1896 – Grand Opera House, Barrie, Ontario, Canada

In 1897, the chief promoter of the Grand Opera House, Sydney J. Sanford disappeared, leaving a letter for his wife saying he was short in his accounts. According to sources, it seemed the County of Simcoe was investigating their treasurer for a short fall of almost $63,000 between 1885 and 1897. There was much speculation that Sanford’s theft is what provided for his lavish lifestyle.

The architect Eustace Bird filed a Mechanic’s Lien for unpaid fees for “plans, specifications, supervision and quantity surveying and other services rendered” to the tune of $568.26. As a result of all this, the County ended up owning the building, and placed it on the market, but it remained as their property until 1905. Over the next twenty years, it was a multi-purpose venue both for live entertainment and cinema. Badly damaged in a fire in 1926 that was believed to be arson. Eventually demolished in 2006 after being used as a garage and retail stores.

“The building, which is owned by the County of Simcoe, was completed in 1896. It is isolated and used for theatrical purpose only, having no stores, etc., in connection therewith. It has accommodation for 1200 persons and is capable of hanging any travelling company’s scenery. It is built on the French plan, having orchestra, auditorium, parquet, dress balcony and top gallery, eight boxes, smoking, green and crush rooms.

The main entrance is so arranged as to admit all persons to any part of the theatre, but separate doors are provided for egress from each different part on termination of performances.

The acoustic properties are all that can be desired, being the effect of a plastered partition in front of the brick wall at back, but at the same time made as fireproof as possible and all angles are well curved off. The ventilation is successfully carried out by immense heated shafts on either side of the bell-mouthed proscenium arch, and connected to ducts around the curved parquet floors.

The house is lighted with one thousand electric incandescent lights, including stage lights. Those in the dome are hidden by means of staff shells which forces a reflected light from the ceiling into the auditorium.

The floor and galleries have splendid pitch and each seat is well elevated.

The gallery fronts, boxes, canopies, proscenium, arch, caps, pilasters, etc., are decorated in modelled staff in meggo-relievo, tinted in two shades of cream and picked out in gold. The dome and walls are frescoed in warm tints, and all dados throughout the building are finished in stained burlap, which gives a cosy appearance.

The stage proper is 60’ x 35 and fifty feet to gridiron (the latter is complete with forty-five runs of lines), has flymen’s galleries, bridge-pallette, etc. The electric switchboard, including dimmers, &c., on the stage, controls the whole lighting system throughout the building.

There are ample artists’ and public dressing rooms, lavatories, &c. The facade is of Spanish design.”
Canadian Architect and Builder, January 1899

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