OTTAWA's PRIDE

THE GRAND NEW OPERA HOUSE,

It's Many Excellences, Beauty of Finish and Design,

Elegant Scenery, and Magnificent Drop Curtain.

["Ottawa Weekly Republican," 07 Sep 1882, page 2, column 4]

A celebrated French art critic, has well said that "architecture is frozen music," and not withstanding the fact that there is as much diversity of execution in building as in music, the many beauties, perfect symmetry and harmony of parts of Barker & Smith's new Opera House present a solid symphony. It is unnecessary to review the causes which led to the building of this handsome edifice, as all who have had experience in a thrifty Kansas town, will realize their growing necessities in every direction. The time had arrived, simply, when Ottawa demanded increased facilities for public gatherings, amusements, etc., and the cultivated taste of her people required something, whose excellencies of artistic execution were at least equal to the best in our sister cities. In Messrs. Barker & Smith were found the men equal to the demand and who were ready to take advantage of the opportunity, and the new and beautiful opera house which is now completed, testifies both to their enterprise, energy and superior taste.

This superb theatre occupies the entire story of the Ring & Smith and Barker block, standing on the southeast corner of the intersection of Main and Second streets, and externally it is the most prominent object in the business portion of the city. The opera house proper is a hall 50 x 110 feet in size, the story is of high and generous proportions and the body is divided into a gallery, dress circle and orchestra circle. The stage is 30 x 50 feet square, with a proscenium opening 24 feet wide and 16 feet high. The seating capacity of the house in its extreme limit will be about 1060, though at present chairs have been placed for only 800, of which some 300 are in the very pretty gallery. The walls of this story are several inches thicker than was directed by the architect, but Messrs Barker & Smith proposed to insure absolute safety and with this in view they increased the strength several times beyond any strain likely to bear upon these walls, and it is now one of the strongest buildings of the kind in the west. In the internal arrangements the supervising artist, Mr. T. B. Harrison, and the stage carpenter, Mr. Davis, have introduced all the modern conveniences and improvements for working and adjusting the lights, curtains and other working parts. The chandelier in the main hall is raised and lowered by a windlass behind the scenes, the foot lights are balanced upon a working frame and so arranged by a leverage as to be lowered below the stage or raised to their proper position. The drop curtains are worked by a system of windlasses, located on a raised platform out of the way of occupants of the stage, and these curtains are so nicely adjusted and balanced as to hold their own weight at any point. In te northwest corner of the stage room, there is a large force pump, communicating with a never-failing well in the basement, and here is secured the supply of water for the sink or for extinguishing fires. A large amount of rubber hose is always kept upon a reel near this pump ready for any emergency. Other pumps and hose are kept in perfect working order in other places in the building, so that several streams of water can be turned upon a fire almost instantly. The internal decoration and ornamentation of the opera house, is in harmony with the best asthetic taste and the blending of subdued colors, in the handsomest patterns strike the eve everywhere with pleasure. The ceiling is divided into square pannels the borders of which project below about six or eight inches, thus insuring the most perfect acoustic effect, and these pannels are frescoed in subdued red, blue, pink and gold patterns in elegant accord with the size and style of the room. The windows, the front of the gallery and the ballastrade surrounding the dress circle are ornamented with colors and gold mouldings. The sides and front of e proscenium opening is also beautifully decorated, and when seen in the brilliant blaze of the perfect system of illumination recalls the description of the glittering scenes in the wonderful cave of Alladin.

The main drop curtain is a specimen of art, equal to the best in the large metropolises, and in design and execution reflects the greatest credit upon the artistic skill of Mr. T. B. Harrison. The scene here depicted is taken from actual life, and in an oval medallion appears a representation of the golden Temple of Umritzi, one of the most ornate as well as justly celebrated specimens of india architecture in the world, and recalls the facinating romances of the Orient. It is located, like most of the Hindo temples upon the borders of the sacred water, which reflects from its placid surface the details of the temple. The medallion in the center is placed upon a field of white satin, and bordered below with heavy gold bullion fringe. The lower portion of the drop curtain represents a tessalated pavement in steps while at the top it is surmounted by a vallance drapery of crimson velvet with folds of corn colored drapery disposed in graceful folds on either side of the curtain. It is also ornamented with two straight tabs of tapestry, whose rich tints and intricate persian patterns is in perfect keeping with the Oriental character of the picture.

The second curtain, while less attractive, still shows the work of an artist, and while the name, advertising curtain, draws the imagination from the beautiful in art to the more practical affairs of life, yet something can be seen in the elegant center piece, which affords a loop-hole for thought.

The stage scenery is simply immense, and in amount and variet of pictues is hardly excelled by the largest theatres. This scenery was all executed by Mr. Harrison, and carefully selected in anticipation of any calls that many be made upon the resources of this house. They consist of a center door fancy chamber; a two door fancy chamber, either of which, or in combination can be made to represent an elegant parlor, a two door plain chamber center; center door Gothic oak chamber, also adapted for parlor scenes; a kitchen; prison; wood landscape; cut wood scene; garden; rocky pass; street house with practical door; ancient street; village landscape, and the following set pieces to rig with other scenes for combination interiors: Set cottage; house; fancy bar; bank counter; rocks; water and horizon, making, as we have remarked, a complete and varied selection adapted to almost any play now on the American stage.

