A Love Letter to the Great Falls Opera House
Photograph of the Great Falls Opera House, located in Great Falls, Montana on 3rd Street North between 1st and 2nd Ave North. [1994.039.0140]
The Great Falls Grand Opera House was built in 1891 and was dubbed Montana’s most beautiful playhouse. In its lifetime it saw hundreds of play troupes, lecturers, and entertainers. It was the shining pride of the city. Unfortunately, like all things that shine, it began to dull as movies rose in popularity and road shows declined. The Grand Opera House struggled to keep its doors open, and in 1955 it was torn down. The sophisticated dream of an opera house seems to have started with a Mr. John Maguire and prompting from the Great Falls Tribune. The following is the tale of how the Great Falls Grand Opera House came to be from the birth of the idea to opening day as told from Great Falls Tribune articles (typed as printed). This was truly a labor of love.
June 29, 1890 – “Great Falls needs badly an opera house. It was hoped that Mr. Vaughn’s building on First avenue south would serve as such, but as he has decided to make it into a hotel, the city is left without a public hall for large meetings or a place where dramatic or operatic companies could give performances on a scale that would remunerate them and accommodate the public. The Inducements are strong to erect a building that will do credit to the city and yield a liberal return to the owner. John Maguire, the veteran theatrical manager, promises that if an opera house is provided here, Great Falls will be made part of a circuit that will embrace St. Paul, Minneapolis, Grand Forks and Winnipeg.”
December 30, 1890 – “John Maguire, whose name is a household word throughout Montana, and not only Montana, but the entire west, arrived in town last evening and was greeted with a royal welcome at the Park hotel by the leading citizens of Great Falls, to each and all whom an introduction was entirely unnecessary. While Mr. Maguire was thoroughly surprised at the progress of Great Falls since his last visit, now upwards of two years ago, he manifested some disappointment inasmuch as the city has not as yet, made any provisions for a place of public amusement. As he pertinently remarked, there are two institutions by which every city of any pretensions are gauged – by its principal hotel and its theaters. “You have a hotel,” he said, “but where is your theatre? You must have a place where your people can find legitimate amusement.”
February 20, 1891 – “In the opinion of the Tribune the board of trade could not do a better work than to grasp this problem and devise ways and means to provide and opera-house for Great Falls at the earliest possible day. If a stock company were formed and a portion of the necessary funds subscribed some one would doubtless be found who would put in the major portion of the capital and carry the project to speedy completion. The house might be built on First avenue north, where ground is comparatively cheap, and we have no doubt the investment would prove a good one. With a suitable hall or opera house every company of merit that comes to Montana would appear in this city, which would stand today, next to Helena and Butte, the best show town in the state. The board of trade will meet tomorrow evening, and why not take up this question and start the opera house ball running?”
February 27, 1891 – “One thing is certain, Great Falls needs an opera house and at present it can only be secured by local enterprise. If forty or fifty persons take stock in the company, a small subscription on the part of each will secure the desired building with necessary equipment, and the Tribune believes it would be a profitable investment. Who will start the ball rolling? Don’t all speak at once.”
Stock Certificate for the Great Falls Opera House Company, July 14, 1892.
April 17, 1891 – “At a meeting of citizens Wednesday afternoon a committee consisting of H. O. Chowen, J. A. Baker, and C. M. Webster was appointed to take the matter in hand and move earnestly in the work of starting the opera house project. To that end they were out yesterday interviewing citizens interested and met with much encouragement, enough to guarantee that this city will not be much longer without an opera house. The site selected is on Third street, between First and Second avenue north, the building to have a frontage of 50 feet and a depth of 112 feet, which plat can be enlarged if deemed necessary. The owners of the ground place it at a fair valuation and will take in payment therefor stock in the Opera House company. Some liberal cash subscriptions have already been made, and it may be deemed a certainty that the enterprise is an assured fact.”
April 22, 1891 – “Great Falls is now certain to have an opera-house, and that very soon. The subscription committee has been diligently at work and yesterday the total subscriptions exceeded $17,000 and will soon reach at least $20,000.”
June 11, 1891 – “J. H. Cobb, the well-known theatrical architect of Chicago, who designed the grand opera house in Minneapolis and has a well-earned reputation in that line of architecture, will arrive from the east today or tomorrow. He is coming to submit plans for the Great Falls opera house.”
