Bennett’s Paint and Glass had an art glass department and in July 1917 got the contract to replace all the frosted glass in the Tabernacle with new, stained art glass. This was part of the 1917 remodel that included removal of the central tower. Perhaps it was a partial compensation for the albeit necessary loss of that magnificent aspect of the Tabernacle.

In 1951, $43K was spent to reshingle, add a sprinkler system, a motorlift system for the adjustable stage, and update the electricity, plumbing, especially for the restrooms, boiler, painting and landscaping. The floor of the foyer and side rooms was replaced with carpeting in addition. Louvers were stalled in the attic to rid the building of bats because they directed cool air into the attic and the bats simply left.

In 1964, a cross-roads was reached with voices calling for the removal of the Tabernacle and the property developed commercially. A plan to build a multistake facility elsewhere was entertained. Ultimately, wiser minds prevailed and it was instead decided to upgrade the grounds and the building to make it more amenable to continue as the multistake facility. Improvements included creating the east entry (concerete) platform, cleaning and repair of all brick and other masonry, an electrical update including the addition of spotlights illuminating some of the building at night, and the plumbing was again updated. The building was repainted. New seating was placed on the main floor, galery and choir. The heating system was again upgraded. Doors were pierced through from the main floor to the stairways of the two eastern towers for better evacuation. A new sound system was installed. An awning over the rear entrance was put in place. The foyer, entrances and aisle were carpeted. The original caretaker cottage was removed. A 40-car parking lot was paved. The trees in the park north to Center Street were thinned in order to better see the building from that street. Finally, a plaque was added on the eastern entrance platform that is still there today (see picture) referring to the date the Tabernacle was built, then remodeled (1917—to have the central tower removed).

In 1982 and 1983, the interior was repainted in an effort to return to the orignal, historical look with wood-grained faux on the banisters and other woodwork (most of which is pine so the faux was original too and a popular technique in the 19th century). The building was again reshingled, the glass windows restored and the foyer refurnished. The principal goal was to restore historicity to the building while maintaining and improving modern usability.

[Recontact Ephraim Hatch for the photo on p. 167 of Christensen.]

For the building’s acoustics, newer heavy carpeting was chosen over other solutions, like ugly acoustic panels, but even then, audio design engineer Frank M. Morris foresaw a negative impact on the production of music.