
A
Continuing Article by, Sabrinak.Geo
No
one for sure knows when the tale started of the beautiful actress threw herself
from the bell tower at the historic Opera House.
It’s been documented as local lore since the turn of the
century, yet there is no evidence in county records or newspapers of any
death resembling the many variations of the tale, at the opera house at that time.
This ghost tale gained some renewed recognition in 1923 when a group
of drama students from Todd School for boys were rehearsing at the opera
house for their spring festival; this was when the ghost was claimed to
be scene by a group of 3 boys, including a young Orson Wells.
Some say the tale stops here, just another story wells made up
early on to scare his fellow classmates.
The
ghost finally gained her current name in 1947 when now famous stand-up
comedian Shelley Berman worked with the Woodstock Players for two
seasons in 1947-1948. It
was during a tech week rehearsal, late at night when Berman was
rehearsing his scene and suddenly a row of 3 seats in the Balcony
flattened down as is someone were sitting in them.
A short time later, the seats went back up as if the occupants
had left. Berman also reported the feeling of being watch by an unseen
presence, and thought perhaps she brought a few friends along.
Over
20 years later, with no previous knowledge of Berman's story, Irene
Hughes was invited to host a Creative Living Series lecture at the opera
house to discuss Psychic methodologies.
She spent several hours lecturing to a capacity audience at the
Opera House that morning in October of 1970.
She began to see more than her ticket paying audience, she also
saw a house full of ghosts.
“There
was a lot of activity in the place,” she said.
“There were lots of actors and actresses standing around in the
balcony looking on and that sort of thing.
They were all over.”
She
didn’t have time to stop and converse with the various ghosts.
She was there to speak to the living, not the disembodied dead.
“The
place was packed to the rafters”, said the Chicago Psychic. “Of
course it’s always packed whenever I show up. When you have a huge audience like that you can’t stop what
you are doing to go ghost hunting up in the balcony. The people who paid to be there to speak learn and speak with
me just wouldn’t understand.”
She
knows she saw ghosts. There
were three shadows who appeared to be more important then the rest.
One was a fat man dressed in turn-of-the-century mourning
clothes. He was seated on a
riser facing Hughes as she spoke to her unsuspecting audience Oct. 15th
1970. She, apparently, was
the only person that day who saw ghosts.
“He
was a big fat man who appeared to be the master of ceremonies.” said
Hughes. “I felt like he
was seated on something that was high, like a little stage out in front
of me. He was tall and
heavy, wearing dark pants.”
That
ghost was nothing compared to the femme fatale in the balcony. And her
presumed lover.
“I
was looking at all those ghosts up there in the balcony and those
beautiful people dressed in beautiful clothes, and it seemed like there
was a woman up there to the left in a long dress. She has a wide brimmed
hat on that was off to one side a little bit.
The man was dressed in black clothing trimmed in brown.
He wore a top hat. It seemed like he was a banker or at least
someone very wealthy.” Hughes said.
The
two apparitions stood around and did their thing while Hughes
nonchalantly lectured to her audience on astrology, psychology,
parapsychology, extra sensory perception and life after death.
The light haired soprano sang a melody familiar to Hughes but it
was a tune she couldn’t pinpoint. “It was more like a love song,”
said Hughes. Perhaps it was
one of the popular dance hall ballads of the late 19th
century. Such as “After
the Ball,” “Come Down My Evening Star,” “Love’s Old Sweet
Song,” or “Will You Love Me In December As You Do in May.”
“The
man was standing right in front of her, looking up at her sing,” said
Hughes. “It was very animated and Romantic.” She continued.
“She was very happy, but it seemed like she may have gone
through a deep love disappointment.”
This
account is truly astounding, if it is indeed true…
| Fiction |
Fact |
| She
has a favorite seat in the theater, DD number 113, and many have
witnessed this spring-loaded seat slowly lower as the ghost
comes to rest there. |
This
seat was one of many said to have been in a seated position then
rose up during a rehearsal in 1947, witnessed by now famous
comedian Shelly Berman. |
| Strange
sounds have also been heard coming from the vicinity of this
seat, including sighs of impatience or approval whenever the
show is or is not to her spectral liking. |
The
ventilation system is known for causing a funny sound or two
right above the middle of the balcony. |
| The
ghost
sits in same seat in balcony and is never occupied. it is always
left empty for the ghost during any performance |
This
is one of the most requested seats in the house and is sold on a
first come first serve basis. |
| Her
ghost is also seen walking the halls and periodically looking
out of the upper windows. |
Most
likely this is reflections from near by lights or passing
headlights in the windows. Even though they are high up,
there are imperfections in the glass, and may catch a gleam of
something every once in a while. |
| Some
say she was a so distraught over a failed audition that she
threw herself from the bell tower... Others say it was a
lovers spat that caused her to end it all by handing herself in
the belfry... |
There
is no record in the local News Paper or County Historical
Society between 1884 and 1935 of anyone committing Suicide in
the opera house. |