June 19, 1891 – “To lovers of the drama in Great Falls, and their name is legion, the news that we were to have an opera house worthy the greatness of our city was most welcome. A syndicate has been formed for this purpose and a $25,000 house will soon be erected on Third street north between First and Second. The plans of the house are to be drawn by the well-known theatrical architect Oscar Cobb of Chicago. Until these are completed nothing definite can be learned. The house will, however, front sixty feet on Third street and extend back 115 feet. Its stage arrangement will be of the most modern character and of such convenience as to delight the hearts of each thespian who beholds it. The seating capacity will be around one thousand.”
Grand Opera House First Season Program, 1898 (digitally restored copy)
June 25, 1891 – “Architect Oscar Cobb of Chicago has arrived in the city and is registered at the Park hotel. Learning of his arrival a representative of the Tribune called on him at his room. He was courteously received and when his purpose was made known the architect kindly unrolled the plans and gave the following complete descriptions:
The house is situated on Third street, between First and Second avenues north. It extends along Third street seventy feet and is 115 feet deep. Of the seventy feet on the street sixty compose the frontage and ten is devoted to an entrance leading to the dressing-rooms.
The auditorium proper is located on the ground floor and is reached by an entrance on Third street. This entrance is sixteen feet deep by twenty feet in width. On the left-hand side is a ticket office, furnished with a window, from which tickets to the lower auditorium and balcony are sold. From this same box office, but from another window, tickets to the gallery are sold. On the opposite side of the grand entrance the manager’s office is situated. The auditorium is sixty by seventy feet and the lower part is divided into a parquet and parquet circle. The seating capacity of this lower portion is 500. The balcony accommodates 375 and the gallery 500. The house will therefore seat about 1,400 people.
The cutting off of ten feet of the front on the side next the alley has several advantages. It makes an excellent actors’ exit and there being no rooms behind the stage gives an opportunity for perfect light and ventilation. Besides this it locates the dressing rooms very conveniently. Of these, four are on the ground floor, six are above the stage and three are placed in the basement, under the stage and will be reserved for minstrel purposes.
The state is 70 feet long and 42 deep. This width, the architect says, gives ample opportunity to produce, without curtailing or diminishing scenic or spectacular effects, any attraction which can show at Helena, Butte or indeed any leading point on the way across the continent. The height to the rigging loft is 50 feet and the space between will easily contain the longest and widest drops. The Scenic grooves will be adjustable, double-jointed and will move from 16 to 26 feet in height, thus insuring an easy shifting of scenes.
Photograph of the exterior of the Grand Opera House [2002.094.00009c]
In the auditorium at the right and left of the proscenium are the boxes, four in number, two on each side. A long lodge box is also placed along the front of the balcony over the lower boxes. The orchestra will be of proportions sufficient to accommodate twenty pieces and a piano.
The grand entrance is paved with encaustic tile. Entering the auditorium from this to the right and left stairs are seen leading to the balcony. These are five feet wide and being built out at an angle, leaving ample space below for ladies’ and gentlemen’s toilet rooms. The balcony proper is reached directly at the sides and rear from these stairways and is divided into a balcony and balcony circle. It is also furnished with a retiring foyer or lounging room sixteen feet wide by twenty long.
The gallery is entered from stairways leading up directly from the front corners of the building. It is seated with pew benches and is nicely ventilated. The lines of sight and acoustics are perfect.
The parquet, parquet circle and balcony are seated with the latest improved upholstered opera chairs, furnished with hat racks, footrests, shawl racks, cane racks, etc. In the parquet the architect advocates putting in at least four rows of divans or double chairs. These are for the accommodation of people whose physical proportions are so pronounced as to make one chair uncomfortable. Should the committee approve, the entire parquet may be seated in this way.
A particular feature of this particularly handsome house is the proscenium proper. This is built in sounding boards which extend into the auditorium sixteen feet and then splay off at an angle of forty-five degrees. Proceeding at this angle the proscenium meets and intersects with the side walls, then takin on a circular form as it goes from the floor to the ceiling where it meets a similar formation from the opposite side. It is modeled after the famous Chicago Auditorium and is the very perfection of acoustics.