Thus we give to our readers a word picture of the internal arrangements of this truly handsome Opera House; but words fail to convey an adequate idea of the beautiful effects of colors, the symetrical adjustment of the scenery, or of the harmony of all the internal fittings. These must all be seen to be fully appreciated, and tonight when the house is thrown open for the first time the grand opportunity will be afforded. We have said nothing regarding the provisions for the safety of an audience, except as to fire, but those who know and understand the characteristic caution Mr. Barker and Mr. Smith will feel confident that with all their long and constant study over this, the consumation of their highest ideal, they have neglected nothing in this direction. The water provision already mentioned appears to be ample in extinguishing quick fires, but these gentlemen have gone farther, and in addition to the two broad stairways leading from the main hall in the second story, they have rigged fire escapes from almost every window. In fact, it is estimated that from the two avenues mentioned, the hall can be emptied of an audience in two minutes, and we may say that the gentlemanly proprietors have secured as near absolute safety as is possible in architecture.

Now a word for Mr. T. B. Harrison the artist. This gentleman who came to Ottawa fresh from his beautiful work on Moor's Opera House at Nevada, Mo., is a true artist in every sense. To his natural tastes he has added long experience and close study in the construction of opera houses, and the Ottawa opera House may be considered the sum and consolidated results of all this study and experience. Nor must we forget his young and talented assistant Mr. S. J. Selford, who has rendered Mr. Harrison such efficient service in the outline work upon this stage. Mr. Harrison has also been ably seconded by Mr. Davis, the efficient stage carpenter and machinist, who came to Ottawa in his company and worked together as they have in other palces.

These gentlemen, after finishing here will go to butler, Mo., where a new opera house is being erected, and there they are engaged to execute te internal work as they have done here, but wherever they go they bear with them the kindest regards of the people of Ottawa.

The Dedication Night.. Splendid Audience.

[From Monday's Daily.]

Last night a large and cultured audience gathered at the new Ottawa Opera House, to enjoy the dedicatory ceremonies of this splendid temple of Clio, Melpomene, Thalia and all the muses of music and the drama.

The brilliant lights, the glittering colors and gold mouldings of the decorations, the fresh beauty of the artistic scenery, and the variegated shades of female apparel, formed a picture of elegance and animation long to be remembered and delightful to aesthetic taste. Ottawa had gathered there "her beauty and her chivalry," and the happy faces, full of expectancy told of the interest all felt in this splendid house, and the success of its public spirited and enterprising proprietors. The advertising curtain confronted the audience with its commercial cards and elegant center piece, but this and the superb ornamentations of the hall excited their admiration and kept both the eyes and imagination engaged until the tinkling of the bell announced that the ceremonies would begin. Immediately the neatly clothed figure of one of Ottawa's popular and eloquent orators, stood in the proscenium opening as the card drop rolled up, disclosing a view of the full depth of the stage and the beautiful scenery. Maj. Benson, on behalf of the proprietors, then extended a cordial welcome to the new house, and in the appropriate and neatly worded address (found elsewhere) viewed the history of the Ottawa halls, and the several successive stages of progression which had finally culminated in this beautiful, artistic symetrical place of amusement. The address was received with the most cordial marks of apporval, and as the Major gracefully retired behind the splendid, main drop curtain which he had so intelligently described, there was a move to call out Messrs. Smith and Barker the proprietors and Mr. Harrison the artist, but the impatience of the actors could brook no longer delay, and at once the characters presented themselves in the first scene of "Lost and Won."

We cannot close without a mention of the comfortable new chairs, perfect acoustic effects of the hall, also a word as to the strength of the building. With all the crowd, not the slightest vibration could be felt, and we have no hesitancy in pronouncing it as solid as a rock. Elsewhere we take pleasure in giving our readers Major Benson's address. It is well worthy of preservation as an historic review of one phase of Ottawa enterprise.

Major Benson's Speech.

In behalf of the proprietors of this beautiful new temple of music and the drama, I am commissioned to bid you welcome this opening night.

Since first the dream of a future city stirred the hearts of the founders of Ottawa, wonderful changes have been wrought on this prairie, ten the heart of an Indian reserve. In the history of the various halls where our people have congregated from year to year, may be clearly traced the lively story of our progress.

In the year 1864 when the stakes were driven that first marked the lines of our streets, Lathrop Hall was opened at the corner of Main and Second streets, by Asa Lathrop, whose towering form was familiar to most of us. There the district courts were held, presided over by that gentleman of dignity and brains, Judge Thacher, whose district extended from the Kansas river to the south line of Allen county, and east to the Missouri border. In those days judging from the traditions of the bar, stirring events transpired in that little court room, where that law, "whose seat is the bosom of God, and whose voice is the harmony of the world, was applied to the differences of the pioneers.

