A guide pulls a rope from its hook and leads you up red velvet stairs into the unknown. This isn’t a speakeasy or a hot new club—it’s the upper floors of Henry Clay Frick’s estate, Clayton, on the grounds of The Frick Pittsburgh. The third and fourth floors of Clayton have never been seen by the public before, and as of fall 2025, visitors can be among the first to see these parts of the Frick family residence. Rather than the curation of the lower floors, which freezes Clayton in time to educate visitors about its history, the upstairs floors show the home as a living, dynamic archive.

As you walk into the rooms on the third floor, you’ll find a plethora of broken plates and “mystery objects” marked with accession numbers. It’s a delight for any lover of tchotchkes and trinkets, with playing cards, candle sticks, Polaroids of objects throughout the home, and a mother-of-pearl inlaid card game score counter.  “Part of the fun of this tour is getting to see how these rooms are used in the present day,” Collections and Exhibitions Assistant Bella Hanley explained.

It’s an unconventional choice to allow visitors behind the curtain, so to speak, and into the museum staff’s workspace. Viewing the upstairs floors also allows visitors to see that Clayton was occupied—and renovated—well into the ‘70s and ‘80s. The sewing room or caretakers’ room has fluorescent orange walls and ‘70s shag carpet. A mannequin’s white plastic foot sticks out of a cardboard box, and one corner is entire full of bright scarlet pointsettias. Hanley noted that not even tour guides got to go upstairs until recently.

The Frick Opens Up Never-Before Seen Floors of Clayton

The upstairs tour continues Gilded, Not Golden’s theme of highlighting not just the Frick family but their staff, through the chauffeur’s room and the governess’s room. But it also provides an even more intimate look into Frick family life. One of the most frequently-asked questions on the Gilded, Not Golden tour is where Childs Frick’s room was. The answer is the third floor, where you can see images of Childs’ room decked out with guns, swords, and Princeton University merch. Just a typical Gilded Age man, obviously. But what remains is now its high ceilings, stained with water damage, and wide bay windows. “We’re constantly fighting against the elements,” Hanley said. “We look at structural problems one step at a time.”

Another Side of Helen Clay Frick’s Vision

One might wonder, to put it in the crudest terms, what can be gained by seeing a bunch of boxes and water-damaged ceilings. But it lays bare the fact that just as the tour highlights the laborers in the Frick family, contemporary laborers are behind the preservation of the objects and the museum experience as a whole. Museums don’t simply appear out of thin air and an archive as rich as the Frick’s requires constant stewardship.

Seeing more parts of Clayton allows you to see Helen’s Clay Frick’s life evolve as the daughter of the home to its curator. By the time she passed, Helen had four homes she’d inherited from her family, and trainloads of items arrived in Pittsburgh for the conservators of Clayton. Helen remained unmarried her whole life, and her love for her family homes made me wonder if real estate functioned as something for her to care for and nurture in lieu of a traditional marriage. Upstairs, we see Helen’s handwriting on one of her father’s suitcases, simple curlicues that read “papa.”

A striking moment in the tour is seeing a panel in the chartreuse walls of Helen’s schoolroom that opens to dark wooden beams. It felt like a metaphor for the Gilded Age itself, a shiny exterior with darkness underneath. But it also represented, to me, that looking closely at historical spaces like Clayton reveals so much more than meets the eye. There’s always more to learn, even behind the prettiest of walls.

The Frick in Constant Evolution

The opening of the upstairs is just one of the ways the Frick’s team has taken what could easily be a stodgy, stuck-in-the-past site and committed to evolving it. Some of that is their top-notch community engagement and consistent listening to visitor feedback. “People said ‘I’d pay anything to see what’s up there,’” Hanley said. “So, we decided to test that out.” The upcoming tours, which open in November, will have 16 slots a week available to view the upper floors.

I feel now, after visiting Clayton multiple times and seeing a wide range of exhibitions at the Frick, a deeper connection to Helen. While her brother dug up dinosaur bones and started his own family, Helen was at her father’s right hand, a woman of shrewd intelligence at a time a woman’s intelligence wasn’t likely to get her as far as a man’s. Her views on art and society at large leaned more conservatively, and by Hanley’s own admission “a lot of what we do today would have Helen rolling in her grave.” But she wanted people to get to see her family home and enjoy it, even if it’s accompanied by a museum showing modern art that wasn’t to her taste. By both honoring Helen’s memory and transcending her vision, the Frick moves its programming into the future.

Story by Emma Riva
Photo Courtesy of The Frick Pittsburgh

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With a career spanning decades and a genre-bending solo sound, Andy Bell—the legendary frontman of Erasure and a prominent voice in synth-pop since the ’80s—brings his newest project to Pittsburgh. Bell comes to perform at the Roxian Theatre on October 28, as part of his Ten Crowns Tour. The tour is in support of his third studio album, Ten Crowns, a record that dives deep into a unique fusion of dance, Eurodisco, and gospel. As fans eagerly await his arrival, we had the chance to sit down with the iconic musician to discuss his latest work, the creative process behind the new album, and what Pittsburgh can expect from his upcoming performance.