The house is to be heated by steam. The boilers are placed under the farthest projection in a corner, at the rear of the basement. The undercurrent system is to be used. By this no radiators or coils are visible in the house, excepting such as are on the stage and in the grand entrance. The architect will advocate lighting the house entirely by incandescent lights, these being the best for showing off decorative and scenic effects. Their perfect safety from accidental fires, and their clear, pure light also strongly commend them.
Photograph of the stage and boxed seats of the Grand Opera House. [2002.094.0009a]
In the lower house and boxes the carpets will be a rich body Brussels. The balcony will have tapestry and the gallery Napier matting. A two-ply ingrain will be used for the dressing rooms. The upholstery will consist in the draping of all the arches about the stage as well as all the doors and windows on the lower floor. Curtains will be hung in all the windows both before and after the stage. The fresco and decorative work are intended to give to everything what might be termed an amusement effect. The grand entrance, proscenium front and underlines of the balcony are all done and treated in a general orange buff harmony, the style being a light tinted Romanesque. In the ornamentation, antique ivory will be largely used, relieved by gold, silver and nickel bronze, all blending in harmony and accord with the architecture and finish of the auditorium.
Outside the study of the building is entirely of stone. The exterior walls will be finished in rustic effects with skewback arches over the windows. This front gives the building both character and effect and makes the structure seem like a house of amusement. From the front a broad porch projects over the sidewalk and furnishes at once an excellent location for a band and a protection from the rain for those below.
Outside stairs are to be built along the sides of the building. These lead from both balcony and gallery, are broad and roomy and open directly into the alleys. They insure to the occupants of these places perfect safety, even if the stairs leading to the grand entrance should be blockaded by fire or panic.
The entire opera house is perfectly planned and doubtless the building will equal or exceed the plans. Architect Cobb will attend to letting all the contracts and will see the house fairly under way before leaving. Mr. Cobb is one of the best-known members of his profession. Over 200 opera houses testify to his ability. Among them are Heucks in Cincinnati, Faurots in Lima, O., the Columbia in Chicago, the Grand in Minneapolis, and the Grand in St. Paul. Beyond a question the local house will receive his careful consideration and will add still another jewel to his architectural crown.”
Photograph of Native Americans walking up 3rd Street North along the Grand Opera House, about 1918 to 1920. Photographer Ray Kelly. [1992.108.0001]
June 26, 1891 – “The opera-house committee held a meeting in the office of J. K. Clark & Co. yesterday afternoon to consider the advisability of adopting Architect Cobb’s designs. He submitted his plans, which the committee carefully examined, and it is hardly necessary to say they will be adopted if about $2,000 more can be raised. His plans call for a $43,000 building and the committee hopes to raise $20,000 of that amount now and sell bonds for the residue. About $3,000 were subscribed in a few minutes, making the total amount pledged, including former subscriptions, in the neighborhood of $18,000. The committee meets again this afternoon, by which time it is hoped the required $2,000 will have been subscribed.”
June 27, 1891 – The company having the new opera house in hand is progressing at a most encouraging rate. The stockholders met yesterday and accepted Architect Cobb’s plans, a full description of which was published in Thursday’s Tribune. The - completed building and ground will cost very near this amount. Architect Cobb remains in the city for some days and will see the building well under way. All who are at all acquainted with the prospective building unite in saying it will be the finest opera house west of Minneapolis. Ground will probably be broken Monday and the house will be finished this season.”
July 1, 1891- “The Great Falls Opera House company has been organized by Paris Gibson, T. E. Collins, E. G. Maclay, John Renner, A. E. Dickerman, H. O. Chowen, Ernest Crutcher, and Ira Myers. The capital stock is $100,000. Articles of incorporation were filed with the secretary of state Monday.”
“Parties wishing to bid for the excavation for the opera house can see the plans at H. O. Chowen’s office. The contract will be awarded at once.”
Cover for 1913-1914 Season at the Grand Opera House.
July 3, 1891 – “The contractors on the new opera house evidently mean business. Ground was broken yesterday and if Jupiter Pluvius will only hide himself for a while the excavation will soon be done.”
July 12, 1891 – “Bides are invited on Opera House work – every department. Call on Oscar Cobb, architect, room 5, Bach-Cory building. Bids will be opened Monday, July 13, at 4 o’clock p.m.”
July 14, 1891 – “The bids for the new opera-house will be opened at the office of Chowen & Wilcox at 11 o’clock this morning.”
