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The
New Opera House
A
Full Description of the Building
Who
Built It
Why
It Was Built, Etc.
Source:
Paris Mercury, 1888
Many
of our readers who remember the old yellow house that
stood on the corner of Main and Caldwell streets—the
first business house in Paris of any note, and long
used as a dwelling—would be surprised to see the
magnificent building now standing upon that site. The
structure is 100 feet long, 50 feet wide, three
stories high, each corner surmounted with a mansard
roof tower, with dormer window and circular light, the
top of the tower ornamented with iron cresting. The
twin windows, large and massive, give the building an
imposing appearance. The entrance to the theatre is on
Caldwell street, under a large arch and through heavy
oiled hard pine doors, up a polished stairway, through
double doors, by which you enter the auditorium or
theatre proper. The floor slopes toward a 27 foot
stage. Up above is the gallery, 24 X 48, finished in
the latest style of the art, and from any seat in
which can be had a full view of the stage. This is a
modern achievement in architecture, and is quite a
blessing to the audience. The roof is self-supporting,
and therefore there are no posts to look through. The
auditorium is 48 X 68, with a 24 foot ceiling. From
the center of the ceiling hangs a lovely chandelier
all sparkling with gas lights, reflecting the gilt and
beauty of the paper and frescoing above, while all
around gleam lights of varied hue, giving the theatre
a bright and happy appearance. The two lower rooms are
22 X 80, elegantly lighted with plate glass fronts and
side windows, with cellars underneath rear ends. They
are splendid business rooms. The entire building is
lit with gas, the machine being made by the Gas Light
Co. of Kansas City. The brick work was done by Mr.
Sandison of Moberly. Wires & True, the main
contractors, did the carpentering, while the stone
work was done by Mr. Dorman of Moberly: the painting
by F. M. Tritch of Moberly, and the plastering, 2,600
yards, by C. A. Heath, of this city.
The
theatre will probably be dedicated on Oct. 22nd
by a gilt-edged troupe, and while you sit under the
gas light, (waiting for the audience to be seated), in
a beautiful opera chair---mahogany finish, folding
seat, hat and cloak rack, etc.,---you can cast your
eye at the lovely papering and frescoing overhead and
on the walls. No doubt you will find this and looking
at the bewitching drop curtain a happy pastime of a
few moments. You will observe that the interior finish
is a combination of fresco, paper, and antique
meteoric decoration in high relief. Above the windows
is a small band of Pompeian red, with edging of
Japanese. Above this is an inlay of modern
renaissance, then a freize of light Pompeian red,
design Florentine, finished with diamond edging, then
the cove, three feet wide, in light blue, pink and
yellow, shaded with iredesen, design Moorish and
Arabian, frescoed with plants and vines, finished also
with diamond edging. On ceiling is a blue border style
Florentine, finished with edging of red and gold,
style French. Next a wide inlay of olive-gray,
frescoed, style conventional flowers. Inside of this
is a band—gold, copper and light green bronze; style
modern English. Six panels, style French renaissance.
Large center, style Egyptian and Florentine,
conventional flowers, and diamond edging of blue. Main
ceiling, color, Venetian pink. Balcony ceiling, wide
decoration in yellow, olive and brown colors, style
Celtic. Inside of this is gold ground, hand-made
border, design floral, with an inlay of Naples yellow,
edged with small band of yellow, red and olive, style
Moresque. Front of balcony, colors olive gray,
indented decoration, metallic finish of copper bronze.
Side walls of antique meteoric decoration in high
relief, ground work style radialta, color light
Arabian brown, with Japanese design in gold and copper
bronze, with jeweled centers. Dado same, but darker
colors, divided with mouldings of silver-steel and
antique bronze. Arch over stage, antique meteoric
decoration in high relief, design Egyptian fan, metal
shading. The work was done by W. H. Duffield, of
Kansas City, Mo., and reflects credit upon that
gentleman’s taste and ability as an artist.
You
may ask why was so stupendous a building erected in
Paris. We only say that this is a wealthy, refined and
cultured people, and being deprived so long of a place
of public meeting, they resolved to build a
house for their pleasure, one in which they and their
children could sit in comfort under the influence of
good and
legitimate drama and listen to the voice of the better
class of lecturers and speakers. This desire grew so
strong in the hearts of the people that one night,
with one accord, they met in the court house and
resolved to build a house. This house today is a
fulfillment of that resolve. Fifty-six business men
and capitalists took stock, the shares valued at $50
each, and soon $10,000 was raised and the work began.
As the temple at Jerusalem glistened in the sunlight,
so does the new opera house at Paris glow in the
hearts of the people. It is theirs---not for profit,
but for pleasure. All the stock has been subscribed,
and a light assessment, if necessary, will pay the
balance, the total amount required to complete the
building being $12,500. During the opening series,
which will begin Oct. 22, it is expected that the
house will be crowded to its utmost capacity—one
thousand—and therefore it will behove all to order
seats or secure them as soon as placed on sale. Many
people from abroad—men and women whose childhood
voices were echoed by these hills and whose faces have
been time and again reflected in the placid depths of
old Salt river, whose limpid waters sweep the northern
circuit of the town—will come here on this grand
occasion and once again mingle their voices together,
shake each other by the hand, and renew old
friendships. Let all come.
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