Grand Opera House Historic Reg.Planning Services Department
City Hall
50 West 13th Street
Dubuque, Iowa 52001-4864
(563) 589-4210 office
(563) 589-4221 fax
planning@cityofdubuque.org
May 20, 2002
The Honorable Mayor and City Council Members
City of Dubuque
City Hall-50 W. 13th Street
Dubuque, IA 52001
RE: To place the Grand Opera House (135 8th Street) on the National Register of
Historic Places
Dear Mayor and City Council Members:
The City of Dubuque Historic Preservation Commission has reviewed the above-cited
request. The application, staff report and related material are attached for your review.
Discussion
Chris Chapin-Tilton, Grand Opera House, spoke in favor of the request. She explained
that the Grand Opera House is significant at the state and local levels because of its
association with events that have made a significant contribution to the broad patterns of
history (criterion A) and its architecture (criterion C). She noted that they are planning to
amend the nomination in the future to request listing with national significance based on
the association with persons significant in our past (criterion B). There were no public
comments.
Staff reviewed the nomination, and the criteria for significance.
The Historic Preservation Commission discussed the request, noting that it meets
criteria for placement on the National Register of Historic Places. Commissioners
commended the Grand Opera House for their restoration efforts, and encouraged them
to pursue listing with a rating of national significance.
Recommendation
By a vote of 6 to 0, the Historic Preservation Commission recommends the nomination
of the Grand Opera House to the National Register of Historic Places based on criteria A
and C.
A simply majority vote is needed for the City Council to concur with the request.
Respectfully submitted,
Terry Mozena, Chairperson
Historic Preservation Commission
Attachments
CLG NATZONAL REGZSTER REVZEW
CLG Name City of Dubuaue Date of Public Meeting
Property Name The Grand Opera House, 135 8th Street, Dubuaue. Dubuaue Countv
1. For Historic Preservation Commission:
]i~ Recommendation of National Register eligibility
[] Recommendation of National Register ineligibility
Signature ~ ~~
Reason(s) for recommendation:
Date -~"-/~'-~:~-~
2. For Chief Elected Local Official:
[] Recommendation of National Register eligibility
[] Recommendation of National Register ineligibility
Signature Date
Reason(s) for recommendation:
3. Professional Evaluation Name
[] Recommendation of National Register eligibility
[] Recommendation of National Register ineligibility
Signature Date
Reason(s) for recommendation:
RETURN TO: State Historical Society of Iowa, A'i-I-N: National Register Coordinator, 600 E. Locust, Des Moines,
IA 50319
CITY OF DUBUQUE, IOWA
MEMORANDUM
May 2, 2002
TO:
FROM:
Historic Preservation Commission
Wally Wernimont, Assistant Planner
SUBJECT: National Register Nomination for the Grand Opera House at
135 8t~ Street
The State Nominations Review Committee plans to consider the Grand Opera
House at 135 8~ Street for nomination to the National Register of Historic Places
during their June 14, 2002 meeting. As a participant of the Certified Local
Government Program, the City of Dubuque is required to review and comment
on the proposed National Register nominations of properties within it jurisdiction.
The State has provided copies of the nomination, photographs, and review form
for this application.
The Commission should review this nomination at a public meeting, which is
slated for May 16, 2002. The State is requesting the Commission review the
nomination, and then comment on whether the nominated property meets the
significance criteria (A, B, C, or D) for listing on the National Register of Historic
Places. The application indicates that the property is significant under criteria A
and C.
Please review the attached documents and be prepared to recommend whether
the property in question should be listed or not.
enclosures
The Historical Division of the Department of Cultural Affairs
STATE HISTORICAL SOCIETY OF IOWA
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Wally Wernimont
City of Dubuque
Planning Service Department
City of Dubuque City Hall
50 W. 13th Street
Dubuque, IA 52001
RE: The Grand Opera House, 135 8th Street, Dubuque, Dubuque County
Dear NF. Wernimont:
The State Nominations Review Committee (SNRC) plans to consider the property
referenced above for nomination to the National Register of Historic Places during
their June 14, 2002 meeting New Historical Building, 600 E. Locust, Des Moines, in
classrooms A&B, 3rd floor West. As a participant in the Certified Local Government
Program, City of Dubuque is required to review and comment on proposed National
Register nominations of properties within its jurisdiction. The State is required to
provide you with a 60-day period for the your review, unless we mutually agree to
expedite the process. I am contacting you to ask that you initiate the review process
for the Historic Preservation Commission. Enclosed are copies of the nomination,
photographs, and the review form. The review process will require the following:
The Historic Preservation Commission should schedule a public meeting for city
officials and the public. Send a formal invitation to the City Council with a copy
of the nomination. If they are not familiar with the National Register, be sure to
include an explanation. Make sure that a copy of the nomination is available for
public review prior to the meeting. For example, leave a review copy at the
courthouse or public library. Indicate in your meeting announcement that a
review copy of the nomination is available and where the review copy can be
found.
The question to answer when reviewing the nomination is whether the nominated
property meets the National Register of Historic Places significance criteria. If the
Commission feels that the nomination makes the case for meeting significance
criteria, the Commission should check the box recommending that the property
be listed. If the Commission feels that the property does not meet the
significance criteria, then check the box recommending that the property not be
listed. The City Council should use the same approach when reviewing the
nomination.
You might want to invite the individual who prepared the nomination to attend
the public meeting and present the nomination. Keep a record of the meeting
(copy of notice, agenda, minutes, list of attendees). At the conclusion of the
meeting, the Commission should make a motion regarding their recommendation.
The Chairman of the Commission will complete Item #1, the Commission's
portion of the review form. Be sure to fill in the date of the public meeting, sign
IOWA HISTORICAL BUILDING
600 East Locust · Des Moines, Iowa 50319~0290
Phone: (515) 281-6412 · Fax: (515) 242-6498 or (515) 282-0502
www. uiowa.edu/'~shsi/index.htm
the signature line and record any comments that were made. If the Mayor
attended the public meeting, inquire if he/she is prepared to complete Item #2
on the review form.
In the event that the Mayor was unable to attend the meeting. The Commission
Chairman should forward the Review form to the Mayor for review and comment.
Have the Mayor sign the form and return them to the Historic Preservation
Commission.
Item #3 on the Review form asks for the review and comment of a preservation
professional. If your commission does not have a professionally qualified historian
or architectural historian who can complete this part of the form, you may leave
Item #3 blank and I will arrange to have a State staff member complete that part
of the form.
After you have completed Items #1 through #2 (through #3 if a preservation
professional is available), please make a copy of the completed review forms for
your file and send the original copies of the completed forms to me. The forms
need to be returned promptly so they may be processed and mailed to the State
Nominations Review Committee to be reviewed before their .~une 14, 2002
meeting.
The Commission should keep the nomination and photographs. File them
together in your inventory, as you will need the information for future reference.
If a State preservation professional was needed to complete Item #3 on the
review form, I will return a copy to the commission for filing.
If the Historic Preservation Commission and the City Council disagree with one
another on the property's National Register eligibility, both views will be presented to
SNRC for their consideration during review of the nomination. If both the Historic
Preservation Commission (by Commission majority) and the City Council do not
consider the property eligible for National Register listing, we must halt the
nomination. Be advised that when a nomination is halted, the property owner, the
person who prepared the nomination or any interested party may appeal the
decision.
Please contact Kerry McGrath at 515/281-6826 with any questions or concerns.
Sincerely,
Elizabeth Foster, State Tax Credit Program Manager/
National Register Coordinator
NPS Form 10-900 OMB No. 10024-0018
(Oct. 1990)
United States Department of the Interior
National Park Service
National Register of Historic Places
Registration Form
This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National
Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering
the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable," For functions, architectural
classification, materials and areas of significance, enter only categories and subcategories from the instructions, Place additional entries and narrative
items on continuation sheets (NPS Form 10-900a), Use a typewriter, word processor, or computer, to complete all items.
Name of Property
historic name The Grand Opera House
other names/site number Grand Theater
2. Location
street & number 135 8th Street iN/Al not for publication
city or town Dubuque iN/Al vicinity
state Iowa code IA county Dubuque code 061 zip code 5200,$-0632
3. State/Federal Agency Certification
As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this L~] nomination [
j request for determination of eligibility meets the documentation standards for registering properties in the National Register of
Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property
rx] meets [j does not meet the National Register criteria. ] recommend that this property be considered significant
L] nationally ix] statewide [~ locally. (El see continuation sheet for additional comments).
Signature of certifying official/Tide
Date
State or Federal agency and bureau
In my opinion, the property [j meets [j does not meet the National Register criteria. (bi See continuation sheet for additional
comments.)
Signature of certifying official/Title
Date
State or Federal agency and bureau
4. National Park Service Certification
[ hereby certify that the property is: Signature of the Keeper Date of Action
[J entered in the National Register.
rJ See contJnustion sheet.
El determined eligible for the
Nstiona[ Register.
[J See continuation sheet.
r_] determined not eligible for the
National Register.
[j removed from the National
Register.
L] other, (explain:)
Town Clock Building
Name of Property
5. Classification
Ownership of Property
(Check as many boxes as apply)
[ X ] private
[~ public-local
[_] public-State
[._] public-Federal
Category of Property
(Check only one box)
iX] building(s)
[_] district
L] site
L] structure
[._] object
Dubuque, Iowa
County and State
Number of Resources within ProperW
(Do not include previously listed resources in the count.)
Contributing Noncontributing
1 0 buildings
sites
structures
objects
1
Name of related multiple property listing
(Enter "N/A" if property is not part of a multiple property listing.)
Footlights in Farm Country: Iowa Opera Houses, 1835-1940
0 Total
Number of contributing resources previously listed
in the National Register
0
6. Function or Use
Historic Funcdons
(Enter categories from instructions)
Recreation and Culture/music facility
Recreation and Culture/theater
Current Functions
(Enter categories from instructions)
Recreation and Culture/theater
7. Description
Architectural Classification
(Enter categories from instructions)
Late Victorian/Romanesque/Richardsonian Romanesque
lqa~erials
(Enter categories from instructions)
foundation stone
walls brick
roof stone/slate
other
Narrative Description
(Describe the historic and current condition of the property on one or more continuation sheets.)
