Reviving Hollywood Glamor of Silent Movie Era, Experts Piece Together Century-old Pipe Organ

A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
TT

Reviving Hollywood Glamor of Silent Movie Era, Experts Piece Together Century-old Pipe Organ

A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)

A massive pipe organ that underscored the drama and comedy of silent movies with live music in Detroit's ornate Hollywood Theatre nearly a century ago was dismantled into thousands of pieces and stashed away.
The Barton Opus, built in 1927, spent four decades stored in a garage, attic and basement in suburban Detroit. But the towering musical curiosity is being lovingly restored in Indianapolis and eventually will be trucked, piece by piece, to the Rochester Institute of Technology in western New York, to be reassembled and rehoused in a theater specifically designed to accommodate it.
In its heyday, the Barton Opus was able to recreate the sounds of many instruments, including strings, flutes and tubas, says Carlton Smith, who has been restoring the organ since 2020. It also contained real percussion instruments such as a piano, xylophone, glockenspiel, cymbals and drums and could produce sound effects including steamboat and bird whistles, Smith says.
For many moviegoers, the organs — and the organists — were the stars, The Associated Press reported.
“One guy could do it all,” Smith says. “In the big cities, they were literally filling the theaters’ thousands of seats multiple times during the day. They were showing live shows along with the films. It was a big production.”
The Barton Opus enjoyed good acoustics at the Hollywood Theatre, according to the Detroit Theatre Organ Society. The theaters in Detroit at that time, the golden age of the city's auto industry, were as glamorous as any in New York, Chicago, Los Angeles and San Francisco, according to John Lauter, an organist and organ technician.
“We were such a rich market for moviegoers that the theater owners built these palatial places,” Lauter says. “There were no plain Jane movie houses back then.”
Lauter, who also is the director of the Detroit Theatre Organ Society and president of the Motor City Theatre Organ Society, says the Hollywood Theatre organ was one of the largest made by the Bartola Musical Instrument Co. of Oshkosh, Wisconsin. Only three were sold, while the other two were installed in the Highland Theatre in Chicago and the Rialto Square Theatre in Joliet, Illinois.
Of the three, this is “the last one left that hasn’t been altered," Smith says.
In the decades that followed, televisions began to appear in living rooms across the nation and silent movie houses fell out of favor. The Hollywood Theatre closed in the 1950s, its fixtures were sold and its famed Barton Opus was on the verge of being lost to history.
But in the early 1960s, Lauter’s friend, Henry Przybylski, bought it at auction for about $3,500. Przybylski scrambled to remove the massive instrument, parts of which stood two stories tall, before the theater was demolished.
“He pulled together all of his friends in the winter of 1963,” Lauter says. “The building had no electricity and no heat. They came in with Coleman lanterns and block and tackle.”
They took the organ apart and Przybylski — an engineer and organ buff — transported the thousands of pieces back to his Dearborn Heights home where it would remain, unassembled, for about 40 years.
“He never heard or played that instrument ever,” Lauter says. “He lived a majority of his life owning that thing. He’d roll up the garage door and there would be that console in there. He made it known it was the very best there was.”
Przybylski died in 2000, but that did not spell the end of the Barton Opus' odyssey.
Steven Ball, a professional organist who taught at the University of Michigan's Organ Department, asked Przbylski's widow in 2003 if the pipe organ was for sale.
“I came up with every last bit of cash I could,” Ball says.
But he also put the pipe organ straight into storage.
“This whole project was to see this organ through to safety, until I could find an institution to restore it to what it was," Ball says, adding that he had always hoped the Barton Opus would end up in a theater mirroring its original home.
In 2019, Rochester Institute of Technology President David C. Munson reached out to Ball, whom he had known since Munson served as the dean of engineering at the University of Michigan years earlier.
“I contacted Steven and asked where we could acquire the best theater organ,” Munson says. "Steven said, ‘Well that would be mine.’”
Ball will donate his Barton Opus to the school, where it will be the centerpiece of the new performing arts center. The theater that will house the organ is expected to open by January 2026. Restoration work on the organ is a little over two-thirds complete, according to Smith.
“The theater is designed to accommodate exactly this organ,” Munson says, adding that the architect, Michael Maltzan, "designed the pipe chambers to have the same dimension as in the Hollywood Theatre. We have all the original plans for that organ and how the pipes were laid out.”
The exact cost of the work hasn’t yet been determined, Munson says, adding, “It’s an investment we’re making, but I think the results are going to be remarkable.”



