THE NEW OPERA HOUSE.

New Zealand Times, Volume XLVII, Issue 7947, 2 December 1886, Page 4

THE NEW OPERA HOUSE.

(BY OCR SPECIAL REPORTER.)

On tho 15th of June, 1879, the Opera House in Manners-street was destroyed by fire, having then only been built about eighteen months. For several years after, ward tho site of the destroyed theatre was left nnooonpied, but a short time ago a number of enterprising gentlemen formed themselves into a company whose object was tho erection of an opera house which should be not only an ornament and a great convenience to tho city, but also one of the finest and completeat play-houses in the Southern Hemisphere. Very little time was lost in preparation, and the work was at once started and carried on energetically, with the result that the new Opera House was finished and opened on Wednesday night last. : The square solid-looking front of the Opera House rises prominently into view from Manners-street—massive and respectable, but not heavy or sombre, and looking symmetrical, while at tho same time there is nothing gaudy about it. Through tho windows upstairs you get glimpses of beautifully decorated ceilings, with the brilliant dome in the background ; while nearer the footpath there is a flavor of tho traditional in tho doors painted with dark colors, and the small shops where, doubtless, edible necessaries and luxuries wilt be supplied “between tho acts.’* .There are three of these doors, which lead respectively to the dress circle, family circle, and orchestral stalls, and to the pit. Take, first, that leading to the dress circle. Going in by the for door, through a doorway eight feet wide, you pass on through folding doors into a vestibule, passing as you go through it to the stairs, the office, fitted with large ticket doors with wire netting slides. Here, at the outset, is an improvement, for instead of the good old-style wee little “money-box through which tickets are usually obtained, these doors are large and'high enough np. To the left, just past the office, is the stairway to tho dress circle—broad, well carpeted,; well lighted, and easy to climb. Two short flights of stairs bring you on to "a oapaoioos landing, on tho street side of which are a

pair of handsome folding doors. Inside these doors is the “social room,” a fine apartment 38ft long, 36ft wide at one end, and 22ft at the other. The decorations and fittings of this “room” (for “room” is the name rather modestly applied to it) are superb. The floor, ingeniously covered with linoleum of quiet but striking patterns, looks as solid and bright as though it were marble; and as to the -’eoorations of the walls and ceiling, it is impossible to adequately describe them. All the ingenuity and art of the painter have been employed to beautify the room, and the delicate fawn shades, relieved with gold, in which the decorations have bean dono, give a quiet tone to the appearance of the room, i’welve windows front the street, all of them moveable, and opening -on to the balcony. At one end of the room, in a recess, is a refreshment counter. There also is a ladies’ cloak-room, fitted with all conveniences. At the other end of the room is tho gentlemen’s cloak-room —each of these rooms having lavatories, etc., conveniently attached. In addition to the two doors already mentioned, there are two only to be used for escape in case of fire. Leaving the social room—not without regret—you pass along a vestibule into tho dress circle. This is one of the finest portions of the building. Looked at from the back, the circle spreads out in the form of a horseshoe, narrowing down to a fine point at either extremity. The consequence of this is that tho view from either end or from any part of toe dress circle is as as it is from the vice-regal seats in the centre. ihe chairs in the circle, of which there are 202, are made on a design of Mr W. C. Chatfield’s, the covers being of old gold colors. Fairly in the centre is the place reserved for the vice-regal party. Specially fitted up for use, it is in reality a sort of private box, for tho floor and tho railing are slightly raised, and the seats are hedged in with curtains ; but on ordinary occasions these fittings are removed, and then the circle is all the same. All roend tha front of the circle runs a rail covered with crimson stamped velvet, and fitted with pockets where glasses, &0., can be placed) The “bnlge,” or balcony rail, is of cast-iron, made in Wellington to Mr Chatfield’s design, and “picked out” in suoh an ingenious way as to resemble painted china in appearance. At each end of the horseshoe tvo large mirrows are placed, in which the audience will be reflected ; in either of these glasses, in fact, an almost complete view of the house can be obtained, The wall has been decorated by a wall paper of a 'VQry rare and beautifnl pattern, which was obtained specially from Home delicate carmine flowers and dark green loaves on a gold ground. The picture the circle presents is really a very nice one. The old gold of the chairs, with the crimson railing as a sort of fringe to the horseshoe, backed all round by the rich dark paper, and set off by the mirrors at each end, give the circle, seen as it is in a subdued light, a very fascinating appearance. Above can be seen the largo dome, which is 39ft in diameter, divided into panels and magnificently decorated. The centre of it, I4ft in diameter, is a cast-iron grating, communicating with a very large ventilator. From the dome hang six distinct sets of gas lights, by which arrangement the unpleasantness of a glaring light is obviated. Above the dress circle, but altogether distinct from it, is the family circle. The entrance to this part of the building is by the doorway nearest Willis-street. Passing by the office in the vestibule, arranged somewhat similarly to tha dross circle, you ascend by a broad stairway to tbo regions above. The distance is considerable, but the stairway is so broad and easy of ascent, and tho landings are so large that it seems but a short joneney. The seats in this circle are made of laths of wood. In front of each row of seats is a raised partition which serves the double purpose of keeping the occupants of the rows distinct and acting as a hack to the seats in front. As in the case of the dress circle, the seating arrangements are perfect (and indeed there is not a seat in the Opera House from which a complete view of the stage may not be obtained). There is accommodation here for about 2GO persons. In this and in the dress circle hose is laid round the wall, and taps are placed very conveniently in such a position that they can be used at any moment. At each corner of the family circle there is a - door leading to a small staircase by which the management for the time being may in a few moments communicate with any part of the house. The outer entrance to the family circle is also tho entrance to the orchestral stalls. Tho passage along this part of the house is partiI tioned off from the pit by a high wall, at the extremity of which are the stalls. , The chairs hero (about 210) are of the same pattern as those in the dress circle, but are covered with crimson rep. They are ingeniously placed so that the occupants of one row will not obstruct tho view of those behind them, and the chairs ore all numbered, as they are in the circle. At the back is the pit, with seating accommodation for about 700 people. The entrance to the pit from Manners-street is from a doorway in the centre of tho front of the building along a passage Bft wide, with ticket openings ; and through largo doors actually into the pit. At each end of it, however, are large doors, to be used as fire_ escapes. Special attention has been paid to ventilation here, and there will not be any ground for complaint on, this score. The pillars supporting the dress circle are very small, and will nob interfere with the view” of the stage. Right under the footlights the orchestra is to be located. Tho members of the orchestra will enter from doors at each end, and tho floor of the box (for it is a sort of box) is lowered considerably. There are no boxes in any part of tho house.