July 15, 1891 – “The bids for the construction of the new opera house were opened yesterday. They were, however, found to be in such shape that considerable figuring was necessary. The letting of the contract was therefore deferred and will probably take place today. The bidders are Geo. A. Grant, McKay Bros., Frank Coombs, Wm. Roberts and White & Latta.”
July 16, 1891 – “The contract for the opera house was let yesterday. There were, properly speaking, but two bidders, William Roberts and George Grant. Mr. Roberts was successful, his bid being $31, 035, and that of Mr. Grant $31,750. The contract is for the bare work of construction and is exclusive of excavating, steam-fitting and plumbing, seating, decorating, stage-fitting, etc. The entire house will cost not less than $50,000 and will, when completed, be the handsomest in the state.”
July 19, 1891 – “The contract for the building of the new opera house was signed yesterday. The work of excavation is almost concluded and sometime during the coming week the work of laying the foundation will begin. The signing of the contract proves beyond a question that within a few short months Great Falls will have the handsomest opera house in all Montana.”
July 22, 1891 – “The opera house committee have not decided as yet what kind of stone shall be used on the new building. The excavation is almost completed and as soon as a decision is arrived at in regard to the stone, the foundation work will be begun.”
July 24, 1891 – “With white, blue, grey, red, green and mottled sand stone to choose from, the opera house building committee has finally decided to employ the latter in the construction of the edifice. Every color and hue is an excellent stone for building purposes, the mottled variety being chosen for effect alone.”
July 29, 1891 – “…the stone for the opera house is being cut at Sand Coulee…”
August 12, 1891 – “The opera house excavation has long since been finished and the walls of the foundation are partly in.”
Program for the Second Night Play, McKee Rankin in “The Danites,” 1892.
September 9, 1891 – “Mr. Oscar Cobb of Chicago, the architect of the new opera house, arrived in the city yesterday and spent the afternoon visiting various points and chatting with numerous acquaintances. His purpose is to close up all contracts for the building and to set a date when it can be formally opened. He comes here from Livingston, where there is also an opera house being built under his supervision.”
September 10, 1891 – “The opera house progresses at a most encouraging rate. Practically all contracts are let except for heating. It is said the inside furnishings will be of a very handsome description. Speaking of the seating yesterday Architect Cobb remarked that no house between St. Paul and the coast would have such handsome, convenient and comfortable chairs.”
“A couple of very handsome opera chairs are now at Chowen & Wilcox’s. They are to be used in the new opera house which already shows such rapid progress. The one to be used downstairs is handsomely upholstered and both are provided with hat, can and coat racks.”
September 29, 1891 – “The new opera house is rapidly assuming form and size. It is well past the second story and a great deal of the inside work is also done. Scarce a citizen of Great Falls passes the temple soon to be dedicated to Thespis, who does not smile a large round smile as he pictures the scenes of beauty and delight that will soon be inaugurated within its walls.”
October 8, 1891 - “Yesterday the work of roofing the new opera house began.”
October 11, 1891 – “Higher and higher the opera house has grown until, its walls finished, the roof is now going on. No small amount of the inside work is also done. Not a stranger visits the city but remarks that it is the handsomest affair of its kind in the state.”
October 15, 1891 – “Prof. Peter Clausen of Minneapolis arrived in the city yesterday afternoon. He comes to figure on the contract for painting the scenery and drop-curtains and doing the fresco work on the new opera house. The professor has painted scenery in the Grand Forks opera house and the Grand and Lyceum of Minneapolis, with which latter two he has for some time been connected. For the fresco work he represents Lindman & McIvor, a Minneapolis firm. The exact character of the scenery can not as yet be detailed, but it will, he says be of a character exceptionally fine.”
October 21, 1891 – “One of our leading citizens walked into the new opera house building yesterday to see how work was progressing. He admired various improvements there in until his eye struck the bridge at the rear of the stage. “What’s that?” he asked of the gentleman in charge of the building. “Why,” said the latter, “that is the bridges of sighs.” “What?” “The bridge of sighs.” “I don’t see what use there can be for a bridge of sighs in an opera house,” replied the dumb founded visitor. “Every use in the world,” said the boss carpenter, “for the scenic artist stands upon it while painting the drop curtain and scenery. By standing upon it he can get the sizes correct, hence we call it the bridge of size.” The visitor tumbled.”