A TABLE Q&A with Erasure’s Andy Bell

How did the collaboration with Dave Audé come about, and what do you think he brought to the table for this project?

Andy Bell: To be honest I’d never thought of myself as a songwriter before, even though I’d been a co-writer with a few other people (excluding Vincent!). I felt very fortunate when my partner Stephen mentioned that Dave was a huge fan, which is very flattering. He suggested that we might try and write a few dance tunes. I love club music and Dave is very accomplished in his own musical sphere, and has worked with everybody in the industry. He works incredibly hard.

Our first two collaborations were very successful on the US Billboard dance charts, so we thought it only natural to meet and write again when time allowed. Dave remains unjaded by the ‘business’ which I find very refreshing, and he’s maintained his integrity throughout. I can always tell when someone likes my voice. We are equal partners on everything we write which is something I got quite comfortable with.

You have a new live band for the tour to promote Ten Crowns, who are they, and do they shape the way the songs are live?

All the musicians come initially from Dave Audé and are all Nashville based. This is very handy and puts me in the thick of the country music writing scene which is quite remarkable being a white gay electro boy. So the dynamic is one of excitement, opposites attract and it’s a real fun eccentric bunch full of energy and undeniable talent.

Jerry Fuentes brings a Siouxsie-type ethereal atmosphere to the songs apart from being a total flirt, and Sara Tomek is unlike anyone I’ve ever met. She is a rock goddess feminist with a filthy imagination (like mine) and she kicks ass as hard as she plays the drums.

Our new singer Chelsea is a natural successor to Hailey and gives off the same Charlie’s Angels infectious charisma as well as being a singer at the top of her game.

Dave goes without saying… for the Erasure tracks he has reprogrammed all the stems, which Vince kindly sent over, and has put his own stamp on them. He gets slightly nervous but the whole show is dependent on him, myself and our incredible crew. The whole sound is fresh and dynamic.

The tour seems to have been going down incredibly well, has it been an enjoyable one for you?

So far so good, not too many shows in one go, a great time on the bus, and general camaraderie at a good level, it’s a bit like being on a boat. The shows become this source of great energy.

Your upcoming North American tour runs for the best part of three months and takes you right across the country. How intimidating is it to have that many shows ahead of you, and what can we expect from the show?

It is quite a daunting prospect, but we have done it before. We are visiting loads of new towns and the venues are not too big, so I think we’re gonna have a great laugh. People have been saying it’s the best we’ve ever been which is great to hear at 61.

Ten Crowns includes a collaboration with Debbie Harry on the track Heart’s a Liar, what does it mean to you, as such a public fan of Blondie, to have her on your album?

This means the world to me. I know that she loves me, and the feeling is mutual, but you still need to keep a distance out of respect. Every time I hear her voice anywhere – in a taxi or in a supermarket – it’s like she’s saying hello.

How did Sarah Potenza’s feature on the track Lies So Deep come to be?

Sarah was a Dave special discovery via a US television show and her voice is a tour de force which completely transformed the track.

You made full videos for the tracks Don’t Cha Know and Heart’s a Liar which isn’t something that everyone does these days. How important was it to you to present those tracks in that way?

I have to say that each of the directors were very kind to us and they really put their hearts and souls into the two projects. I feel like I’m finally having my Madonna moment and they made me look and feel fantastic.

Ten Crowns was a significant hit in the UK albums charts, including a Number One in the Independent Albums chart. How important is that commercial success to you these days?

It’s still nice to be recognized within the industry, but as you become older (if not wiser!) formats change and it’s harder and harder to chart so you just want to make quality material.

You’ve released the album on your own Crown Recordings label, do you have more plans for the label? Might you sign and release other artists for example?

We might do, but it was a hell of a lot of work for Stephen, which I wouldn’t like to put him through again. We had amazing support from Mute and PIAS. I had no idea how much work they do behind the scenes.

Has Vince Clarke been involved in this project at all? Do you know what he thinks of Ten Crowns?

Yes, Vince has done an incredible mix for us and he told me he was very proud of me and this project. He says he doesn’t know where I get the stamina from… and neither do I!

How did you come up with the name Ten Crowns? Does it have a special meaning?

The name refers to the tarot – the ten crowns on the tree of life – which is a very powerful card to have. Also, I’d just got the crowns on my teeth done in Miami when I was trying to think of a title.

What’s next for Erasure?

Vince and I are currently working together in the studio. It’s the 40th anniversary of Erasure’s first album next year, and we hope to have a new album ready to coincide with that.  

Special Thanks to Andy Bell
Photos Courtesy of Sean Black

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