Grand Opera House
Name of Property
8. Statement of Significance
Applicable National Register Criteria
(Mark "x" in one or more boxes for the criteria qualifying the property
for National Register listing.)
Property is associated with events that have made
a significant contribution to the broad patterns of
our history.
b]B Property is associated with the lives of persons
significant in our past,
Property embodies the distinctive characteristics
of a type, period, or method of construction or
represents the work of a master, or possesses
high artistic values, or represents a significant and
distinguishable entity whose components lack
individual distinction,
El D Property has yielded, or is likely to yield,
information important in prehistory or history.
Dubuque, Iowa
County and State
Areas of Significance
(Enter categories from instructions)
Entertainment/Recreation
Architecture.
Period of Significance
1890-1952
Criteria Considerations
(Mark "x" in all the boxes that apply.)
Property is:
Significant Dates
1890__
L] A owned by a religious institution or used for
religious purposes.
L]B removed from its original location.
L] C a birthplace or grave.
[_] D a cemetery.
L]E a reconstructed building, object, or structure.
Significant Person
(Complete if Criterion B is marked above)
N/A__
Cukural Affiliation
N/A
commemorative property.
less than 50 years of age or achieved significance
within the past 50 years.
Narrative Statement of Significance
(Explain the significance of the property on one or more continuation sheets.)
Archkect/Builder
Edbrooke, Willoughby J,
Burnham, Franklin P.
L] preliminary determination of individual listing
(36 CFR 67) has been requested
L] previously listed in the National Register
b] previously determined eligible by the National
Register
El designated a National Historic Landmark
ri recorded by Historic American Buildings Survey
#
[_] recorded by Historic American Engineering
Record #
[ X ] State Historic Preservation Office
El Other State agency
L.] Federal agency
L] Local government
ILl University
El Other
Name of repository:
9. Major Bibliographical Reference~
Bibliography
(Cite the books, articles, and other sources used in preparing this form on one or more continuation sheets.)
Previous documentation on file (lqPS): Primary location of additional data:
Grand Opera House Dubuque, Iow~
Name of Property County and State
10. Geographical Data
Acreage of Property less than one acre
UTIq References
(Place additional UTM references on a continuation sheet.)
1 [15] [61911181210! [4]7]0]7]9]0]0]
Zone Easting Northing
3[ ] ] [ ] ] ] ] ] ] [ ] ] ] ] ] ]
Verbal Boundary Description
(Describe the boundaries of the property on a continuation sheet.)
Boundary Justification
(Explain why the boundaries were selected on a continuation sheet.)
2[]][]]]]]][]]]]]]1
Zone Easting Northing
4[]][]]1111111]]]]!
~ See continuation sheet
Form Prepared By
name/title James E. Jacobsen
organization
street & number 4411 In,qersoll Avenue
city or town Des Moines
Additional Documentation
Submit the following items with the complete form:
Continuation Sheets
date March 3, 2002
telephone 515-274-325
state IA zip code 50312
History Pays! Historic Preservation Consult nq F rm
~laps
A USGS map (7.5 or 15 minute series) indicating the property's location.
A Sketch map for historic districts and properties having large acreage or numerous resources.
Photographs
Representative black and white photographs of the property.
Additional items
(Check with the SHPO or FPO for any additional items)
Property Owner
(Complete this item at the request of SHPO or FPO.)
name The Grand Qpera House Company
street & number 135 West 8th Street, P.O. Box 632 telephone (563) 588-4356
city or town Dubuque state Iowa zip code 52004-0632
Paperwork Redoctiou Act Statement: This information is being collected for applications to the National Register of Historic Places to nominate
properties for listing or determine eligibility for listing, to list properties, and to amend existing listings. Response to this request is required to obtain a
benefit in accordance with the National Historic Preservation Act, as amended (16 U.S.C. 470 et seq.).
Estimated Bmcde~ Statement: Public reporting burden for this form is estimated to average 18.1 hours per response including time for reviewing
instructions, gathering and maintaining data, and completing and reviewing the form. Direct comments regarding this burden estimate or any aspect of
this form to the Chief, Administrative Services Division, National Park Service, P.O. Box 37127, Washington, DC 20013-7127; and the Office of
Management and Budget, Paperwork Reductions Projects (1024-0018), Washington, DC 20503
United States Department of the Interior
National Park Service
National Register of Historic Places
Continuation Sheet
Section number 7
Page I
Grand Opera House/Theater
Dubuque County, Iowa
7. Narrative Description:
Descriptive Summary:
The Grand Opera House is located in downtown Dubuque, towards the center of the downtown proper. Main
Street, formerly the principal street and presently closed off partly as a pedestrian mall, is half a block to the west.
The county courthouse, built just two years after the Grand, is several blocks to the southeast. Figure 35 depicts the
relationship of the building to the tallest downtown buildings, all of which clustered along Main between 8th and 9th
streets. East of the theater there was just one contiguous building, the two-story corner saloon. To the north was a
string of frame residences, a duplex and another building that was long used as auxiliary dressing rooms by the opera
house company. Visible at the far left, also on Main Street, is the Town Clock Building with its distinctive tower and
clock.
The Grand Opera House is an early substantial example of the Richardsonian Romanesque style in Dubuque.
It is possible that the Grand was the second example of this style in the downtown, the first being the Rider-Wallis
Building. The Grand is a relatively early example of the style in Dubuque, the onset of the style being in the very late
1880s. In its massing it miruics an armory of its tkme period, and it deviates from the stylistic norm in its combination
of a Second Empire mansard attic front, which is a common feature found in Dubuque commercial and vernacular
architecture. The fagade overlays the classical base, column and capital in its fenestration pattern, all applied to a
broad, shallow gabled pavilion basic form. Twin armory towers with steeply pitched pyramid roofs and finials define
the sides of the pavilion. Narrow flanking side stair towers complete the faCade composition. The fagade, while
decorative in its stone inlay work and carvings, is surprisingly Spartan overall. The brickwork and stone foundation
are purposely unified by means of a smooth finish and blended narrow mortar joints. The features of the faCade are
not carried over to either side wall. The building stands five stories in height and measures 70x128.
The opera house interior has necessarily been repeatedly and thoroughly remodeled over time. Still much of
the original theater interior survives unscathed. This is generally tree of the out-of-the way non-public recesses of the
theater. The side stairway retain their original surfaces, the walls are still unpainted since they were plastered up in
1890. Larger rooms including the rehearsal hall (fourth floor) and attic storage area (fifth floor or attic) are equally
well preserved. The lobby stairways curiously retain their Queen Anne trim work and remain in their original
locations. Most importantly, the basic form of the auditorium and the first balcony survive as do the dimensions of
Dubuque's largest stage. Two cast iron columns pass upwards from the basement to the attic. Bulges at the third
floor level denote the location of the second balcony, now long removed.
Multiple Property Statewide Contextual Association:
The multiple property documentation form "Footlights in Farm Country: Iowa Opera Houses, 1835-1940"
defines the opera house as a potentially National Register of Historic Places eligible property type and defines
integrity requirements for that type. Under Criterion A an eligible opera house must retain "their historic location,
setting, and enough of their historic appearance to recall the feeling and association of the period in which they served
as an opera house." The Grand retains these three integrity measures. Under Criterion C, no similar hst is defined,
United States Department of the Interior
National Park Service
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Continuation Sheet
Section number 7
Page 2
Grand Opera House/Theater Dubuque County, Iowa
but the nature of the resource mandates the preservation of interior character defining features in addition to the "basic
historic [exterior] appearance. An eligible opera house ideally retains in the same order of relative importance;
"an opera hall, dressing rooms, and box seats. As the most important feature in the hall, the stage
should be present but if it is not, at least its footprint and the outline of the proscenium wall or arch
should be visible. Like the general utility hall, the historic entrance (including stairway if it had one) to
that part of the building occupied by the opera hall should be present, and the auditorium should be
visible in plan."
Figure 1: Fagade view, from the southeast (photo by James Jacobsen, August 2001)
The Grand Opera House retains all of these elements save for its box seats. Consequently if fulfills the integrity
requirements of the statewide context. While the context offers no set de£mition for ~vhat an opera house is, it
establishes three phases of opera house development in the state. Phase 1I opera houses (generally post-dating 1870)
were buildings "specifically designed for [live] performances" in contrast to a multi-use hall, and could present a
theatrical company with as many as two dozen members. Phase III opera houses are defined bv a much greater scale
in terms of production size, rather than a chronological time period. Only the largest cities cot~ld evcm attempt to
achieve this level. The context notes that Dubuque's earlier major theaters (the Julien, c.1854) were sufficiently
ornate and large enough to represent a Phase III opera house. Clearly the Grand, with its cmormous scale and stage
capacity, represents an excellent example of a Phase 1II opera house, arguably one of just a few surviving examples in
the state. Theater historians Glenn and Poole take issue with the typology utilized in the multiple property document,
United States Department of the Interior
National Park Service
National Register of Historic Places
Continuation Sheet
Section number 7
Page 3
Grand Opera House/Theater Dubuque County, Iowa
particularly because no distinction is made between "grand opera houses" and opera houses, an important distinction
in their opinion. The Grand, is as the name implies, a grand opera house (Cunning, pp. E-3 to E-7, E-46 to E-48).
Exterior Description:
The Richardsonian Romanesque style was nationally popular between 1888 and 1900, and the Grand dates to
the onset of that national appreciation. The hallmark of the Romanesque style is the use of massive combined stone
and brick exteriors, with arcades of heavy massive, semi-circular stone arches arrayed across the ground level of the
facade, and lesser arcades appearing higher up in the design. Commonly a th-partite division breaks the faCade design
into the components of the classical column, the base, column and capital. This arrangement is employed in the
Grand.