October 25, 1891 – “It is now quite possible that Mr. C. C. McDonald is to be the manager of the new opera house. Mr. McDonald is known to all his friends and acquaintances as a pleasant gentleman. He has also had an extensive experience, having been for five years manager of the Milwaukee academy of music.”
November 7, 1891 – “Contractor William Roberts has received all lumber for the finishing work on the opera house and expects to finish his portion of the work in about ten days.”
Letterhead for the Grand Opera House, early 1900s.
November 15, 1891 – “Work is progressing at as satisfactory a rate as could be expected on the opera house during the present cold snap which has put things back a trifle. There was a little misunderstanding about the heating apparatus, the absence of which has delayed some work, especially the frescoing. It is expected that the steam plant will be in running order by the middle of next week, thus obviating any further delays. Contractor Roberts intends to finish his part of the contract by the end of the week, as by that time he expects to have all the woodwork completed.
This house, when ready for use will certainly become the pride of Great Falls, if not of Montana. A great deal has been said and written about it, but a Tribune reporter who visited it yesterday is of the opinion that the half has not yet been told. One can form but a poor idea of how the interior of the opera house will look from an inspection of the plans. It should be seen in reality to be appreciated. One cannot fail to be impressed with the fact that Mr. Cobb, the architect who designed the building, has displayed his professional ability in a creditable manner. The graceful curves of the balcony and the gallery, the gentle slope of the parquet and the size and shape of the stage make a seat in one part of the house as advantageous as in another. Except in the matter of hearing there seems to be no choice of seats. Another prominent and very important feature in the house is the number of doors and fire escapes which will enable a large audience to leave the building with ease and rapidity in case of fire. There are two stairways leading to the balcony, one on each side, and a wider one, separated from the others, connecting with the gallery.
The house will seat comfortably about 1,250 people, which number could easily be increased to 1,400 by the use of chairs. The parquet, the term nowadays applied to the first floor of a theatre, will seat about 450. The balcony will have seating room for about 350. Like the parquet it will be fitted with cushioned chairs. The gallery will accommodate more than either of the other parts of the house, being calculated to seat 500 easily. It has well-constructed high back benches and the same as are in any eastern theatre. The balcony and gallery are well supported by heavy pillars and are capable of sustaining a greater weight in the shape of human beings than it would be possible to crowd into them. When the frescoing is done, the scaffolding removed, the boxes in their proper positions, the drop curtain in place and everything is found in a first-class theatre can be seen, the people of Great Falls can well lay claim to the coziest, the most attractive, yes, the best opera house in Montana.”
Grand Opera House Program for “Girofle Girofla,” 1906
November 22, 1891 – “William Roberts has finished most of the woodwork in the opera house with the exception of that around the entrance. The masons will commence the brick work around the boilers tomorrow and the heating apparatus will soon be in running order.”
November 28, 1891 – “Mr. Ludke of Helena, the Frisco artist who did such excellent work on the Rainbow club rooms, is in the city to do the frescoing on the new opera house. He will being work in a day or so.”
November 29, 1891 – “The roof and cupolas on the opera house have been freshly painted a slate color, which adds greatly to the exterior appearance of the building. The workmen were busy yesterday erecting the new band stand as it is called, which is above the main entrance. It has iron pillars and will be decorated with ornamental iron work.”
December 2, 1891 – “The McKee-Rankin Company will open the new opera house January 4th and 5th.”
December 3, 1891 – “Manager McDonald of the Great Falls opera house offers a premium of five dollars for the best fifty-word poem to be read at the opening of the new opera house. There will be three judges one from each of the newspaper offices which will insure a non-partisan production. Their decision will be final and the poem they select will be chosen without knowledge of the name of the writer thereof. The contest is open to the poetical talent of the city and will close December 20. This contest will afford many devotees of the arspoetica to display their rhyming qualities.”
December 5, 1891 – “The frescoing work is progressing very satisfactorily in the opera house. Already the fine workmanship of the artists engaged thereon is evident to the visitor. It promises to be one of the finest pieces of work in the state.”
