30 plays in their time owning the group. They retired in the early 90’s and

passed the torch onto younger more energetic theater goers. My grandmother stated that “I was a

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teacher then and raising your mother and her sisters but we were there [in the 70’s]. We started

the Lexington Musical Theater with your grandfather and about 12 other people.” They kept it

going for many years and helped keep patrons of the arts to fund the program.

The first time I went to the Opera House as a child without adults was when I was 14 and

paid to see the Off-Broadway production of Cats. It was an amazing performance and I enjoyed

it immensely. I paid $75.00 to have a front row seat and was blown away by the actor’s ability to

portray cats so vividly. After the show, I went back stage as I had always done. The ushers knew

me so I did not get into trouble. I met the cast and watched as they took off their makeup. It was

a surreal experience and I hope that everyone will get that chance someday. My grandmother

came with me later to an after show party and because she owned the Lexington Musical

Theater, she actually knew some of the producers.

My grandparents most recently participated in Paragon Musical Theater. My grandfather

is a profound actor and has been in movies as well as multiple plays. My grandmother is more of

a back stage person as she is a seamstress. She explained to me in great detail about the Opera

House’s influence and impact on our city. She stated that “We are lucky to have such a building

to produce shows and ballet as well as musicals and of course, operas”. When asked what shows

she would like to see put on there, she stated something interesting, “The House, unfortunately,

is not big enough for large scale productions such as Wicked or Miss Saigon. You need more

space, back stage and on stage. It is sadly not feasible for large scale productions. So they usually

go to Louisville or Cincinnati. I would love to see that changed”.

The Lexington Opera House is an amazing contribution to the arts of Lexington and will

always be in the hearts of the patrons and spectators. After viewing the Opera house with a new

perspective, I discovered again its many charms, nuances and wonderful history. Seeing it with

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fresh eyes was like a discovery into my past and it made me realize how much I miss it. I would

like to go again and again with my children and so they can experience the magic of having an

Opera House in their own city.

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Works Cited

McAlister, Terri.www.lexingtonoperahouse.com. Terri McAlister

2013.Web. 18 Apr. 2013

Spivey, JoAnn. Personal Interview. 15 Apr. 2013. TS.

Conner, Brooke. Personal Interview - Photographs. 15 Apr. 2013. TS.

National Park Services.http://www.nps.gov/nr/travel/lexington/lop.htm.

2013.Web.18 Apr. 2013

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Photograph Links:

Figure 1 - Opera House Front Stairs

Figure 2 - Opera House Side Hall Stairs

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Figure 3: Balconies

Figure 4: Balcony View

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Figure 5: Box Seats

Figure 6: Stage View

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Interview Transcript

My interview was of my grandmother, JoAnn Spivey in her home on April 14, 2013. The

interview was as follows as JoAnn as JS and myself as LM (Lindsey Marler, Interviewer)

LM: Thank you for having me over Mema, I appreciate you doing this for me.

JS: Of course darling, anything you need to know!

LM: Okay, let’s get started. I am interviewing you today about the Opera House in Lexington

with which you are very acquainted. When was your very first visit there?

JS: I would say some time in the 60’s. I am not sure of the date. It was a theater and about to

be torn down to make room for a mall or something.

LM: Wow, what a waste that would have been! Is that where the Opera House Fund comes in?

JS: Yes, it was a group of theater actors and musicians as well as some influential people

who did not want to see it destroyed. So they put their money together and started asking for

donations. Eventually it was renovated to what it is today, with a few makeovers here and there.

LM: When they reopened the doors, were you there?

JS: I was a teacher then and raising your mother and her sisters but we were there. We started

the Lexington Musical Theater with your grandfather and about 12 other people. We began

putting plays on. Such as Annie, Fiddler on the Roof, Hello Dolly, A Funny Thing that

Happened on the way to the Forum, and a whole bunch of others. Your parents and aunts and

uncles were involved as well, as much as they could.

LM: Yes, I remember. I remember being there and watching the shows and practice.

JS: You were very young when we retired and let others take over but the Opera House is

still showing shows and is very important to our community.

LM: What shows would you like to see put on there?

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JS: The House, unfortunately, is not big enough for large scale productions such as Wicked

or Miss Saigon. You need more space, back stage and on stage. It is sadly not feasible for large

scale productions. So they usually go to Louisville or Cincinnati. I would love to see that

changed.

LM: I would as well. Louisville’s Whitney Hall is great but we could use something bigger.

What do you think of the style of the House as it is now?

JS: Well, I have been to many theaters all over the world and none felt like home like our

House. It is modeled after many theaters and gives that charm off in every way and we are lucky

to have such a building to produce shows and ballet as well as musicals and of course, operas.

LM: I love it and think it is beautiful. Do you feel like it is still a good part of the community

since you and Pawpa retired?

JS: Yes I do. It is used now, or was until last year, by the Paragon Musical Theater as well as

other smaller groups and some bigger groups like Off-Broadway Presents and the Universities. I

think they get a good use out of it and we still donate as much as we can.

LM: I am so glad you brought us up to love the theater and now I have a greater appreciation

for the actual building not just what goes on inside and back stage. Thank you so much for that

and for letting me conduct this interview!

JS: You’re very welcome. Anytime. The arts should be enjoyed by everyone, young and old.