The fagade design employs a broad shallow pavilion that is capped with a gable front dormer. Twin narrow
side towers with pyramid roof caps define the sides of the pavilion. Twin slit window openings are cut into the
brickwork just below each roof cap, adding to the sense that the design is that of a castle or armory. On either side,
plain stair tower extensions complete the plan. These are plainly executed save for ornate single door entryways.
Each entryway has a full stone surround and half-length sets of triple stone colonettes with carved stone blocks and
caps. The doors are capped with a broad stone jack arch and a thinner rusticated sill lhae beltcourse set below the
square transom opening, which tops each entry. There are full-length windows set between the second and third floor
levels, and a half window at the fourth floor level.
The pavilion faCade has a triple-arch Richardsonian arcade of brick arches, which are set on raised stone piers
and capped with carved cushion capitals. Semi-circular stone surrounds trace the arches. A broad ashlar stone belt
course separates the lower two floors and runs just below the windowsill line of the second stoW. An interesting
feature of the faCade in general is the uniformly smooth and uninterrupted flow of both the brick and stonework.
Edges in the brick~vork are soflened by the use of quarter round brick. The intent of the designer was to contrast
decorative elements with a monolithic front comprised of red brick (St. Louis pressed brick) and reddish stone
(Bayfield Red Limestone, red sandstone), and red-tinted mortar. While the design is significant, that significance is
not predicated on the ornate detailing of the Grand. In fact the overall design is purposefully understated. When the
building was just completed the local newspaper the Herald was less than fully impressed when it observed, "It is a
noble looking structure, although somewhat plain in its trimmings. It is a monument of local enterprise and is a grand
representative of the lively city of Dubuque" (Herald, August 15, 1890).
The second and third floor fronts are merged by the architect's use of continuous window openings across the
two levels (Figure 2). A second arcade of brick semi-circular arches tops these openings and each arch is of the same
width and is set directly above its ground level counterpart. The use of solid limestone panels divides the windows in
half. These bear the projecting lettering "GRAND OPERA HOUSE" across the three panels. There are two
projecting bays at each side of the second floor which add a horizontal emphasis to the second floor level. Otherwise,
the deeply recessed two-story window openings dominate. Sets of eight rubbed brick colonettes flank each of the
window openings at the third floor level.
United States Department of the Interior
National Park Service
National Register of Historic Places
Continuation Sheet
Section number 7
Grand Opera House/Theater
Page 4
Dubuque County, Iowa
Figure 2: Facade detail (photo by James Jacobsen, August 2001)
Note the nearly invisible arches at this level.
Figure 3: Facade detail (photo by James Jacobsen, August 2001)
The capital component of the facade design (Figure 3) consists of a row of nine small windows, which are
centered beneath a Paladian-like half-round window and dated capstone. The windows have an ashlar stone lintel
beltcourse and a thicker ashlar stone lintel level. Brick colonette sets, of three or two colonettes flank the upper sashes
of these windows. The outcn-most sets contain three colonettes. The heavy Richardsonian arch (eight robbed brick
rowlock courses) that encloses the Paladian opening springs from two broader support piers which are set within the
row of windows. Each pier has a set of four colonettes. Each colonette set is capped with a rusticated cushion capital
that is banded at base and cap. The gabled dormer surmounts the Paladian design. Ashlar stone beltcourses cross the
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National Park Service
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Grand Opera Home/Theater Dubuque County, Iowa
gable at the top of the keystone and trace out the gable angles. The Paladian window itself, newly restored, employs
four intersecting circles set with/n a larger one, forming a quatrefoil opcming.
The attic front employs a side gable form and a mansard-like roof form. The slate roof has just been restored.
The roofline is not otherwise ornamented. The sidewalls st,p up slightly above the roof plane level. There is a stone
finial on the gabled dormer.
In some ways the Grand Opera House deviates from the Richardsonian norm. There is no tower or turret per
se, apart fi:om the square cut towers, which are subordinated to the overall massing. The overall design is symmetrical
rather than asymmetrical as is the norm for the style. In the case of the Grand, the design was driven by the need to
maximize the interior space and particularly the leased offices and storefi:onts in the front of the plan. Consequently,
the faqade is starkly vertical and is pushed out to the sidewalk on the lot. The entire facade is perfectly balanced in its
fenestration, and the fagade is monolithic, lacking recesses. The original plan had a recessed open foyer and the
ground level arches were open, but this was the only deference to the style. The Grand lacks the expected hip roof
form although it is probable that the kip roof was more associated with Romanesque residential designs. The
alleyway location of the building afforded an opportunity to feature comer turrets or the like, but the architect did not
take advantage of the opportunity. The opera house company also eliminated a proposed wrap-around continuation of
the facade stonework and brickwork, in order to reduce building costs (McAlester, pp. 300-07).
Figures 4 and 5: Left, east sidewall, Right back or north wall (photos by James Jacobsen, August 2001)
United States Department of the Interior
National Park Service
National Register of Historic Places
Cominuation Sheet
Section number 7
Page 6
Grand Opera House/Theater
The Side and Rear Elevations:
Dubuque County, Iowa
The east sidewall (Figure 4) was executed as a party wall. There is just one small window at the fourth floor
level, which lights the stairway. Three full-height in wall chimneys project from the wall plane in the south half of the
wall. The profile of the fiont Mansard attic and rear fly gallery penthouse can be readily seen. This sidewall was
erected separately from any adjoining building.
The rear wall has more fenestration (Figure 5). There is a raised ashlar stone foundation and a single door in
the northeast comer. It is probable that this door led to a frame scenery storage shed that was north of the theater, set
against this wall. There are two full-height windows with segmental brick arches and double-hung sash (4/4 lights).
The special feature (Figures 6, 8) is the two scenery/drop doors, which are paired on either side of the northwest rear
comer. The taller door exits to the alley and served the larger drops, which were slid into the back stage and hoisted
into the fly gallery. Three third floor windows (4/4 lights) hght the base of the fly gallery at the third floor level on the
rear wall.
Figure 6 and 7: Left, west side wall, view to south, Right, same, view to north
(photos by James Jacobsen, August 2001)
The alleyway west sidewall is more fully fenestrated (Figures 6 and 7). The main building chimney projects
fiom the wall and it forms the southwest comer of the fly gallery. Windows and the drop entry door light the stage
and fly gallery on the ground, first and second floor levels. In the middle of the auditorium fenestration accounts for
rows of doors and windows on the ground, first and second balcony levels, and the attic level. A cast iron fire escape
exits from the first balcony level. All of these openings have stone lintels and segmental brick arches and all
United States Department of the Interior
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Grand Opera House/Tt~eater
Dubuque County, Iowa
originally featured iron fire shutters (all removed, hinges survive). The stairwell in the southwest comer of the plan
has single c~ntered windows on the ground level and between floors on the land'mg levels. There are two small
windows at the attic level. There are also three 4/4 north side windows and a door set along the north side of the attic
level. There is a single door set into the south wall of the rooftop fly gallery penthouse.
Figure 8: Special stage doors for drops and scenery
(photo by James Jacobsen, August 2001)
All of these elevations are laid up with locally produced common brick. The foundation, which is exposed
toward the rear of the plan, is of local yellow colored limestone.
General Plan Comments:
The overall plan measures 128x70. Along the alley, a well room and furnace room intrude beyond the
foundation and into the alleyway. A series of chambers also projects beneath the front sidewalk (Figure 9). WitlYm
the plan there is a stone-bearing wall that supports the wall that divides the entry and main foyers. A row of
substantial brick columns supports the curved north wall of the foyer. Two primary cast iron columns pass from the
basement to the attic floor level. These support the surviving balcony and originally supported the second balcony
(non-extant) as well.
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Figure 9: Basement plan, c.1970 (scale 1/8''= 1 '0")
Interior La/out and Description:
Figure 9 depicts the basement layout. The "Green Room" was long used as a dressing room. The letter "D's"
locate two later dressing rooms. Grayed lines locate load-beating walls. Black circles locate the heavy timber
colunms which support the auditorium floor. The closely spaced semi-circular columns identify the former recessed
orchestra pit. This area was raised up in the 1930 renovation. Stairways lead to the main floor from the bathrooms
and fi:om either side of the stage basement.
Figure 10 (below) depicts one of a number of heavy brick piers which support the inner curved wall of the
foyer. Heavy timber beams rest on these supports. The same image also shows the round vent holes in the floor of the
basement ceiling. Floor plugs have covered up the location of vents in the floor of the auditorium, beneath the
balcony. A passive air ventilation system drew air down through fl~ese holes into an air cleaner/air pump system set
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beneath the back stage. Figure 11 shows a cast iron floor support, the venting system and the stone wall that supports
the wall that divides the auditorium/foyer from the front of the plan. Figure 12 shows the door that leads into the air
handling system.
Figure 10: Principal brick support column, basement, note metal ceiling vent
(photo by James Jacobsen, August 2001)
Figure 11: Cast iron basement column, stone interior wall, ceiling vent system
(photo by James Jacobsen, August 2001)
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Figure 12: Ventilation unit beneath stage, view to east (photo by James Jacobsen, August 2001)
First Floor Description and Plan:.
Figure 13 depicts the main floor plan. The ramarkable feature of this plan is the absence of a large lobby.
There is a narrow, curved foyer that is quite small in size and there is a centered entrance lobby. Originally, this
entrance lobby was all the smaller and was possibly directly integrated into the foyer (note the absence of a bearing
wall between the foyer door sets). The areas to the sides of the entrance lobby were leased storefronts and were not
used for theater purposes (that to the west is labeled "the pompador." The plan locates the non-extant late 1960s
concession stand. The ticket office is the current concession stand (Figure 16). The balcony levels were served with
their own small lobbies, and this might explain why the ground floor lobby/foyer area was so meager. It was also in
the interest of the theatre management to rmmrmze lobby volume and maxlrmze seating and leased spaces
Stairways lead upstairs fi:om each of the exterior front side entrances (Figures 14-15). The west staircase is
broader and was likely primary in function, being used to access upper level offices. The basc~ment level toilet room
stairs also come up in line with these ascending stairs. In the foyer, matching staircases nm east and west, turn at the
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sidewalls and continue north to the balcony level. There are four auditorium aisles, the outermost of which lead to the
stage via short runs of side stairs. Two cast iron columns, darkened, support the balcony above. There are three west
exits, one from the stage area, and two from the auditorium proper. Basement stairs rise to the stage on either side.