December 19, 1891 – “The scaffolding on which the frescoers stood in the opera house while working on the ceiling has been taken down and one can now get a fair idea of the interior appearance of the house. The ceiling is decorated very tasty and presents a pleasing appearance. There are clusters of decorations evenly distributed over the ceiling each of which will have an incandescent light in the center. It is on the proscenium arch that the artist has displayed his talent. It is done in ornamental stucco and Romanesque and is as fine a piece of work as can be found in the northwest. Mr. Ludke has certainly made his mark in a lasting manner in this Romanesque work. It should be seen to be appreciated.”
December 22, 1891 – “Any one contemplating a visit to the opera house for the next ten days had better postpone the visit as they will not be admitted. This rule was enforced yesterday and holds good until the house is fitted up. It is done to prevent visitors interfering with the mechanics at work there, which would delay them more or less.”
December 25, 1891 – “The sale of seats by auction for the opening night of the opera house has been postponed until Christmas morning at 11 o’clock. Sale at the Park hotel. Everybody should be on hand.”
December 27, 1891 – “The sale of the boxes and seats for the opening night at the opera house, which was held at the Park hotel Christmas evening, was pretty well attended. About &700 were realized from the sale. It was hoped that more would be realized, but a great many more seats will probably be sold before Jan. 4. The following were the persons securing the boxes:
“A” on the orchestra floor, Phil Gibson, $17. “B” adjoining the other, W. E. Chamberlain, $25. “C” opposite side, Jos. Baker, $20. “D,” adjoining, F. F. Shur, $25. “E,” in the balcony, H. O. Chowen, $50. “D,” (F?) opposite, Charles O. Parsons, $70. The choice of seats was then sold. Some went as high as $7.50, but the average price was $5. None were sold less than the latter amount.
The management of the opera house last evening concluded not to auction off any more seats but to fix a regular schedule price for the opening night and give everyone equal change in the race for seats. Plats of the opera house can now be seen at Calkins’ music store where seats may be reserved, and other information obtained. It is desired that those who wish to be present at the opening secure their seats before next Tuesday night. After that time some 200 seats will be reserved for outside visitors who have been invited to be present.”
January 3, 1892 – “The drop curtain for the opera house arrived yesterday by express from St. Paul and will be placed in its proper position today. It is said to be one of the best works turned out by the firm of scene-painters in the Saintly city.”
Front Cover of the souvenir program for the Opera House opening, 1892.
And now finally, opening night…
January 5, 1892 – “It was a never to be forgotten evening about 8:30 p.m. Jan. 4 in Great Falls. There transpired about that time and date an event which, to use a poetical expression, will go ringing down the corridors of time in Montana. Then was marked the beginning of a social occurrence which in after years, like old acquaintance, can ne’er be forgot. As Byron wrote of the ball which occurred the evening before the battle of Waterloo, so it might be said of last night’s entertainment, “the beauty and chivalry were gathered there.”
It was an unprecedented affair in the history of Great Falls society, that in times to come will often be referred to by the society people of the city and by all classes. It marked an important event in the rapid strides this city is making towards the proud title of the commercial and social centre of Montana. For the triumphs of commerce and of society go hand in hand. They are the twin wreaths that rest lightly on the brows of prosperous communities aspiring to achieve all that is great and grand and good.
The audience that assembled in the opera house last evening to witness its informal opening was not confined to any particular class or clique. It was made up of the business and professional men not only of Great Falls but of adjoining town, including Helena, the Queen city of Montana, and of Butte, the foremost mining camp and most cosmopolitan place in the United States. But of course, a majority of the people present belonged to Great Falls, the bone and sinew of the town. Those who have been instrumental in making our city what it is today – the businessmen and the working men – from every shade of life were there with their wives or their sweethearts or their families. It is estimated there were about 1,400 people in the house when the opening addresses were made. Every ticket was sold and a number of those present had to be accommodated with chairs. The boxes also were all occupied. There was a fair sprinkling of dress suits among the male portion of the audience while a great many ladies were attired in evening costumes. Quite a large number of ladies in the parquet were without bonnets, an innovation which should be commended. The ushers were all remarkably polite in their attentions to everybody and deserve great praise for the able manner in which they seated the crowd without undue confusion.
