Douglas Dispatch Article 01/22/1919

DOUGLAS DAILY DISPATCH.          WEDNESDAY MORNING, JANUARY 22, 1919.

New Fire Proof Grand Theatre Building Completed

Douglas’ Quarter Million Dollar Play House, Finest Structure of Kind Between San Antonio and Los Angeles.

The people of Douglas are about to realize that the promise of a real up-to-date theatre building was not an idle boast.

Nowhere in the west can be found a theatre building of more attractiveness and rich architectural beauty. The widely advertised Grauman’s million-dollar theatre of Los Angeles is not used exclusively for theatre purposes and the great portion of the cost does not apply to the theatre proper, but to the 12 stories of offices that surround the theatre. It is safe to say that the fireproof Grand Theatre of Douglas has far exceeded the greatest expectations of those who watched the progress of the construction work and will be a living monument to those who are behind the enterprise.

When James Xalis, the manager of the Lyric Amusement company, decided to build this building it was not his intention to erect a building as cheaply as possible, but to give the people of Douglas and surrounding county a building that would be a great credit to a city of many times our population.

During the year of 1917, Mr. Durfee, the architect, make a trip to Douglas and was well impressed with the city and its future possibilities. Mr. Xalis was one of the business men who formed his acquaintance and after having learned that he had followed the architectural profession for many years and had successfully erected many types of large buildings and residences in the state of Washington, British Columbia and southern California. He then stated that the Lyric Amusement company would erect a modern theatre in Douglas in the near future.

This promise was fulfilled in the year 1918, when Mr. Durfee was instructed to complete plans for the new Grand theatre and at that time Mr. Durfee and family moved to Douglas for permanent residence.

A great deal of credit should be given to Mr. Xalis, who undertook and completed a proposition of this kind under the most trying conditions which made building almost prohibitive on account of labor difficulties and scarcity of material.

His judgement is to be commended in the selection of his architect, who carried out his ideas and successfully designed and supervised the construction of the building.

Mr. Durfee stated that the management was to be congratulated in not making the serious mistake so often made by owners having an architect design a building and then turn over the color scheme of decorations and the selection of the draperies and furniture to some other person, who loses sight of the original architectural design and details.

From the time the ground was broken the architect in this case followed the wok until its final completion, and with the aid of the management carried out the entire plan with original ideas including the selection of the furniture, draperies, carpet and the design of the large sign, which will serve as a guide to the house beautiful, the place where one spends an hour of rest and enjoyment.

Mr. Xalis is again to be commended in the selection of the well known contractor, J. M. Sparks, who successfully handled the organization, which in turn made possible the construction of the modern fireproof theatre building. It was only through the untiring efforts of the contractor and the architect that materials were obtained and delivered on the ground when in many large cities work had been abandoned and stopped under less trying conditions.

Clay Sparks and J. Murray were directly in charge of actual construction work under Mr. Sparks, the contractor. It may have seemed that actual construction has taken much time but for comparison, the new California theatre of Los Angeles required four months more time and is located at a source of supply of materials and labor.

One of the most difficult pieces of engineering was accomplished in the building of the reinforced concrete balcony, which is largely supported on a reinforced concrete girder, large cantilever beams carry a 15-foot projection of the entire balcony and the girder is 10 feet high, two feet thick and is reinforced with four tons of reinforced steel. The concrete is composed of a very rich mixture of cement, sand and crushed rock and required two days and two nights to pour, during which time the work was under the constant inspection of the architect, contractor and superintendents. The capacity of the theatre is 1600 and were the total load of 1600 people applied to this beam, it would be carried in safety.