Figure 13: First Floor plan, c.1970 (scale 1/8" = 1'0")
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Figures 14 and 15: Left, stairway detail, Right, lobby viewed to east from atop stairway
(photos by James Jacobsen, August 2001)
Figure 16: c.1960s foyer concession stand, note botanical motif on walls
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Figure 17: World War II (1943) foyer displays, note Art Deco wall treatments, "Dogs for Defense"
Figure 17 shows the Art Deco motif added to the entrance lobby in 1930. Multi-paneled Colonial style doors
separated the lobby and foyer areas. There is now a double door in the wall shown in this image, connecting the lobby
and former storeffont area to the west.
The Stage:
Figure 18: Historic stage and orchestra pit photo, undated.
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Figure 19: 1930s stage remodeling
Figure 20: Current stage appearance
Figures 18-20 depict the evolution of the stage area. Figure 18 depicts the sheer scale, particularly the depth of
the stage. Figure 19 shows the stage and sidewalls after the 1930 conversion of the theater to moving pictures. Note
the balcony balustrade, now replaced by a solid metal front. The angled sidewalls, which flank the stage front,
originally housed twin boxes, and it is possible that the wall decoration dates back to the original construction. With
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fill conversion, this area contained the sound system. Figure 20 is a current photo. The stage appears smaller but
this is due to the camera angle. The sidewalls are also distorted, the arched openings remain bom the 1930
reworking.
The stage dimensions were as follows:
Proscenium Opening, 35 feet wide, 25 feet high
Footlights to Back Wall, 32 feet
Footlights to Curtain, 2 feet
Height to Fly Galleries, 22 feet in clear
Distance between sidewalls, 70 feet
Distance between Fly Galleries, 46.5 feet
Distance to rigging loft, 70 feet
Distance to Fly Girders, 65 feet
Distance between Fly Girders, 40 feet
Sets of lines, 60
This was Dubuque's largest stage, and it survives with these dimensions. The stage was notable for its extensive
depth as well as its width and height.
Second Floor Description and Plan:
On this level (Figure 22) there originally were three leased office spaces, the two to the west having been
combined. The load-bearing wall that separates the auditorium and the front of the plan continues through this level,
and there is a centered doorway between the balcony and the central office area. Note that there is no provision for a
lobby on this level, the balcony is backed up to the internal support wall. The comer stairs serviced only this balcony,
the second balcony having its own egress. In the present plan, doors exit to both front stair halls south from the
landing of the lobby stairs. There is a ticket cage at the east stair landing on this level, an indication that patrons
heading to the second balcony likely entered using the ground level door on that side of the plan (Figure 22).
Third Floor Description and Plan:
This level (Figure 25) originally contained theater offices and a small lobby/lounge for the second balcony.
The main comer stairs primarily serviced the patrons of this highest balcony. Today two projection rooms, a larger
west room and a smaller east room, have replaced the original layout. There is a hallway that runs south of these
rooms, and the third floor windows front on this hallway. The projection rooms are self-contained with frame
fireproofed walls due to the combustible nature of early movie film.
Two cast iron columns (darkened, Figure 23) still in place, with cross bracing to the south interior support
~vall, supported the third balcony. No plan for this balcony has been found and its seating capacity is undetermined.
Figure 24 depicts the 1930 seating arrangement and the first balcony. There are sealed windows on the west sidewall
and an exit door, which serviced this level.
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Fly Gallery
Figure 21: Second Floor plan, c.1970 (scale t/8" = 1'0")
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Figure 22: East stairway, balcony level, note ticket window in door
(photos by James Jacobsen, August 2001)
Figure 23: Balcony level and colunm supports for second balcony
(photos by James Jacobsen, August 2001)
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Figure 24: Undated auditorium and balcony plan
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Upl~.r
A/~clitorimrt
SPaOe
Figure 25: Third Floor plan (scale 1/8" = 1'0"
Fourth Floor Description and Plan:
This level (Figure 26) indicates that the front of the plan is infilled by a single large rehearsal hall and two
square comer storage areas. This was a leased space originally and likely was only rarely used by the theater. The
comer staircases change their configuration above this level, adopting a narrower four-sided arrangement with an open
stairwell. The east staircase ends at this floor level. Figure 27 depicts the stairs above tiffs level. The stairs retain
their original varnish and the walls remain unfinished with bare plaster. Figure 28 shows the south wall of the hall,
with the newly restored Paladian window and window row beneath it. Note that the base of the attic Mansard roof
partly intrudes into the headroom of the hall.
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A raised small wall hatch in the northwest comer of the hall leads to the attic level north above the auditorium.
Inside the attic are three massive composite timber and iron support trusses (Warren truss) which support both the
auditorium floor and the roof. The auditorium roof has a hip form. Originally there was a large gas lighted central
glass ceiling light or dome that was centered on the auditorium ceiling. The raised base (Figure 31) from which the
dome was suspended survives. The fly gallery brick wall closes off the attic level to thc north (Figure 30).
Figure 26: Fourth Floor plan (scale 1/8" = 1'0'"
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Figure 27: Fourth floor stairway to attic storage room, note wainscot and unpainted plastered walls
(photos by James Jacobsen, August 2001)
Figure 28: Rehearsal room, view to southeast
(photos by James Jacobsen, August 2001)
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Figures 29 and 30: Left, attic tress juncture with west sidewall, note the angled auditorium ceiling below
Right, three attic trusses, note mortise cuts and steel compression bars, view north
(photos by James Jacobsen, August 2001)
Figure 31: "104 Gas Jet Burner" Chandelier suspension base, cross-bracing, auditorium attic, view east
(photos by James Jacobsen, August 2001)
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Figures 32 and 33: Left, north truss, note the angled auditorium ceiling below,
Right, cross bracing between trusses, view southeast
(photos by James Jacobsen, August 2001)
Fifth Floor Description and Plan:
The uppermost floor (FigUre 34) comprises the Fly Gallery penthouse and the attic storage room in the front of
the plan, and the intervening rooftop. Single doors allow egress between these tw° rooftop structures. There is a
raised sidewall.
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Attic
Figure 34: Fifth Floor plan (scale i/8" = 1 '0")
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Figure 35:c.1912 bird's eye view to northwest (photo taken fi:om the courthouse roof)
Note the penthouse atop the Fly Gallery
Figure 35 shows the Grand in its more or less contemporary setting, viewed to the northeast. The Iowa Street
properties beginning at 8th Street were an insurance (later a bank) building, a duplex, row houses (later Liccardi
Gallery) and the city's fire headquarters.
Physical Changes Since Construction:
Significant changes to the Grand are listed in chronological order:
1889-90:
1894:
1901:
1904:
Original construction, porte cochere added late in planning process, delete alley side stonework
ornamentation "save for returns," abandon plan for separate heating plant
$1,342 in unspecified improvements
Interior remodeling, $1,421 expended
$3,915 in unspecified improvements
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1905
1906
1907
1908
1910
1915:
1916:
1917:
1918:
1930:
$1,106 in unspecified improvements, buy comer lot to east
dress rehearsal changes $1,513, other changes $1,029, adjacent frame residence acquired as dressing
room.
fire escape $389, repairs $307, boiler replacement or expansion $1,510, other $513
Two story saloon built on comer to east, replacing billboard lot
new scenery and improvements, $3,061, north side storage shed present by this year
$1,760 in unspecified improvements, films first shown, being advertised by a placard hung from the
porte cochere.
second year of motion pictures, equipment $1,755, wiring for building $558
$415 in unspecified improvements
$969 in unspecified improvements
interior completely remodeled, orchestra pit filled in, second balcony removed, stage straightened
ventilation system installed, new marquee, basement bathrooms added? Art Deco interior in entrance
lobby enlarged and entrance doors infilled.
1950s:
1959:
1961:
1960:
1962:
1964:
1967:
Figure 36:c.1970 aerial view to northeast
Floral wall dfcor in entrance lobby and foyer
Building at 855-57 Iowa to east demolished for parking lot.
replacement sewer line
1930's marquee reconfigured with new lettering and new light system by Larry Weitz Sign System.
west wall reinforced with injected cement grout, curved screen rebuilt, new carpet
facade covered with enameled metal panel front, new marquee or old one remodeled, second level
added
new concession stand in entrance lobby, new seats on ground level
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1968:
1988:
1997:
1998-2001
2002+
Dubuque County, Iowa
sell comer lot to east to City of Dnbuque, balcony floor re-laid, reseated and carpeted.
Beginning of restoration efforts on a small basis,
Removal of marquee, facade and roof repair
The porcelain enamel paneling, which covered much of the facade, was removed. The building gained
a new slate roof, guttering, downspouts, coping and flashing. The masomy and stonework was cleaned
and repointed (Phase I).
Public entrances restoration. Lobby, foyer, stage and fly-space restoration (all Phase 1I). Auditorium,
rehearsal halt and offices restoration (Phase m).
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8. Significance Statement:
Si~mificance Summary:
The Grand Opera House is Dubuque's only surviving opera house and it boasts the largest stage ever built in
that city. For 30 years the Grand served the "carriage trade," offering the best of legitimate theater to the city and
surrounding region. The Grand is architecturally significant (Criterion C) because it represents a well-preserved
example of the Richardsonian Romanesque style, arguably the fzrst true example of that style in Dubuque. The Grand
is historically significant (Entertainment/Recreation, Criterion A) on the basis of its long time direct association with
the legitimate theater in Dubuque and the scale and quality of the shows which city residents were able to enjoy.
