Search Constraints
You searched for:
Institution
Detroit Historical Society
Remove constraint Institution: Detroit Historical Society
Language
English
Remove constraint Language: English
Topic
Detroit Opera House
Remove constraint Topic: Detroit Opera House
1 entry found
Number of results to display per page
Search Results
- Description:
- 12-page letter handwritten in black ink on slightly yellowed paper by Bertram C. Whitney (son of Clark J. Whitney), manager of the Detroit Opera House. The paper is printed with light blue lines and has a faint embossed mark in the upper left corner that shows "Island City." The text of the letter has been transcribed as follows: "The Stage in Detroit I, Bertram C. Whitney, Manager of the Detroit Opera House, and son of C. J. Whitney, one of the oldest theatrical managers in this country, have been requested by our Mayor, Hon. Wm. C. Maybury, on this, the thirty-first day of December, 1900, to tell of the 'Stage' in our city, Detroit. It gives me great pleasure to compile the following facts to enlighten posterity. The theatre in Detroit seems to have been an American institution, for no record of any theatricals is found until after the coming of the United States troops. In 1798, military and civic entertainment were common and generally given in the old Council House. In 1816, a theatre was fitted up in the upper part of the large brick store-house at the foot of Wayne Street. The soldiers made the scenery and the officers' wives painted it. This was in 1830. The same year a theatrical entertainment was given in a barn belonging to the Steamboat Hotel. In 1834 a theatre was fitted up in the second story of the Smart Block, on the northwest corner of Jefferson and Woodward Avenues. the same year, the brick building on the southeast corner of Gratiot and Farrar Streets, built for a Methodist church, but never dedicated, was purchased and fitted for a theatre. In 1836 and 1837 a wooden building on the opposite side of Gratiot Street was used for a like purpose as was also the Museum at the corner of Jefferson Ave. and Griswold St. In 1848, theatricals were given at the City Hall. In 1849 the Metropolitan Theatre on Jefferson Ave., opposite the Biddle House, was opened; later it was called 'The Varieties' and then the 'Theatre Comiqul.' It was burned and rebuilt in 1883 and turned into a livery stable, In 1864 and old church on the corner of Randolph and congress Streets was converted into a theatre called the Athenaeum and used for several years. The old Baptist church on the corner of Fort and Griswold Streets was also at one time used as a theatre. The Park Theatre, on Michigan Ave. opposite the City Hall, was built in 1878 and rebuilt in 1881. The opening of the Detroit Opera House, March 29, 1869, was the event of the season, as it was then considered one of the finest opera houses in the west. Mortimer L. Smith of Detroit was the architect and successfully carried out the Renaissance style of design; the front being modeled after the pavilions surrounding the Louvre in Paris. Manager Garry Hough secured the first lease of the house, and a regular stock company was organized. The opening night, a brilliant gathering gladdened the managers heart to the extent of $1,475.00 receipts which were fabulous at that time. The drop curtain painted by Robert Hopkins was considered the handsomest in the country. At the time Mr. C. J. Whitney took the house in 1885, the ground floor was used for stores, but through his efforts, the owners were persuaded to remodel it, making a ground floor theatre. On Sept. 13th, 1875, was opened the Grand Opera House, built and owned by C. J. Whitney. It was located on the northwest corner of Fort and Shelby Sts. At the time, it was considered one of the finest theatres in America, and offered only high classed attractions. In the year [?] the property was sold to the Government and today our New Post Office stands on the site of the 'Whitney Grand.' 'Whites' Grand Theatre, formerly a music hall, on Randolph Street, corner of Croghan and Lafayette Sts. was erected in 1880. It seated 3,000 people, and was then the largest hall in the city. This structure was destroyed in the great fire of 1886, known as the 'Ferry Seed Fire.' I must not fail to record several old buildings used for theatricals which afforded Detroiters an opportunity of being entertained before our first regular theatre. Concordia Hall, on the east side of Rivard St. near Lafayette was used for German theatricals; but the first German theatre was located on the east side of St. Antoine near Gratiot Ave. The state Capitol was used for exhibitions of various kinds. In 1850, Young Men's Hall was dedicated. It seated 500 people and was the wonder and pride of the city for many years. Other buildings that figured in our early theatrical history were: Firemen's Hall on Jefferson Ave., Merrill Hall in the Merrill Block, corner of Woodward and Jefferson Avenues, Young Men's Hall in the Biddle House Block, Arbeiter Hall owned by the German Working Men's Aid Society, and St. Andrew's Hall, formerly the Woodward Ave. M.E. Church. This brings us up to the present day, and the theatres now being used in this city. On the site of the old 'White's' Theatre, there was built, in 1886, the Lyceum Theatre, a large beautiful house seating 2,400 people. It is what is called a 'Family Theatre,' the prices ranging from fifteen cents in the top gallery to seventy-five cents on the ground floor. The class of attractions offered to the public are clean comedy, interesting melodrama, and inexpensive, but good, light opera. Performances are given every night in the week, including Sunday, and matinees on Wednesdays and Saturdays. This house is very popular and is well patronized. In the year 1887, Mr. C. J. Whitney built the 'Whitney Grand Opera House' and Block on Griswold Street between Michigan Ave. and State St. This Block was eight stories high and was then the first and only 'skyscraper' in Michigan. Realizing that the poorer classes needed good clean entertainment at reasonable rates the prices were fixed at ten cents in the top gallery, twenty cents in the balcony, and thirty and fifty cents on the ground floor. This proved to be what the working classes wanted for the 1650 seats are generally