Page 47 - Galveston Waves - January 2019

Happy 12 4 th

Anniversar y

The Varieties 1866 His visualization of a neoteric, grander opera house for the
Later in 1866, the Wicks brothers opened the Varieties The- rapidly growing island guided him to Galveston businessmen
ater in a three-story brick building on Postoffice at 20th St. and bankers Leon Blum, Bertrand Adoue and John Sealy,
Success was short-lived as competition from Neitch’s under among others, for financial backing resulting in the forma-
Mrs. Hunter’s management forced it to close. Unfortunately, tion of the Grand Opera House Company of Galveston.
Mrs. Hunter’s effort also failed shortly after the Varieties and
Neitch’s shut-down in 1867. The Land
The location on Postoffice Street between 20th and 21st
Cool Fact: Almost 30 years later, the Varieties site would Streets was selected for its convenient proximity to the newly
become the site for the Grand Opera House. electrified street cars, the U.S. Customs House, Post Office,
Harmony Hall, Masonic Temple and the shops and business-
Henry Greenwall – 1867 es of bustling downtown Galveston.
Henry Greenwall and brother Morris arrived in Galveston
via New Orleans in 1867 to launch a brokerage business. It The Build
was thru brokerage business contacts that would thrust them Artist and theater architect, Frank Cox of New Orleans, was
into the theater enterprise. They seized the opportunity to hired to design the opera house and its interior decoration.
revive the old Neitch’s Theater in the winter of 1867, open- The Romanesque Revival style building of St. Louis pressed
ing on November 21st with productions of “The Alpine brick with stone trim and terra cotta ornaments was con-
Maid or Swiss Swains” and “London Assurance”. structed at a total cost of $67,564. It housed the theater,
the hotel with 55 rooms, a restaurant and shops on the first
Unfortunately, on December 3rd, 1869, the famed Moro floor.
Castle fire ignited on The Strand at 23rd St. (Sangerfest Park
site) feasting on over 100 buildings during its seven-block Atop the building was a cupola looking down on a carved
trail of destruction, including Neitch’s Theater building. stone arch entrance and paneled doors leading to the marble
floored lobby lighted by a crystal chandelier. The 10-foot
After the fire, the Greenwalls moved the company to Turner wide stairway with Moorish grillwork led to the balconies.
Hall on Sealy at 21st St. From here, Henry would form the The stairway’s large newel post was surmounted by a silver
Greenwall Theater Circuit, adding theaters across the South statuary group of three Cupids, each four feet high. The
to his enterprise. floors were covered with rich crimson colored carpeting.
Colorful stencils adorned the walls, ceiling and four pairs of
Tremont Opera House 1870 semi-circular boxes that framed the stage. The stage curtain
Losing Neitch’s in the fire set the stage for Willard Richard- was painted by the architect, Frank Cox, with a scene de-
son, newspaperman, to build a much sought-after formal picting a Greek poet said to be a copy of a famous painting,
theater and opera house at 23rd and Market St. in the winter “Sappho and Her Companions”.
of 1870-1871. Richardson leased the new opera house to the
Greenwall brothers. The doors opened to the public on Feb- The curved shape of the balcony and gallery over the
ruary 25th, 1871, with a production of “School for Scandal”. parquette (first floor) was an arrangement that resulted
This would be the arena for Galveston’s opera and theater in excellent viewing from all seats and exceptionally fine
scene for almost 25 years. acoustics. All the seating sloped toward the stage, the largest
in the state, with a width of 75 feet and a height of 68 feet
1894 Withdrawal from the Tremont Opera House from the stage floor to the gridiron. Lighting was by gas
and Introduction to The Grand and electricity, but only electricity was used on the stage as a
In 1894, dissatisfied with the effects of time on the facility as safety precaution against fire. For the enhanced safety of the
well as concerns regarding fire risk and public safety, Henry audience, there were several exits.
requested immediate improvements to the Tremont Opera
House facility. The request was denied, and Henry Greenwall This was the new Grand Opera House.
did not renew his lease. Turn the page for THE GRAND OPENING.

Waves Magazine | January 2019 Issue | 47