Dubuque enjoyed an exceptionally fortunate position vis-a-vis the legitimate theater and was the only city of its size to
be so favored, with the best traveling companies visiting the city as they used it as a key railroad hub to reach major
cities to the north, west and south. The Grand was significant throughout its live stage history, which lasted from
1890 until 1928. Finally the Grand represents a fortuitous cultural and historic preservation success in Dubuque. A
landmark building in Dubuque was saved and is well along in the process of restoration. The historic building, its
maturing cultural program, and its ramarkable and unparalleled surviving historical documentation (opera house
minutes, scrapbooks, play bills) combine to make the Grand Opera House a state and regional treasure. While the
building is locally significant, it is probable that future research will prove the building to be of state and regional
significance based on its architecture and theatrical history.
The Grand is but one of a handful of surviving Phase 121I opera houses in Iowa, as defined by the statewide
opera house context, and appears to be one of the earliest examples of its type. The registration requirements of that
context allow for Criterion A significance "if they are particularly associated with the culture and social history of a
town, a specific phase of theater history in Iowa or the region, or an Iowa-based troupe or resident stock company."
An opera house is significant under Criterion C if the represent
"the work of a master...who were well known for the design and construction of opera houses in the
state...Additionally, opera houses embodying distinctive characteristics of a period may be eligible.
Two possibilities might be a rare survivor from an early period of theater construction, or a theater
structure that represents the first or only expression in Iowa of a particular style."
The Grand Opera House embodies the high point of Dubuque's sustained effort to realize the ultimate (Phase 1]/)
quality of live stage entertainment and as such, directly reflects that city's continuing development is one ora few
examples of Iowa's best live stage involvements. The architectural reputation of the fm'n of Edbrooke & Burnham
transcends a state level of significance and represents an Iowa effort to find the best national talent in modem theater
design of the times. Finally the Grand is by default a rare survivor by virtue of its early age and it represents an early
and pivotal example of the growing popularity of the Richardsonian Romanesque style in Iowa. The Grand
consequently meets the registration requirements of the statewide opera house context (Curming, pp. F-46 to F-49).
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Architectural Significance:
Architect Willoughby J. Edbrooke was a nationally known designer. Just two of his designs were built in Iowa
and the Grand Opera House is the only surviving example of his work in the state. Edbrooke was in partnership with
Franklin P. Burnham and it was their partnership that was recorded in the Grand's board minutes. Edbrooke was the
more prominent member of the firm and it is assumed that he performed the design work in this instance. Edbrooke
designed just two grand opera houses and the designs are very similar, another indication that the Grand's design was
an apparent reuse, albeit with a Romanesque tweaking, of Denver's Tabor Opera House.t
Figure 37: T~bor Block (left) and Grand Opera House (right), 1880 (courtesy, Denver Public Library)
The Grand was designed by the Chicago architectural firm of Edbrooke & Burnham. Willoughby J. Edbrooke
(1843-1896) was one of two architect sons of Robert J. Edbrooke, a farmer turned contractor. W. J. Edbrooke began
his architectural trade in Chicago in 1868. His early career is not documented but he partnered with brother Frank E.
Edbrooke (1840-1921) as of the late 1870s when W. J. Edbrooke was commissioned by Denver industrialist Horace
A. W. Tabor to design the Tabor Block ("neo-grec mode," 1879-80) and the Tabor Opera House ("neo-Grec/High
Victorian Gothic," 1879-82). The architectural combination was judged the first substantial designs in the city. The
opera house is claimed at the time to be "the finest building for theater purposes in the country." Frank Edbrooke
supervised construction and remained in Denver, where he was deemed that city's "most notable nineteenth-century
architec." All sources however credit the Tabor design to Edbrooke, but the Denver Tribune (September 3, 1881)
identified the architects as "W. J. Edbrooke and F. P. Burnham" and it further states "Mr. Edbrooke has been on the
~ Stage historian Mary Henderson notes that nationally there was just one architectural firm that exclusively designed theaters and succeeded,
John B. McElfalrict & Sons, which designed 228 theaters between 1855 and 1922 (Henderson, p. 489).
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scene of contruction of the building almost daily since the frrst stone was laid" (so much for the claimed role of his
brother) (Pearson, p. 287; Young, p. 113).
Note the striking similarities in design between the Tabor (non extant) and Grand opera houses, despite a ten-
year separation in their designs. These are the only know Willoughby opera house designs so that might account for
the substantial reuse of elements. Note the use of separate hip roof corner turrets on the main tower roof base.
Willoughby Edbrooke was called back east to design the gold domed Administrative Building on the Notre
Dame campus (1879). This massive complex had to be replaced in just four months so that it would be ready for the
fall school term. This commission appears to have awarded Edbrooke some considerable renown. By 1885 he was in
partnership with another Chicago architect, Franklin P. Burnham (?~1909). Burnham is a virtual unknown in terms of
architect's biographies and he is no relation to Daniel Hudson Burnham of Burnham & Root fame. The partners
designed the Georgia State Capitol building (1884-1889), a massive Neo-Classical design which gave the designers
public reknown. As is often the case, it is difficult to separate out the partners relative to specific designs. The
parmers were officed in Chicago. Known joint designs in that city are limited to a half dozen residences.
Figure 38:2148-2154 W. Bowler Street, Chicago, Edbrooke & Burhnam, 1882
(Sinkevitch, p. 278)
Alice Sinkevitch cites their Romanesque designs as tending toward the "smooth light touch" rather than the heavy
rusticated one. The earliest of these commissions was dated to 1877 and Marjorie dates these from the late 1870s
through 1891. Major commissions included two Kansas City, Missouri, churches (Leavitt Street Congregational,
1882, and the Calvary Baptist Church, 1888), Kane County Courthouse (1891) in Geneva, Illinois. The
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Figure 39: Kane County Courthouse (1892), Romanesque Revival style
partners were named architects for the Kenilworth Company, the suburban developers of Kenilworth, Illinois, north of
Chicago. Their designs included the Kenilworth depot (1891) and a number of substantial houses. A later and quite
notable Chicago commission was the Mecca Apartments (1891-92), a design that incorporated a glass-covered interior
courtyard and balconies in an apartment block (Pearson, p. 287, Sinkevitch, pp. 166, 277-78, 341).
Figure 40: Post Office Building, Washington, D.C., Pennsylvania Avenue, (1891-99)
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Edbrooke was individually appointed Superintendent of Construction for the City of Chicago (1887-89) and
supervised the construction of about a dozen school buildings. His most prestigious appointment was that of
Supervising Architect of the U. S. Treasury (April 1891-April 1893).2 His apparently short tenure was twice that of
those who preceded or followed him in the office and he would supervise over 40 major building projects. The list
included combination post offices and court buildings in Omaha (1891), Dallas (1891-92), Milwaukee (1892-96),
Wilmington, Delaware (1892), Kansas City, Missouri, (1892) and St. Paul (1892-99). Like his Grand Opera House
design, his Romanesque or Renaissance Revival designs tended to combine towers and prominent roof profiles. His
most criticized design was the Post Office in Washington, D.C. (1891-99), which one Senator suggested, the designer
had confused with a cotton mill. What is now called the "Old Post Office Building" was Washington's £ncst
skyscraper given its massive 315-feet tall clock tower. The massive building wasn't finished until 1899, three years
after Edbrooke's death (Pearson, p. 387)
Edbrooke designed and supervised the construction of eight of the most prominent buildings at the World's
Columbian Exposition of 1893. is solely credited with a tremendous number of major designs at the sanae time he
designed the Grand Opera House. Edbrooke was the sole designer of two additional Notre Dame campus buildings
(1883-86 and 1889-90). The Edbrooke-Burham partnership continued through at least 1892.
Figure 41: United States Courthouse and Post Office, Sioux City (1892) (largely demolished)
2 One source dates Edbrooke's Supervising Architect term to 1895! The New York Times reported his appointment on April 14, 1891 and
noted his resignation on April 11, 1893.
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The Sioux City United States Courthouse was one of 40 federal buildings which Edbrooke designed. The
Sioux City design shows some similarities with the Grand (National Register nomination form, U.S. Courthouse and
Post Office, Sioux City, 1992).
Figure 42: San Jose Federal Building (1892)
Figure 43: Federal Appraisers' Warehouse, New York (1899)
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Edbrooke's design legacy is one of sheer scale, both in the numbers of designs as well as the massive size of
his commissions. His practice took him throughout the Midwest and nationally during his tenure as Supervising
Architect. As Supervising Architect, Edbrooke was opposed to private designer efforts to replace Federal architects
with competitive outsourcing to architectural firms. He was also frustrated that designers had but little influence over
the legislation that funded and mandated building construction. His Federal Appraiser's Warehouse is said to reflect
the influences of Louis Sullivan's Chicago Auditorium or Richardson's Marshall Field Warehouse, also in Chicago
(Craig, pp. 198-99).
Edbrooke & Burnham are listed in the Grand Opera House board minutes as being owed $200. Cunning lists
Edbrooke as being the architect for the Grand, but the board reference clearly indicates that the partnership was
responsible at least on paper. No total figure is to be found for the architect's design commission. There are no local
historical references to the architects, a curious omission given the notoriety of the designers (Cunning, appended list,
p. 4).
Architectural Significance in Dubuque, Iowa:
The opening of this fine new building should mark an era in Dubuque. It is by far the
finest and largest edifice of its character ever erected in the city, and it is not excelled in
the state. Its erection has been in progress for over a year. It has been carefully
constructed with a view solely to the purposes for which it is to be used. Its exterior is
commanding and its interior is superb.
The Herald, August 10, 1890
The Grand was built between 1889 and 1890, dates, which place it very early in the timefxame of popularity,
which is ascribed to the Romanesque or Richardsonian Romanesque style. The Grand's design was compared and
contrasted with the Rider Wallis business block, ash impressive four-story office block just completed. A comparison
of the two buildings shows the Rider Wallis block to have been an important transitional design.