There met our first masonic lodge presided over by John C. Richmond, who now works in the lodge above. There met and organized the Baptist church and listened to the diction and pious phrases of another of Ottawa's founders, then already famous in the east, and whose fame now extends to the Golden Gate, the Rev. Kalloch. There too, Dr. Sawyer of blessed memory, the first settled pastor in Ottawa, preached, and others loved in the household of faith, laid the sure foundation of that aggressive christian character exemplified by the Ottawa Baptists of this day.

In that first hall was heard the magnetic eloquence of Jim Lane, and others, his compatriots of the early days, held forth on themes political. There, no doubt, was first discussed that wonderful railroad system which on paper so much resembles the spokes of a wheel radiating from Ottawa, the hub-a dream which partially fulfilled already, bids fair to be substantially realized.

Late in 1865 Pickrell Hall, at the corner of Main and Third street, was opened. True, it was small and low, and in summer phenominally hot; but then, it was an up town brick strucutre, and it was the "New Opera House" of that day. There the Rouse Combination, the first traveling theatrical troupe in this city, played a long engagement to delighted houses. There Cady Stanton, and Lucy Stone and Susan B. Anthony discoursed on female suffrage, that perennial subject that Kansas statesmanship must again grappel with. There Gen. Blunt undertook to "snuff out" the gentle George Francis Train and amid roars of laughter was himself completely extinguished by that lively orator. There our Methodist brethren held their first protracted services and organized that church now the largest in the city.

Next was Anderson's Hall, just across Main street over Clark Brothers store. I shall never forget its rough unplastered walls and sawdust covered floor as they appeared to me in the fall of 1869, when I stood for the first time before a Kansas court and a Franklin county jury. It served for political meetings and court purposes, and occasionally a fugitive theatrical company made melancholy show, within its unfinished walls, but these oftener betook themselves to the more pretentious room called Turner hall over on the railroad between Third and Fourth streets. There our German friends practiced the manly sports of the German brotherhood, occasionally letting the hall to the general public. The musical taste of our people was cultivated there, particularly in the rendition of the Cantata of Esther in the winter of 1868-70, when Mrs. Sears, Mrs. Roller, E. H. Dimick and other well known amateurs bore conspicous parts.

Then there was Hamilton Hall, over the present dry goods house of T. R. Wilkerson. There the brave and jovial little Englishman, Rev. James Chew, just from the heart of London, preached to an admiring handful, and organized the Congregational church with twelve members. His presence brought sunshine and inspiration; and although separated by the wide wastes of the Atlantic from the Christian family of his founding; the fervent God bless him goes up from many a thankful heart. In Hamilton Hall also met an astonishing body, said at that time to be "the most terrible the earth contained," whose dismal groans disturbed the silence of the night, and whose wrath could only be appeased by the delicious pastry of a certain good-natured landlady, whose cheerful hashery was the trysting place of the mysterious gang. I refer, of course, to the Ancient and Honorable Order of Pie Eaters, and here, pause to drop a melancholy tear over the untimely grave of our Grand Gabster, Abraham Hamett, who afterward became Clerk of our State Supreme Court, and died in South Carolina.

In 1868, D. W. Zimmerman began the erection of the hotel, corner of Main and Second streets, and over it the hall, which was completed and opened in August, 1871, by Mayor Sheldon. Sheldon Hall marked a great advance in the town. It seated about 500 people; it was comfortable and airy. It was furnished with a stage and scenery, and the usual appointments of a country theatre and was the delight of our people. Here that musical talent first shown by Ruth Mayhew and her associates in the early days, and always kept full high advanced, found room for development, and many an entertainment of high order and great merit has been given in that place. In that hall we have listened to the singular phrases of Theo. Tilton; to the grotesque eloquence of Dewitt Talmage; to the smooth and plausible utterances of Samuel C. Pomeroy and the polished phrases of Schuyler Colfax. There the caustic Ingalls, and the acute, business-like Plumb, have dealt out our political doses. Prentiss told us the quaint story of his trip over the sea, and Burdette, the Hawkeye man, displayed his phenomenal cheek. There Gov. Robinson and Sidney Clarke had their famous midnight bout when John r. Goodin was nominated for Congress. There was held a judicial convention which was considered famous until a later one, with the novel feature of a fight between Quakers and Presbyterians at Garnett, cast the first completely in the shadows. IN that hall began here the famous blue ribbon movement that captured and held the town and, spreading over the State, made Kansas the pioneer of constitutional prohibition.

And now, after these, marking yet another era in our growth, is opened this beautiful new hall-more commodious; - better furnished,- with more art; at larger expense, and better suited to the refined tastes of our people.

The proprietors, Messrs. Ring & Smith and Barker, indulge in the hope that this new convenience may prove a real benefit to the generous public. That a refined musical taste and genuine love of the beautiful-that intelligent discussion of themes moral, political, social and scientific may here be heard, and the legitimate drama fostered and encouraged.

(Here the speaker alluded to the public spirit displayed by the proprietors, an to their good fortune in securing the services of Mr. T. B. Harrison, scenic artist, of Chicago, whose work was complimented, and the drop curtain shown.)

May the music heard within these walls lift our hearts in harmony with that above. May the silver-tongued in speech discuss here only the pure sentiments of enlightened minds, and may the play tonight upon this stage, serve to fit us better for the great play of life.