It was 8:45 when Manager McDonald stepped before the curtain and in a few words welcomed all present, then introduced A. J. Shores, who was to make the presentation speech on the part of the opera house company. The latter, who was warmly received, made a short but impressive address. He spoke of the rapid manner in which Great Falls had grown from a prairie town to a promising city, paying, at the same time, a merited compliment to the genius and foresight of Paris Gibson, who had worked so faithfully to advance the city to such a stage that an opera house had become a necessity. He told how Minneapolis was a city of 75,000 before such a theatre as this could be built, and how St. Paul, old, rich and progressive city that it is, finds it a difficult matter to raise $100,000 with which to build a suitable convention hall for the prospective democratic convention. This opera house, like the city in which it was built, should be the wonder and admiration of all. The pride manifested in this handsome temple dedicated to the drama should not be confined to the people of this city but should extend all over the state. Hoping that all meetings held within its walls would be as peaceful as the might river close to town, the speaker closed his address in (on) behalf of the opera house company.
Mr. McDonald then stepped upon the stage and said as it took a lawyer to reply to a lawyer, he would introduce Hon. E. D. Weed of Helena who would accept the opera house for the people of the city and state. The gifted orator was greeted with applause as he stepped before the curtain from an adjoining box and replied to Mr. Shores’ address on behalf of the people. He said the people of this community were not alone to be congratulated on the completion of such a magnificent structure to be devoted to the play, but that the whole state should rejoice. The city of Great Falls was a marvel to all who lived in the west and few rivals in pluck and energy. With other compliment to the city and to the opera house company, Mr. Weed closed thanking all for their honor that had been conferred upon him. All this time the handsome drop curtain, fresh from the hands of artists, had been covered with white muslin so no one could see the beautiful mountain scene thereon. When the speaking was concluded it was deftly removed and the picture of Two Medicine burst into view. The audience broke into applause which was continued. The opera house orchestra struck up a medley and everybody prepared for the play to follow by adjusting their opera glasses and inspecting their programs.
Inside page of the souvenir program of the Opera House opening listing the Monday night play, The Canuck.
“The Canuck” deserves all that has been written about it as being a first-class dialect piece, full of comedy and possessing the usual fascination of Rankin’s plays. It was liberally applauded all through. “The Danites” will be given tonight.
During the past two years the citizens of Great Falls have often agitated the question of erecting an opera house in keeping with the other notable building improvements made. The growth of the city had brought about the construction of many fine buildings to bused for business purposes and not a few handsome residences, but little had been done in the interest of the amusement loving public. The few straggling theatrical companies that occasionally stopped off to play one night were confronted with the fact the town could only boast of a hall in which performances might be given. As a result it soon became pretty generally known among the managers of theatrical troupes that the promising city of Great Falls, one of the best known towns in the state, could not afford a suitable place for a first class theatrical company to play. They would not include this place in their circuit and nothing save third class shows with a very limited amount of scenery and poor support would stop here. The reputation the town acquired among the profession as a show town was not the best which was natural. Indirectly the opinion they held may have spread into other channels of thought and militated against the city’s welfare in more ways than can be just now imagined. Strangers visiting here with a view to making an investment may have become prejudiced against a place which was experiencing a phenomenal growth but could not afford an opera house. Of course, these are only supposed cases which may have no foundation in truth, but it should be remembered that trivial causes sometimes bring on disastrous effects.
Though the question of building an opera house was frequently discussed, nothing definite was done until last May, when H. O. Chowen called a meeting of the leading citizens of the city, including Paris Gibson, T. E. Collins, A. E. Dickerman, C. M. Webster, J. H. McKnight, J. Bookwalter, Charles Wegner, Ira Myers, Dr. Crutcher, and many others, to take some pronounced action on the matter. Those gentlemen then decided to organize a stock company with a capital stock of $100,000 and commence work on the building as soon as possible. On the twenty-seventh of the following month the articles of incorporation were executed, and the idea had become a reality. The stock was taken by Great Falls people exclusively, giving the company the correct title of a home concern which of itself is something everyone should take pride in.
The following officers were elected: President, H. O. Chowen; vice president, Ira Myers; secretary-treasurer, C. M. Webster, with a strong board of directors. After deciding to erect a house in keeping with the city’s present and future prospects the company voted to secure the services of some well-known eastern architect to prepare designs and specifications for a suitable building which could never be considered a mistake. With that end in view Oscar Cobb of Chicago, who bears the name of erecting some of the best opera houses in the west, was consulted. He came here in the early summer and after obtaining an idea concerning the wishes of the company promptly designed and submitted plans for a house that would cost a trifle over $50,000. They were accepted and soon after ground was broken for the foundation of the new Thespian temple. By the middle of September, the building was well under way and the end of October saw it enclosed. Since then, work on the interior progress rapidly up to yesterday morning when the finishing touches were put on.