The Rider Wallis building was very similar to the Grand's design. Both had a central porte cochere
feature and both had a tri-partite division of the fagade design, a base, a linked second and third floor (pilasters
with recessed intervening wall panels between the window sets) and a capital. Both designs had square-cut
windows on its fourth floor level and both had rounded third floor window lintels, those on the Grand being
much more Romanesque. Yet another common feature was the employment of square-cut towers with hip
roof caps and finials. On the Rider Wallis building, these were on the outer comers, while on the Grand they
flamed a central pavilion.
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Dnbuque County, Iowa
Figures 44-45: Rider Wallis Building, c.1888 (left), Grand (1889-90) right
The Grand was sufficiently novel and architecturally impressive that the Herald rated it "one of [Dubuque's]
chief architectural adornments, and one which will be an object of pride to the city for many years to come" and hoped
that "it might be stimulative of the architectural taste of the city" (Herald, June 22, 1890).
The Herald once again praised the new building and those who had made its erection a reality:
The opening of this fme new building should mark an era in Dubuque. It is by far the finest and largest
edifice of its character ever erected in the city, and it is not excelled in the state. Its erection has bean
in progress for over a year. It has been carefully constructed with a view solely to the purposes for
which it is to be used. Its exterior is commanding and its interior is superb...Never before has there
been an opportunity like this. The first night should see a great turnout. Let everybody subscribe for a
ticket, and be present (Daily Herald, July 23; August 10, 1890).
Presumably the massive grandeur of the Romanesque architecture of the new building was being celebrated in these
descriptive accounts. This architectural style coincided with the beginning of a major local building boom,
particularly of massive industrial, commercial and institutional buildings. The Romanesque style was most effective
when it was applied to substantial public and industrial plans. The Dubuque examples of this are more important to
Dubuque, and by default to the state because Dubuque was busily raising up examples while the rest of the state was
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Figure 46: Sketch from plans, by Alex Simplot (Herald, January 1, 1889)
The Herald reported that Simplot's sketch was finished and that the newspaper would nm it in about a week
(Herald, December 7, 1889).
relatively moribund. Most other Iowa cities were prostrated by the financial downturn of the years 1891-92. Sioux
City is the best example. Extensive East Coast financing was well on its way to transforming Sioux City into the
"Chicago of the West" when the panic caught the city in an over-built state. Its early Romanesque examples had no
successors as the city struggled to recover. The Richardsouian Romanesque is best represented in Dubuque by the F.
D. Stout House, 1105 Locust Street (1890-91); the Mount Carmel Motherhouse, Grandview Avenue, 1893-94;
Dubuque Brewing and Malting Company, 3000 Jackson Street, 1894-95; the Security (J. F. Stampfer) Building, 8th
and Main, 1896; Dubuque Star Brewery (4th Street Extension, 1898); and the Bm~k and Insurance Building (909 Main
Street, 1894-1895, architect W. W. Boyington of Chicago) (Jacobsen, pp. F-223-229).
The Grand played a role in the county's acceptance, in mid-1890, of a $125,000 bond issue to build a new
courthouse. The $75,000 opera house, the $200,000 Julien Hotel, $300,000 in electrical railway system
improvements, new factories and numerous elegant residences were collectively offered as proof that Dubuque was
"booming" and the public was called upon to support what turned out to be an affirmative vote. The new courthouse
was begun even as the opera house was opened, but the courthouse would not be a Romanesque style design, an
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indication that the new style had yet to take hold on Dubuque, and the new opera house had not yet had its impact on
local design (Herald, June 1, 1890).
The Grand's Theatrical Significance:
Sixteen buildings served as theaters in Dubuque prior to 1900. The majority of these buildings were not buik
as theaters, but rather were pubhc halls for the most part. Most of these also enjoyed brief or fitful theatrical use. A
handful had comparable theatrical histories, as did the Grand. The Globe Theater (Main and 5th streets) was used
from 1850 until 1902. The third Turner Hall stood from 1872 until 1967 (on the southeast comer of 9th and Iowa).
The Standard Theater, built in 1884, was one of two other "opera houses" in use when the Grand was built. The other
was the Duncan-Waller Theater, at 4th and Main streets. Built in 1877 above a double storefront, it was the second of
five theatrical buildings (the Athenaeum was the most notable of these) located at that comer, all of which comprised
a continuous theatrical presence on that property from 1864 until the present day (the Orpheum-Five Flags complex).
Today, just two buildings, both built as theaters, the Majestic-Orpheum (1910-11) and the Grand rcnuain standing, and
the latter is the only surviving opera house (Geromx, p. 12).
Historian Lawrence Sommer found that Dubuque's role as a theatrical and cultural center was an important
one. While the city boasted two opera houses as of the 1890s, there is some indication that a cultural high water mark
was achieved after 1900. The Enterprise noted in late 1902 that "Dubuque is fast becoming one of the best show
towns in the state." Other developments, particularly the construction of the Carnegie-Stout public library, the
founding of the Dubuque Club, and the flourishing of ethnic cultural organizations, combined to make the city a
cultural center. Literary and other groups and the emergence of the Enterprise magazine, largely a local cultural
journal, were other indications of a cuimral and literary movement. Dubuque's many colleges and universities helped
set the stage for a cultural renaissance in the years prior to the First World War (Enterprise, July 20, October 19,
1902; Lyon, pp. 40-41,300, 321; Sommer, p. 129).
A 1933 Telegraph-Herald history of Dubuque theaters clahued between 1839 and 1889
"it was the shows of the theater that put Dubuque above all other cities of about the same
size...Dubuque had the opportunity to see more big shows than any other city of similar population in
the United States...Dubuque was associated with the biggest circuit...and it was one of the few cities in
the middle west that was included on the stage routes...Dubuque was the turffmg point for the shows
that would either take to the north, south or return to the east."
The high-water-mark of Dubuque theatrical history, in the opinion of the writer, came on April 21, 1888, with the only
appearance on stage by the actor Edwin Booth (Telegraph-Herald, March 26, April 17, May 14, 1933).
The theater industry suffered a setback between 1889 and 1893, one that coincided with the national economic
setback. Dubuque went from two opera houses to a single one during these years. The opening of the Grand
necessarily coincided with this downturn. Recovery followed and by 1900 theaters were doing "a land-office
business" that was enhanced by the invasion of"a galaxy of European performers."
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The same source described the theater business in Dubuque from 1889 until the demise of live stage to motion
pictures c. 1928:
...Dubuque occupied an enviable position with road shows. "The best there w~re" is the consensus of
many Dubuquers who attended the shows at Dubuque theatres. In addition to the traveling companies,
Dubuque was associated with the leading vaudeville circuits of the time. The big stars of vaudeville
appeared from time to time, and theatre managers went out of their way to book the big companies for
acts for local presentations.
The end of the live stage industry came at the end of the 1920s:
It was from that time [c.1900] until about two or three years ago, big stock companies stopped in
Dubuque to give their respective performances. But with the adoption of the vitaphone or talking
pictures interest in the stock companies waned and Dubuque like many other cities that were formerly
interested to a great extent in the various presentations have been left off the booking circuit.
The Grand converted its facility to moving pictures only in 1930, reflective of this development (ibid.).
A search of the general theatrical historical literature failed to find any treatment of the theater circuits apart
from the struggle between the several national circuit monopolies. Historian Jack Poggi studied the economics of the
theatre. Poggi found that the 1870s were a period of growth for independent stock companies. Many local theaters
pooled their efforts to send a single agent to New York, which dominated theatrical production at that time. The
western and eastern circuit monopolies developed during the 1890s and these influenced a stock company's ability to
move nationally between the major cities. In larger markets, the company received one third of the receipts after the
theater manager deducted his salary and expenses. Smaller theaters paid five to ten p~rcent of receipts. Obviously the
larger stock companies couldn't subsist on the latter class of theaters. The monopolies made certain that their own
theaters received the best bookings. By 1907 there were simply too many theaters as the number of travehng
companies rapidly diminished. Between 1910 and t925, the number of declined from 1,549 to 674. Fewer
productions and fewer theaters even as movie houses (it is more likely that the fillS created a new audience rather
than diminished the hve stage audience)3 and the automobile transformed the entertainment world. Musicals and
spectacles did the best on the road, comedies and average dramas straggled. Literary dramas for a long time had an
advantage over silent films because sound was integral to their success. Rising transportation costs played a role, with
an 80 percent increase occurring between 1913 and 1928. These costs more than any other reason pulled the
companies away from the smaller theaters. Unlike other sectors of the economy, theater tickets failed to escape a
$2.00 "perceived cap" over a twenty year period (Poggi, pp. 10-43).
The first films appeared in 1895 as chasers following vaudeville acts. By 1905 there were 5,000 nickelodeons in operation.
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2O¢
~0
40
Graph I..a~verage number of theatrical eorap~es on tour,
Figure 47: Declining stock companies on the road (Poggi, p.32)
The Grand Opera House opened at a time when major grand opera houses were being built, notably the
Auditorium in Chicago. The live stage was changing in response to the popularity of "polite vaudeville," the variety
show (first introduced in 1887), the minstrel show (nationally popular beginning in the early 1890s), the first
appearance of agents for actors and the adoption of the "tryout system" on Broadway. The old theatrical greats like
Edwin Booth were retiring (1891). The first gaslight marquee was created in 1897, the first "super colossal epics
appeared in 1899. The craft professionalized with the first theatrical union being formed (1893) and trade journals
were estabhshed (Theater, 1900-1917, Variety, 1905) (Wilmeth, pp. 24-104).
Grand Opera House Historical Overview:
Harming and Locating the New Opera House:
The Duncan-Waller Opera House, built in 1877, was judged inadequate as a theatrical venue by many
community leaders, and it was judged to be located too far south in the downtown. Duncan and Wailer were partner
real estate dealers. Their house was tremendously successful with 1,500 total engagements over its 16-year history.