So muoh, then, for those portions of the house set apart for the accommodation of the 1 audience. Now as regards the stage. For this, it may be said that it is one of the very best and oompleteat in the Australasias. Stretching away out to the back to a depth of 60ft, with a fall of only three inches, it has a breadth of sSft, and is fitted up with all the most modern improvements. The height from the stage to the “gridiron gallery,” is 55ft, and the total height from the cellar to the apex of thereof is 75ft. The 1 stage is fitted up with all the necessary 1 traps—technically known as 11 the quarters,” “the grave,” “the main,” “ the Corsican,” and “three sinks and a bridge,” Beneath is a concrete cellar fitted up with carpenter’s bench; &o. Upon the stage (at the rear, of course), are the two principal dressing rooms, - property room, and scene dock. Staircases lead up to ; the flies, paint rooms, &o. —the mysterious regions above. Of the theatre most theatrical. A number of dressingrooms, thoroughly furnished, are also ap* preached by the staircases. Up here are numerous contrivances, all of the latest style, connected with the working of the scenes. One of these is so arranged that, in order to facilitate the arrangements of scenes and’ shorten intervals, as the cloths tor one scene are pulled up (for the enormous amount of room available will enable the scenery to be pulled right up) another set is let down by the same motion. The decorations on the proscenium are perhaps the best in the building; and they are indeed of the very best class, and speak very highly for the ingenuity of Mr Chatfleld, on whose design they were done, and the ability of the artists engaged upon them. While the colors are quiet and even subdued, there is nothing in the shape of effect lost. On the pillars, or covings, flowers, etc., are seen in profuse variety, beautifully finished • while above, the traditional lion and unicorn “fighting for the crown," have been supplanted by a group with a strong flavor of the classical. The covings open on both sides, *by what might be called secret doors, which are at any rate so secret that only a close inspection would detect them. The object of this is that in cases of “calls” the curtain" will not have to be moved. Apropos of the curtain, the historical green has been dispensed with, and in its place is one of crimson rep and old gold tapestry, finished with dados and handsome fringes. The act drop has been painted by Mr J. S. Willis. On very rich amber and satin drapery surroundingis a view of Stratford-on-Avon, with, at the bottom corner, a bust of Shakespeare. It ; is intended to have, a very large stock of scenery for the stage, and Mr Willis, with Mr Neville Thornton, have been engaged for some time in painting it. The Opera House as a whole is, as I have said, one of the finest play-houses in the Australasias. Its seating accommodation is perfect, and so are the ventilation and lighting. If a fire scare should ever be raised there, they indeed will be excitable people who do not get ont safe and sound, for there are innumerable doors provided for egress placed in all parts of the building. To the talent and energy of Mr W. C. Chatfleld, the architect of the building, the Company is very greatly indebted; for Mr Chatfleld has been untiring in his efforts to see the work to - a successful culmination. The arrangements from top to bottom, from the "shape of the building to the nature and pattern of the decorations, are all on his design, and were done under