Following along with the progress of the work, sub-contracts and materials were furnished as follows: Excavating, Sparks Faucett; cement, Riverside Portland Cement company; crushed rock, Alfred Paul; sand and gravel, Maddux Bros; reinforcing steel, ?D. Dwan? Of Los Angeles and W.A.E. Woods of El Paso; lumber, Bassett Lumber company; mill work, sash and doors, Hammond Lumber company of Los Angeles; electric work, Douglas Traction & Light Co; plastering and ornamental plaster, J.S. Watkins of Tucson; roofing and rough hardware, Douglas Hardware company; finish hardware, Hammond lumber company; painting and decorating, Saunders & Perry; marble and tile, B.V. Collins of Los Angeles; terra cotta, Gladding, McBean & Co; plumbing, M.F. Dicus Plumbing company; heating, Charles Gould of Tucson, ventilating, Typhoon Fan company of New York; setting terra cotta, M. Doty, laying roof, B.Buckles; cement finish, Nordstrom; sears, American Seating company; drapes for tea room and ladies’ parlor, Phelps Dodge Mercantile company; furniture, carpets and velour, Barker Bros. Of Los Angeles; stage scenery, Kansas City Scenic company; mural decorations, A Cedarbrant; installation of carpet and draperies, W. Griggs; Hope-Jones unit orchestra organ, Rudolph Wurlitzer company.

A combination of these forces along with skilled and common labor is to be commended in the finishing of the best building in Douglas, whish will be a big step toward real advancement and progress and the beginning of a new era of well designed, modern business buildings and residences that will bring Douglas into a class by itself.

The building is designed for permanency and durability, the terra cotta front of pure white, with a touch of subdued blue, will outlast the most durable building stone quarried from the ground. The terra cotta marquise over the entrance is worked out in plychrome colors, with and apron of hanging of art glass at the lower edge and this detail alone is an attractive feature seldom seen in western cities. The terra cotta finish extends back on Twelfth street 16 feet and the balance of the building will ultimately be finished with white stucco front, terra cotta to alley.

Considerable care has been exercised in the lighting of the exterior and the large 20-foot electric sign can be seen from either end of G avenue and at night the building will be bathed in a blaze of light. Every living being requires light and this display will dispel the gloom and fill one with the desire for the rest and enjoyment found within.

As one enters the beautiful wide and spacious lobby of marble, tile, terra cotta and decorations, the box office is located on the left had side, where the cashier will be provided with a plan showing numbers and location of all seats, so that in shows, other than picture shows, one can see the exact location of the seat purchased.

The foyer of tile, mahogany in silvery gray, ornamental plaster and decorations, is commodious and lofty and is lighted similar to the lobby with beautiful indirect fixtures. The foyer is reached through three sets of French mirrored doors from the lobby and at either end a broad, reinforced concrete stairway leads up from foyer to mezzanine floor and main balcony. The entire stairs, mezzanine floor and portions of balcony is covered with luxurious carpet of blue and gray color, with a touch of old rose.

On the mezzanine floor are located the ladies’ parlor, tear room, manager’s office and rest rooms. The ladies’ parlor and tea room are tinted in pleasing, restful colors, with reed furniture and trim of French gray that blend in with the wall color and draperies. Douglas has long felt the need of just such a place for the ladies, who will find a cheerful welcome and a place to rest and entertain their friends.

The orchestra floor will seat 900 people, front balcony 170 people and rear balcony 589, or a total of 1600. The entire color scheme is not bright and gaudy, but the prevailing color in gray, with rich old ivory embellishments and the mural paintings add the necessary touch of color with quiet dignity that brings to one’s mind the recollection of a once visited beauty spot of nature. In quiet contrast with the exterior, during picture programs, the soft glow of colored lights will add much and blend into the color scheme, so that when one is comfortably resting in the soft, upholstered seats, the entire being is relaxed and ready to enjoy the entertainment and music to its fullest extent.

It is the desire of the management to extend a hearty welcome to all, to share the fruits of the last year’s labor, and cordially invites the friends and patrons to watch for the formal opening announcement during the next day or so.

The Lyric Amusement company owns a chain of ten theatres, which are located at Douglas, Bisbee, Tucson, Nogales, Lowell, Ariz., and Cananea, Mexico.

James N. Xalis is manager of the Douglas theatres; John Diamos, manager of Bisbee and Lowell theatres; Dave Diamos, manager of Tucson theatres, and Frank Diamos, manager of Nogales and Cananea theatres. Nick Diamos is general manager of the booking department for all ten theatres with headquarters at Los Angeles.

On account of this booking arrangement it has been possible to give the people of Douglas good entertainment in the past and in the New Grand it is the intention of the management not only to give good, satisfying programs, but the patrons and friends will always find entertainment equal to the very best given in large cities.