The second-class older house boasted a review of the nation's best actors. One source credits the realtors "[financial]
return that far exceeded the normal investment yield" with encouraging those who would build a competing house, the
Grand. As early as 1882 there was talk about a more "uptown" opera house, but it wasn't until mid-February 1889
that a serious and eventually successful effort was initiated. A vacant corner site at 8th and Iowa streets was then
favored for the new opera house. A month later, the evolving committee met at the Board of Trade offices and elected
officers. Chairman Jacob Rich rebuffed John R. Waller's proposal to sell his building to the group "at a large
sacrifice" and set the desired standards for the new building. The opera house had to be on the ground floor with
"plenty of exits." Public safety as well as a more modem facility would contribute to the up building of the city. Rich
envisioned a $40,000 building with "probably two galleries" (Herald, March 23, 1882; Daily Times, Febmary 17,
April 12, 1889; Telegraph-Herald, May 14, 1933).
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Dubuque County, Iowa
Figure 48:1884 Sanborn Fire Insurance Map (north is to the top of the map)
Figure 48 underscores the very desirable and mnpty bnilding lot at 8th east of Main. A large L-shaped parcel
was clear. A firehouse was on the same half-block. The Town Clock Building, a Dubuque landmark, was
immediately west on the west side of Main Street.
Within a month the subscription committee had raised $25,000 of the estimated $40,000, and the search for a
location, certainly to be "above Ninth street," was underway. One desired location was the comer of Main and l0th
streets. By May 17 an additional $4,000 had beem pledged and the committee promised to incorporate once the
$30,000 figure was in hand, the total estimated cost of lot and building said to be $45,000. The Universalist Church
site at Main and 10th streets was being seriously considered, with the 5 lx114 lot being doubled in width. The planned
opm'a house would seat 1,400 and have two galleries. The "energy" of Chairman Rich was credited with the
successful fund raising to date. Rich credited Dr. J. H. Day as his principal "coadjuctor" with Mayor W. H. Day, C.
H. Meyer, Lestm' Bissell, John V. Rider and William Bradley as his principal assistants. The fund raising success was
all the more impressive because $200,000 had been subscribed over the same three-month period for a variety of
municipal initiatives. By May 27, $35,000 was in hand and Chairman Rich persuaded the committee to formally
organize so that actual costs could be determined. The opera house plan was to be ground level as noted, and would
include "a parquet, dress circle, and two galleries" with a seating capacity of 1,000 to 1,400. Rich also recommended
that the company officers would serve without compensation and that no free passes would be provided the officers or
stockholders "because of their connection with the company." The Grand Opera House Company was incorporated
on that date, with a seven-member board of directors. The corporation was capitalized at $40,000 (ibid., May 11, 17,
1889; Minutes, May 27, 1889).
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Dubuque County, Iowa
The stockholders met on June 14, 1889 to select a site, having five candidate sites. The three less favored
locations were 8th between Locust and Bluff streets, Locust near 8th and 9th and Locust. The final decision focused on
the Universalist Church site, which garnered 108 votes, and the former Tremont House site at 8th Street between Main
and Iowa streets. The latter site was selected with 195 votes. The site decision was influenced by the need to make
the site fit with the need to have an area large enough to contain a building with a depth of 125 feet. At least four
architects had already communicated their general plans to the corporation (Mr. Oscar Cobb of Chicago,4 William
Foster of Des Moines, and "others" unspecified). The winning lot measured 70x128 and had a selling price of
$12,500 (Daily Times, June 13, 15, 1889; Minutes, June 14, 1889).
Figure 49:1867 and Main streets, view to the northeast
The Tremont House hotel, on the future opera house site, is visible at the far right, east of the alley
(Telegraph-Herald, July 12, 1936)
Formal plans began arriving from architect's offices on July 10, those of Architect Cobb being the first to be
received by mail. His plan envisioned a stone trimmed brick building, 70x127, three-stories high.
[the plan] resembling but [being] more ornamental than the Rider-Wallis building. The middle part is
heavily trimmed with stone. The entrance is in the middle of the Eight street side, has five doors, and
is twenty feet wide and 30 deep; there are eight office rooms on the first floor, the arrangement of seats
Maine-bornOscar Cobb (1842-1908) was a carpenter become architect who was drawnto Chicago following its 1871 devastation. By
873 he was specializing in theatre design and was responsible for half a dozen notable Chicago theaters. He designed opera houses in
S~acuse, New York, St. Louis, St. Paul and Minneapolis (Withey, pp. I29-30).
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is similar to the present opera house, and the exits are on the east and west of the anditor/um. On the
third floor, fronting on Eighth street, is a hall 30 feet deep and 70 feet wide, and the rest of the third
floor is included in the Auditorium and stage space running up to the roof. It is thought the plan will
not be accepted because it provides for one balcony and one gallery in place of two balconies.
Figure 50: Rider
and Locust Streets
Architect "Schurman" (probably Scheurman), of Rock Island, presented his plan that same afternoon.
They provide for a four-story building with front of pressed brick and stone, also similar in appearance
to the Rider-Wallace building, except that the roof has a slate front and dormer windows and is half
mansard. The entrance is 36 feet deep and has a double door. The ground floor is six feet above the
sidewalk, there being a basement. To the right of the entrance are the box office and the balcony
stairway, to the left the ladies' parlor and ladies' dressing room. The stage is 36 feet at the proscenium
and 36 feet deep. Its maximum width is 70 feet and height 51 feet. In the rear of the balcony on the
second floor are offices, two well holes to improve acoustics and two cloakrooms. The 36 feet front on
the th/rd floor is devoted to offices and on the fourth floor is the second balcony with offices in the
rear. It is not improbable that this plan will be accepted (Herald, July 11, 1889).
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The surprise is that neither of these finalist designers were chosen. For whatever reason, the directors
switched from designers who were specialists in opera house design, to architects Edbrooke & Burnham, who weren't.
Amazingly, there was no local mention of this decision in the Dubuque papers. Surely Edbrooke & Burimam were
prestigious names. At any rate the directors met on October 5 to review the final plans of the architect. They
eliminated decorative stonework on the alley sidewall "save for the returns" and abandoned a planned separate boiler
house. D. W. Rand was hired to "interpret" the plans and to superintend the construction of the building foundations.
The Herald reported the next day that it was expected that the directors "will make several changes to the plans."
(Minutes, October 5, 1889; Herald, October 6, 1889).
One substantial change was the addition of a central porte cochere. The porte cochere, lauded in the above
account, was not original to the plan and was an addition made by the directors. The September 28, 1890 minutes
note "it was thought best to order directors to build a Porte Cochere, in front of [the] opera house" (Minutes,
September 28, 1890).
The theater corporation was actually the equivalent of a not-for-profit entity of its time, being dedicated to
providing a valuable public service to the City of Dubuque rather than making any money apart from breaking even
with costs. Clearly costs were already outstripping any possible revenues. Central to the fiscal bottom line of the
opera house venture was the leasing out of spaces within the building. There were to be two ground level storefrunts,
two second floor offices, a third floor hall with three rooms, all of which would yield just $1,232 in receipts. The
opera house operation would be leased for $3,500 but paying a manager cost $1,200 a year. Insurance would cost
$450 annually and property taxes totaled $600. The corporation was left with a $25,000 mortgage as they finished the
building. Bonds were issued to cover the costs of the mortgage payments. Final total construction and furnishing
costs were a reported $75,000 ("which in any other city would have run up to $100,000" noted the Herald) (ibid.;
Herald, August 15, 1890).
There were 41 stockholders, the collective subscribers of the $40,000 in corporation capital. Corporate
officers at the time of the opening were Jacob Rich, president; W. L. Bradley, vice president; B. H. Harger, secretary;
and George B. Burch, treasurer. The directors were W. H. Day, John V. Rider, C. H. Meyer and the three
aforementioned officers. Day, Bradley and Rich comprised the building committee. The corporation had already lost
one of its most energetic founders, Dr. J. H. Lull. The Herald mourned, ''while his death was a lost to the entire city,
it was particularly so to the Grand opera house" (Herald, August 15, 1890).
Construction Notes:
Incredibly neither the architect nor the pr/ncipal contractor have been identified. The architect is most
certainly one of the two design finalists discussed previously. The contractor remains illusive despite the notoriety of
this landmark building. Neither gentleman attended the grand opening, or if they did, they weren't "called out" in
local press notices.
The original cost estimates for the new building were, as is most always the case, optimistically low. It wasn't
until September 28, 1890 that the directors admitted that the building cost "has considerably exceeded the original
ideas of the company, the total outlay to date being $66,785. The following itemized list of expenses, the only
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construction related notation to appear in the company's minutes, was recorded at the meeting of October 5, 1889,
quite early in the construction work, but likely following the fmalization of all the building contracts (Minutes,
October 5, 1889):
Lot purchase $12,000 Building Costs Subtotals:
Building costs $45,000 excavation work $ 336 lumber $3,579
Furnishings $ 5,153 stonework $1,923 millwork $7,669
Scenery $ 2,882 Cut stone, stone $2,595 water service $ 859
Fixtures $ 1,437 Brickwork $7,411 painting $ 660
Sidewalk $ 111 pressed brick $ 912 decorating $1,5005
Misc. $ 200 ironbeams $ 537 plastering $1,3176
Total. $66,785 other iron $2,432 tinwork $ 863
gas/electric $1,222 steam plant $2,000
Carpenters:
Rand & Co. $2,863
Griggs $ 170
Jones $1,067
Howie $2,480
Total: $6,581
These Contractors/Suppliers were owed these amounts:
Novelty Iron Works $ 9527
Ris Brothers $ 274
W. S. Molo, plumbers $ 846
James Howie $ 700
Cart, Ryder, Engle $2,500
Standard Lumber Co. $2,286
Schreiber, Conchar & Co. $ 584
Edbrook & Burnham $ 2009
Schnlte & Wagner $ 300
The opera house board minutes contain no references to the ongoing construction of the building but
local newspapers monitored the slow progress. Work on the foundation walls was sufficiently advanced by
October 9 that a boy, playing atop them that night, fell and broke an arm. This was the only building site
accident noted during the construction. On November 11 the first shipment of Lake Superior red sandstone
reached the city. The non-delivery of ironwork slowed progress in late November. The fagade stonework,
Lake Superior sand or brown stone was reaching the building site by November 27. The Herald promised that
the stone "will make a substantial as well as Iai handsome front" on the opera house. The auditorium ceiling
and roof were supported by "three iron cross beams" each of which weighed 3,500 pounds. John Drehouse
had the contract to put these in place. As the photographs (#14-17) indicate, these were actually heavy woodcm
beams with iron tension rods and plates. In deed, the Herald reported three' weeks later "the timbers to support
the roof of the Grand Opera House are being placed in position." The brickwork was continuing despite the
Mitchell and Holbeck, of Chicago, received the fi'esco/ng/decorafing contract worth $I,500 (Herald, May 6, 1890).