filled at the six matinees a week and the house is packed every evening in the week. Good farce comedy and melodrama is given by inexpensive companies. In 1887, Stanley's Livery Stable, on Lafayette Ave between Griswold and Shelby Sts. was remodeled, and turned into a theatre. Its seating capacity is 1,500, but has never been a financial success. All classes of attractions have been given here, but to no avail. It is closed now and opened only for a lecture, local entertainment, or some related company unable to be taken care of at our other theatres. After roller skating had become a thing of the past, the rink on Griswold Street between Grand River Ave. and State St., was converted into a theatre, 1887, and is now used for burlesque and is called the Capitol Square. It caters to a strictly male audience, the prices ranging from twenty-five cents to $1.00, and performances are given every night and three matinees a week. This is a place we are not proud of, but it is to be found in every large city. The Merrill Hall, before spoken of, has been used for some years as a vaudeville and variety theatre, exhibiting animals, 'freaks,' and curiosities of all kinds. It proved such a success, that in 1899, the management built a new 'Wonderland Theatre' on the west side of Monroe Ave., facing the Soldiers Monument. There is a general ten cent admission to the three floors of curiosities, and also admits one to the top gallery of the theatre proper. For and additional ten cents, you are entitled to a seat in the balcony, and for twenty cents extra, you get a seat on the ground floor. The class of performances given in the theatre is variety in nature, consisting of six good specialties and generally one little skit or short play in one act. Four performances, lasting one hour and three quarters each, are given daily, two in the afternoon and two at night. The audience is allowed to remain for a second performance, but it is not the custom. The theatre is strictly fire-proof, no wood being used, and is tastefully decorated without any gaudy display. It is described as 'being a little gem' and has coined money for the owners. the profits are said to exceed $1,500 per week and although it seats 1,400 people, the manager is contemplating enlarging it next summer to accommodate 500 more. In 1897 the Old Detroit Opera House was destroyed by fire, and the following September, eleven months later, the New Detroit Opera House was opened. an expert in theatrical architecture, Col. Wood, of Chicago, who had erected over 85 theatres had been chosen as consulting architect with Messrs. Mason and Rice. Mr. Alpheus W. Chittenden, son of one our most prominent citizens, although a young man, not yet thirty designed all the interior decorations, and although the spirit of Francis I style was carried out, the exquisite color combinations, designs, decorative effect[s] were strictly original. the lobby, foyer, boxes, proscenium arch, and the splendid ceiling vie with each other in beauty and attractiveness. The auditorium is in brilliant red, with tapestried chairs, in contrast to the asbestos curtain of plain French grey with red fleur de lis. With the exception of the stage, every inch of flooring is solid concrete; steel lath is used in all parts of the house and sheet iron takes the place of boards. All scenes are painted in water color, not in oils, hard to burn. Seventeen fine dressing rooms with heating, lighting, and good ventilation in each are a special feature. the stage is equipped with every modern improvement and appliance for comfort, safety, and facility in handling stage properties. The house seats [?] and has an upper balcony, middle balcony, and ground floor, and eight large boxes. This theatre is not opened Sunday evening except for music or lectures. The class of attractions is the best on the world's stage today. All the great artists of this and every other country come to this theatre, in opera, drama, tragedy, and comedy. The regular scale of prices is from $1.50 downstairs to 25 cents in the gallery. For large productions, $2.00, $2.50, and as high as $5.00. Although this, our first theatre, is not as large, nor as expensive as many others in this country, none surpass it in beauty, originality, comfort, and completeness. Before closing this resume of our theatrical history of the closing century, I should like to tell you of the great people who have visited our city and charmed our Detroit public. But time and space does not permit of it. But if these poor pages survive the ravages of 'moth and dust,' for a century, and are still readable, when brought to the critical man of the twenty-first century, I trust it will inspire some few to trace back the early history of this century and give credit to the Detroiters of today for the zeal and good faith in which they have planted the landmarks of the future. Between 1849 and 1882, the following artists visited us: Julia Dean, Charlotte Cushman, Ristori Modjeska, Janau Schek, Mary Anderson, Edward A. Southern, Joseph Jefferson, Edwin Booth, Lawrence Barrett, Edwin Forrest, Adalina Patti, Christine and Adalaide Neilson, Clara Louise Kellog, Sign. Campanini, and many others of world wide fame. From 1882 up to the present day, a few of the great actors and actresses who have played here are: Sarah Bernhardt, Henry Irving, Wm. J. Florence, and Mrs. Florence, Mrs. John Drew, Maud Adams, John Drew, E. H. Southern, Olga Nethersole, Rhea, Fanny Davenport, Mrs. Scott Siddons, Wm. Warde, J. K. Emmet, Nat C. Goodwin, John T. Raymond, Frank Mayo, Tommaso Salsini, Margaret Mather, John McCullough, Clara Morris, Kate Claxton, Richard Mausfield, Denman Thompson, Mr. and Mrs. W. H. Kendal, Ed S. Willard, Sol Smith Russell, Lilly Langtry, Charles Windhamm, Dion Boucicault, Wilson Barrett, Ellen Terry, Ada Rehau, Julia Marlow, Rosina Volkeston, W. Keene, and W. H. Crane. Among the great opera singers are: Emma Calve, Melba, Nordika, Scalchi, Albani, LaSalle, Plaucon, Emma Juch, Sembrick, Minnie Hauk, Emma Nevada, Edward Floyd, Edouard and Jean De Reszke, Sign. Brignoli, Max Alvary, and Myron W. Whitney. Among the great conductors are: Walter Damrosch, Theo. Thomas, John P. Sousa, and Strauss."
- Date Issued:
- 1900-01-01T00:00:00Z
- Data Provider:
- Detroit Historical Society