Ilia superintendence; and the result is a I building which both internally and extern- C ally is a credit to Mr Chatfield and to the 1 city. The decorations were carried out by e Mr Neville Thornton and Mr K. Carpenter; c and the act drop and scenery were en- ( trusted to Mr Willis, who ia assisted with < the scenery by Mr Thornton. In all eases 1 the work has been done in an eminently i satisfactory manner. The traps and stage : mechanism generally were earned out by ( Mr W. Hydor, to whom great credit is due for the' style in which he has fitted up the stage with mechanism which, it is said, cannot be excelled in the colonies. The contract for the building and the seating was let to Mr James Hanson, who has given every satisfaction. The building covers 170 ft on one side and 190 it on the other, and Is 01ft or 62ft in breadth. The number of bricks used in the wotk was about 900,000, the bricklaying having been done by Mr Harris. It may be mentioned in thie connection that the walls of the building have been built in arches, which strengthen the walls. THE OPENING. The new Opera House, recently built ou the site of the Imperial Opera House, was opened on Wednesday night by MoMahonand Leitoh’a Dramatic Company. The occasion was made a gala one, and some idea of the general interest taken may be gathered from the fact that ou Wednesday not a seat that was numbered could be obtained. As the time approached for the performance the street in front of the theatre was crowded with people. At a quarter past seven the doors were opened, and there was a rush. Tho result was that in about ten minutes the house was packed, and the people sat there ready for tho performance fully ten minutes before tbe curtain went np. Punctually at a quarter to 8 his Excellency tho Governor and his suite took their seats, the orchestra, under Herr Mosoh, playing the National Anthem as they did so. The curtain was raised presently, discovering a number of ladies and gentlemen well known as Wellington amateur vocalists, who sang the National Anthem. The curtain was lowered and raised again, and this time disclosed the members of the company, with ladies and gentlemen in evening dress. Messrs McMahon and Leitoh “ came on ” hand in hand, and Mr Leitoh, advancing a little, delivered a short speech. He had a proud and special privilege, he said, in being 1 called upon, on behalf of the Directors of tho 1 new theatre, to bid the andienoe welcome 1 to this new theatre, which he described as a 1 temple of tho drama which had grown out 1 of the good taste and appreciation of what 1 was worthy in the dramatic art. He want ‘ on to compliment the Directors and shareholders, and the architect, contractor, and [ soeuio artists for what they had done in oom- ‘ plating what was undoubtedly “the finest t ieatro in the Southern Hemisphere.” Mr ’ Leitch alluded to the drama as a oo.partner 1 with the puloit and the press, and contended s that the calling should be judged by its 1 noble, and n t by its ignoble, features. Ho ‘ spoke at some length, and concluded by speaking of the dramatic art as at times re- ' sembling a rainbow —it was a Divine bridge 1 between heaven and earth. Mr Leitoh was ■ liberally applauded during his speech. Mr * McMahon then oame forward and especially 3 thanked his Excellency the Governor for 3 having attended at great inconvenience, I (Cheers.) c The curtain came down onoe more, and 3 the orchestra began the overture. Tho 3 theatre was now full, every seat being occupied, from tho stalls in front of the orchestra 3 to the family circle away up aloft. Lit up 3 and crowded with a large audience—with 3 the gas-jets at the footlights burning, and * everything in all the pomp and circumstance 1 of theatrical glory —it presented a brilliant 1 appearance. In the stalls, pit, and dress 3 circle everything was cool and com--3 tortable; but in the family circle above 3 it was rather unpleasantly warm. But con--3 sidering that this was the first time the theatre has been used—that it had only just * been completed—everything wont marvel--3 lously well, and Mr Chatfield, the architect, " again deserves recognition of the style in } which the work has been carried out.

As the drop-act came down, disclosing a view o! Stratford-on-Avon, surrounded by blue and amber folds, and with a bust of Shakespeare below, there was first a roar of applause, and then an imperative call for Mr Willis, the artist. That gentleman duly presented himself, and Mr Chatfield and Mr N. Thornton were similarly honored. There were loud calls for the Directors, Mr Ransom© (the builder), and Mr Hyder (the stage mechanist), which were not responded to.