The dimensions of the opera house are 115X60 and from the front it looks like a four-story building. The front and twenty-five feet on each side are of cut stone. The balance of the walls are of brick. As is customary with buildings of that class the rear containing the stage is higher than the part containing the auditorium. Two cupolas surmount the roof, improving the exterior appearance of the building and affording a suitable means for ventilating the stage and the body of the house. The grand entrance has above it an attractive portche of iron with iron ornamentations. This reaches to the curbstone of the street and will become a great convenience in stormy weather, besides making an ornament to the front.
Two large double doors of heavy plate glass open into the tile floored vestibule which is finished in oak and handsomely decorated. On the right there is a private office for the manager on the left a commodious boxy office. The latter is provided with an extra ticket window where those who wish to sit in the gallery may procure tickets from the entrance to the gallery stairway, which is separate and distinct from the grand entrance. The ceiling of the grand entrance is ornamented scratchwork done in olive and is worth admiring, for there are so few pieces of decoration so unique in the state.
Two heavy oaken double vestibule doors lead into the foyer of the house. Wide stairways on each side connect with the balcony. The woodwork of the stairways is the finest quality of stained oak, furnished by Smith &Wyman of Minneapolis, which gives them an appearance of solidity and durability. The foyer is not entire separate from the body of the house as in some eastern theaters but is divided off by a partition about four feet high, which runs from one side of the house to the other and is cut by the differed aisles. So far as the rest of the interior makeup is concerned, this theatre resembles any other. Some of the dimensions may prove of interest.
The distance from the stage to the foyer partition is sixty-five feet. The ceiling is about four-six feet above the floor of the parquet. The parquet will seat 450 people and is fitted with the finest quality of cushioned chairs and has carpeted aisles. There are two proscenium boxes down the stairs partially draped and mounted with bright brass rails. Under each seat downstairs is a grated ventilator connecting with the system of ventilating pipes which run through the building, affording plenty of pure air in case the house is badly crowded.
The balcony is provided with good opera chairs and will seat 300 people. There is a proscenium box on each end. The gallery is finished off as fine as any in a metropolitan theater and is so constructed that the one seat is good as another. A brass rail runs completely around the balcony. Underneath it there is a handsome drapery which matches the prevailing color of the interior decorations. The gallery will seat 450 people and is constructed strong enough to sustain the weight of 1,000 if that number could crowd in. A stairway separated from the others leads to the gallery.
The visitor to the opera house cannot fail to be impressed with the handsome decorations of the proscenium arch and the ceiling. The scroll work on the former is certainly a triumph of the art of frescoing and redounds greatly to the credit of Herman Ludke, the artist. The ornamental stucco of the proscenium arch is equal to that seen in many theaters in large cities. The ceiling is done in umber and sienna and olive and is pleasing to the eye when tinted with the mellow light of the incandescent lights of which there are scores. The design of all the decorations is Romanesque. One should be an art connoisseur to do justice to the decorations of the ceiling and the proscenium arch. The frescoing was all done by Uuquhart & Stevens of this city under the supervision of Herman Ludke.
The stage is one of the best arranged to be found anywhere, say professional people who have seen it. It is 60 feet wide and 43 feet deep. The rigging loft is 50 feet above the floor, thus affording plenty of room for a world of scenery, of which there are at present 150 pieces. The curtain opening is 33 feet wide and 30 feet high. There are five traps in the floor for actors to disappear through when necessary in the drama. There are ample dressing rooms on each side of the stage.
The drop curtain was painted by Powers & Davis of St. Paul who furnished all the scenery. The design of the curtain is from a scene in the Rocky Mountains at Two Medicine lake. That it is a curtain that has no equal in the state no one would care to dispute.
The stone and brick work on the building was done by Frank Combs, the plastering by W. J. Winters, the painting by Rubbottom & Gilchrist, the plumbing by Hotchkiss & Hawkins and the tinning by Murphy & Maclay. Wm. Roberts had the contract for constructing the building which is in keeping with the other well known structures he has built in Great Falls.”
Front Cover of the souvenir program for the Opera House opening, 1892.