Alyssa Milano to Make Her Broadway Debut in the Razzle-Dazzle Musical ‘Chicago’ This Fall

Alyssa Milano appears at a screening of "Maestro" in Los Angeles on Dec. 12, 2023. (AP File)
Alyssa Milano appears at a screening of "Maestro" in Los Angeles on Dec. 12, 2023. (AP File)
TT

Alyssa Milano to Make Her Broadway Debut in the Razzle-Dazzle Musical ‘Chicago’ This Fall

Alyssa Milano appears at a screening of "Maestro" in Los Angeles on Dec. 12, 2023. (AP File)
Alyssa Milano appears at a screening of "Maestro" in Los Angeles on Dec. 12, 2023. (AP File)

Alyssa Milano hopes to charm audiences when she makes her Broadway debut this fall in the musical “Chicago,” adding her celebrity to a show that skewers celebrity culture.

“The beauty of theater is that you get to try new things every night,” she tells The Associated Press. “That’s what I used to love about doing theater. And that’s what I hope that I can find again in doing ‘Chicago.’”

Milano, former star of “Who’s the Boss?” and “Charmed,” steps into the role of Roxie Hart at the Ambassador Theatre beginning Sept. 16 for an eight-week engagement through Nov. 10.

For Milano, hitting the stage is a return to her roots. She was in a national touring company of “Annie” at age 8 and she went on to star in Wendy Wasserstein’s “Tender Offer” at the off-Broadway Ensemble Studio Theater and “All Night Long” at Second Stage. She was in the first American musical adaptation of “Jane Eyre” and produced and starred in a Los Angeles production of “Butterflies Are Free.”

Milano says doing a stint on Broadway never felt right until now. Her children — ages 9 and 12 — are settled in school and extracurricular activities, and her husband is in a good place in his career.

“It just felt like when this offer came up that everything fell into place,” she says. “My 9-year-old daughter looked at me and said, ‘Mom, you would be an idiot not to do this.’”

In recent years, she was in the movies “Brazen” and “Wet Hot American Summer: Ten Years Later” and the Netflix series “Insatiable.” Milano also leant her stardom and voice to the #MeToo movement, launched clothing, jewelry and eyewear lines and has been a host of Lifetime’s “Project Runway All-Stars.”

Set in the 1920s, “Chicago” is a scathing satire of how show business and the media make celebrities out of criminals. It has Bob Fosse-inspired choreography, skimpy outfits and killer songs such as “All That Jazz” and “Cell Block Tango.”

“Chicago” tells the story of Roxie, a housewife and dancer who murders her on-the-side lover after he threatens to leave her. To avoid conviction, Roxie hires Chicago’s slickest criminal lawyer to help her dupe the public, media and her rival cellmate, Velma Kelly, by creating shocking headlines.

Milano says she wants to honor Ann Reinking — the iconic Fosse collaborator who originated Roxie in the 1996 revival and created the choreography in Fosse’s style. “I’m really trying to pay homage to her choreography and her portrayal of Roxie. Because she was profound.”

The celebrity-craving heroine at the heart of “Chicago″ has been played by dozens of women since the show opened in 1996, including Pam Anderson, Melanie Griffith, Christie Brinkley, Marilu Henner, Brooke Shields, Lisa Rinna, Gretchen Mol, Ashlee Simpson, Brandy Norwood, Jennifer Nettles and Robin Givens.

Milano hopes fans will come and see her more than once. “I guarantee you I’m going to keep finding things — keep finding little moments that will, hopefully, add onto the legacy of all the women who came before me.”