Recently, on a whim, my wife and I loaded up the jeep and opt to just explore the desert West of our home town of Las Vegas and ended up at the Amargosa Opera House. Our original idea was to drive to the winery’s in Pahrump, Nevada. After the winery our plan was to drive up to the townsite of Johnnie, Nevada. The best laid plans were for not. We discovered that the mines of Johnnie, Nevada are located on private property.
Honoring the wishes of the Johnnie mine site property owners, we opted to do some exploring. We headed easy through the small town of Crystal, Nevada and drove past the Ash Meadows National Wildlife Refuge. The AMNWR was closed, as the result of, a Government Shutdown.
As our wandering journey continued, we opted to travel South and soon discovered the small desert haven of Death Valley Junction and the world famous Amargosa Opera House.
Death Valley Junction was founded as the town of Amargosa. The town was founded at the intersection of SR 190 and SR 127 just East of Death Valley. Founded in 1907 when the Tonopay and Tidewater railroads ventured into Amargosa Valley.
Origins as a Borax Company Town (Early 20th Century)
The story begins not with ballet slippers but with 20-mule teams and the quest for borax. In the early 1900s, the Pacific Coast Borax Company sought to exploit rich deposits in Death Valley. The Tonopah and Tidewater Railroad reached the area in 1907, establishing a settlement originally called Amargosa (Spanish for “bitter,” referencing the local water). By the 1920s, the company constructed a U-shaped complex of adobe buildings in the Spanish Colonial Revival style, designed by architect Alexander Hamilton McCulloch. Completed between 1923 and 1925, it included offices, employee dormitories, a hotel, store, and a community hall known as Corkhill Hall. This hall hosted everything from church services and town meetings to dances, movies, funerals, and recreational events for the roughly 300 residents.
The town peaked in the 1920s and 1930s, supporting the nearby Lila C. Mine and the Death Valley Railroad, a narrow-gauge line that hauled borax until the early 1940s. World War II damaged the tracks, mining shifted elsewhere, and by 1950, Death Valley Junction had devolved into a near-ghost town—abandoned buildings crumbling under relentless sun, with only dust devils for company.
The Arrival of Marta Becket and Rebirth (1967–1970s)
Fate—or a flat tire—intervened in March 1967. Marta Becket (born Martha Beckett in 1924 in New York City), a classically trained dancer, actress, choreographer, and painter who had performed on Broadway, at Radio City Music Hall, and in touring shows, was camping with her husband Tom Williams when their trailer blew a tire near Death Valley Junction. While it was repaired, Becket explored the derelict town. Peering through a keyhole in the door of Corkhill Hall, she felt the building “speak” to her: a vast, ruined space with a stage, flooded floors, and rodent-infested benches, but brimming with potential.
Enchanted, Becket rented the hall for $45 a month and a dollar down. She and her husband leveled the floor, repaired the roof, and extended the stage. On February 10, 1968, she gave her inaugural performance—a one-woman show of dance, mime, and music—to an audience of just 12 locals on a rainy night. She renamed the venue the Amargosa Opera House, performed weekends without fail, and began restoring the adjacent hotel.
Sparse crowds frustrated her until inspiration struck: she would create her own audience. From 1968 to 1972, working on scaffolding in scorching heat, Becket painted vibrant Renaissance-style murals covering the walls and ceiling—a perpetual crowd of 16th-century nobles, jesters, nuns, kings, queens, and courtesans in opulent attire, gazing eternally at the stage. The ceiling became a trompe-l’Å“il balcony of revelers. This “painted audience” ensured she was never truly alone.
A 1970 National Geographic article, followed by features in Life magazine, brought fame. Visitors trickled, then poured in from around the world, drawn to this oasis of whimsy in the desert’s void.
Peak Years and Legacy Building (1970s–2017)
In 1974, Becket completed the murals and founded the nonprofit Amargosa Opera House, Inc. With support from friends and the Trust for Public Land, the organization purchased the entire town of Death Valley Junction. On December 10, 1981, it was listed on the National Register of Historic Places. Proper theater seats arrived in 1983, replacing garden chairs.
Becket performed relentlessly—often solo, later with partners like handyman Tom Willett (her comic foil until his 2005 death)—choreographing original ballets and pantomimes. Her shows ran Friday, Saturday, and Monday nights, drawing busloads during peak seasons. She lived simply in a shack behind the opera house, surrounded by cats, burros, peacocks, and the desert’s silence.
The 2000 documentary Amargosa, directed by Todd Robinson, cemented her legend. Becket retired from regular performances after the 2008–2009 season but returned sporadically until her final show on February 12, 2012. She continued painting and overseeing the venue until her death on January 30, 2017, at age 92.
Successors like ballerina Jenna McClintock (inspired as a child visitor and resident performer until 2016) carried the torch briefly, but the focus shifted to preserving Becket’s vision.
Current Status (As of November 20, 2025)
Death Valley Junction remains a near-ghost town—population under 10, no gas stations, no grocery stores, and vast emptiness punctuated by derelict borax-era ruins. Yet the Amargosa Opera House and Hotel endures as a nonprofit-run cultural beacon, owned and operated by Amargosa Opera House, Inc.
The 23-room hotel is open year-round, offering basic, historic accommodations (no TVs, but WiFi and air conditioning) to travelers seeking quirky desert lodging. The adjacent Amargosa Cafe, once a staple, remains closed following prior operational pauses.
The Opera House itself faces challenges from the desert’s extremes. Severe monsoon floods in August 2025 damaged the historic adobe walls, lobby, rooms, and irreplaceable murals, with water inundating the complex. Reserves depleted, the nonprofit launched urgent fundraising campaigns, raising over $18,000 by October 2025 toward a $50,000 goal for floor repairs, roof work, flood mitigation, utilities, insurance, and payroll. As of mid-November 2025, tours—normally daily at 9 AM and often evenings—were suspended, with resumption announced for November 2, 2025 (adults $20, children $10).
Performances are limited or on hiatus during recovery, though the venue occasionally hosts traveling musicians, theater, spoken word, and special events (check amargosaoperahouse.org for schedules). The murals—vibrant depictions of Becket’s imaginary patrons—remain the star attraction, a testament to one woman’s defiance of isolation.
Despite hardships, the Amargosa persists as a symbol of artistic resilience. Visitors describe it as a “miracle in the desert,” where the air still hums with Marta Becket’s spirit—whirling like the dust devils she loved to paint. In an era of fleeting digital spectacles, this hand-built theater reminds us that true creation can bloom anywhere, even in the bitter heart of nowhere. For the latest updates, visit the official site or contribute to preservation efforts.