Contractor Luck received the conla'act to plaster the opera house (Times, April 18, 1890).
Novelty Iron Works produced the ironwork for the entrance and the side stairs (Times, June 12, 1890).
Molo had the plumbkng contract (Times, March 29, 1890; HeraM, July 8, 1890).
Here is the only documentation for the architects, Willoughby J. Edbrooke and Franklin p. Burnham.
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season. Plastering started on April 17. The slate roof was fully installed by May 1 and the interior plaster
walls were ready for their final finish coat. The interior decorators arrived from Chicago on June 22 and
started their extensive work (Herald, October 10, November 12, 21, 27, December 4, 20, 1889; May 1, June
22, 1890; Times, April 18, 1890).
By mid-December 1889 it was hoped that the opera house could open in June and the opera house company
began to advertise for an attraction for the grand opening. On February 6 it was announced that the Joe Jefferson and
Florence combination was booked for the event. By March 5, the Times noted "the dates for the coming season at the
Grand Opera House are nearly filled." Fall bookings were being made by early March. Manager Roehl tried to book
the Vienna Orchestra which was doing an America tour. The f'n:st musical director for the Grand was to have been an
import. Otto Muchlbour was filling the same role for the Tnalia Theater in New York and he was secured along with
number of his musicians. By mid-June Otto was forgotten and negotiations were underway with Professor C. A.
Rastatter, apparently a local and well-known talent,l° Local cigar maker Dick Heller unveiled a new brand of cigars,
the "New Grand Opera House Brand," in early May 1890. The Grand Opera Confectionery opened up on Main Street,
across from the Town Clock Building in early June. Despite good progress with the building, the Times reported in
mid-May that the opera house wouldn't be done until August and would open the next month. The next day the
Herald said the building wouldn't be ready until September 1 "there is too much to do to finish before that time."
Despite this, "The Stowaway" was booked for August 20. optimism ruled by early July when the Herald assured its
readers that the opera house would open August 15, with the 65-member Hess Company presenting the opera Carmen
as the inaugural entertainment. (Times, December 10, 1889; February 6, March 5, 6, 22, May 15, June 8, July 23, 26,
1890; Herald, May 6, 15, 16, June 13, 1890).
The directors inspected sample chairs in December. A private telephone line was put in place between the
vestibule of the opera house and Byme Brothers Livery on 9th Street. The scenery contract was let to Sossman &
Landiss of Chicago in mid-March, 1890. Initially the opera house was to be gas-lit despite the fact that theatrical
companies disliked it. The manager promised "as soon as possible [to] put a dynamo in the basement and furnish
their own electricity" using combination fixtures (Times, December 17, 1889; February 8, March 12, 1890; Herald,
March 18, July 10, 1890).
The Times offered a detailed progress report on August 3, just two weeks before opening night:
The new opera house is fast approaching completion, and by the end of next week will be practically
done. The decoration is complete, the chairs are all in, the painting and hard wood filling almost done
and the scenery largely in place. The great sun burner of 100 jets is here, as is also the other gas
fixtures, and will soon be in place. The plush covering of the parquet, balcony box and state rails is
nearly on, ready for the placing of the trap rail about boxes and parquet rail, which is already here. The
carpets are akeady here, and will be laid this week, and the draperies for boxes and foyer ~vill be put
up. The tile for the grand entrance will be laid in a day or two, and the wood work for the entrance, the
last work to be done will soon be in place. All who have seen the auditorium pronounce it a gem of
~0 Rastatter was also first violin. The orchestra numbered seven members w/th three more as needed. Joseph Spahn, Hemy Stuber, Joseph '
Schattge~ William J. Keller, John Stuber and Martin Scheidecker joined Rastatter on opening night (Times, August 16, 1890).
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beauty in its coloring of old ivory and its harmoniously decorated walls, brightened by warm maroon
tints of the chaffs. These chairs are handsome and furnished with all the modem appliances of
comfort--hat racks, shawl and coat rack, cane rack, umbrella rack and foot rest.
The building was £ncst lighted on August 12, so there wasn't any extra time between completion and the opening night
(Times, August 3, 7, 1890).
The sunbumer of 104 lights, which is the conspicuous hghting feature of the Grand
Opera House, has been put in place, and is to be lighted by an electric flash. It was
tested a day or two since, and made a large circle of beautiful rosettes of flame. All the
other gas fixtures are now in place, and will make the ivory decorated house luminous
in every part--when ail hghted.
Herald, August 10, 1890
The drop curtain was hung on August 9, it was so massive that its counterweights on the rope drum totaled 150
pounds. It did not roll but was raised as a unit.
A view from the fly gallery of the Grand opera house would astonish anyone not familiar with the
appliances and resources of the modern stage. The great space of 66 feet above the stage is filled with
"flats" and "drops" and "tormentors" and "grand draperies" and various other sorts of scenery, and
there are "drams" and "sheaves" and "skeleton grooves" and "border lights" and great counter weights
of iron, and rails and belaying pins, and other appliances with which to operate them. The stage
resources of the Grand Opera house will be unsurpassed
The Grand has not only provided working lines for its own scenery but it has put up thirty extra sets
of lines for the use of companies that carry their own scenery. The scenic and spectacular features of
modem plays have become their principal charm, and the builders of the Grand have been determined
that every troupe that comes to the house shall have no excuse for leaving their scenic attractions
behind them, but will insist that they shall give their play with every scenic effect.
...To give some idea of the scenic conveniences of the Grand Opera House, and the network of rigging
that can be seen from the fly gaileries and rigging loft, it is only necessary to say that 28,000 feet of
strong mauilla ropes descend/5om the rigging loR, while nearly a ton of iron has been used for counter
weights in balancing the scenery (Herald, August 10, 1890).
The Public Response and Grand Opening:
The public was well aware of the financial dilemma that faced the opera house company stockholders. As
construction neared completion, a group of non-stockholders planned the requisite "complimentary benefit" to show
the community's appreciation for the gift of the new theater.
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The builders have added to the city one of its chief architectural adornments, and one which ~vill be an
object of pride to the city for many years to come. That it might be such an object of pride, that it
might be stimulative of the architectural tastes of the city, that it might the more surely bring pleasure
and delight to many succeeding generations of the people of Dubuque, the builders have spent money
far beyond the expectation or demand of their fellow citizens, or their own first intentions, and of
course beyond the probabilities of immediate profit. These facts especially enfome upon the people of
Dubuque the duty, not only of adhering to the usual custom of a complimentary benefit, but of making
it as liberal as possible. It is not improbable that a liberal sale of the opening night's tickets at this time
will encourage a richer embellishment of the interior of the opera house than will otherwise be
justifiable.
GALA NIGHT l
Thursday Night, Aug. I4, 1890, by f. he
]EESS OPERA O0MPA
OF SIX~-FIVE PEOPLE.
Who W Il Give the Beautiful ODer~ of
CARMEN!
Figure 51 First Performance at the Grand
(Herald, August 12, 1890)
While being reminded that "Chicago gave the builders of the Auditorium $50,000 for a choice of seats alone" benefit
tickets would be just $5.00. Given an uncertain completion date, the benefit was bereft of both date and program.
The ticket-selling committeem ~vas making its rounds by late July. Boxer Tom Paisley, "the Ladies friend," bOoked a
box for $20. (Herald, June 22, July 26, 1890).
A pre-tour of the nearly finished building was offered in late June 1890 when the benefit promoters praised
and described the Grand:
x~ This curious Chicago reference defies understanding. There is no record of the receipt of so large a sum in the company financial records
and ali of the boxes and stalls were available for auction as of the first regular season.
~2 The community committee consisted ofM. M. Walker, A. J. Van Duzee, W. H. Torbert, George Crane, C. A. Voelker, Fred Tschudi, Jno.
Ellwanger, W. S. Molo and Paul Traut (Herald, June 22, 1890).
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Dubuque County, Iowa
The beautiful temple will attract the best artists, and these will be the more enjoyed because of the
sense of safety, and the sense of comfort, and the sense of beauty caused by rich and artistic
surroundings.
It will be a pleasure to gather in the beautiful and comfortable auditorium--entering under the graceful
porte cochere, passing through the richly filed and ornamented vestibule, and through the spacious
softly carpeted and handsomely curtained foyer into parquet and dress circle and balcony furnished
with roomy and handsomely upholstered seats. Even the upper gallery, ordinarily given up to plain
benches, will be made comfortable with easy and ornamental chairs, so that even the "gallery gods"
may participate in the general sense of comfort and beauty. These pleasurable surroundings will
inevitably draw fuller audiences, and these will force a higher order of artistic entertainments, and it is
not too much to hope or expect that through this beautiful temple will come repeated reunions of the
people of Dubuque made pleasurable by brilliant surroundings and proving stimulative of their artistic
perceptions (Daily Herald, June 22, 1890).
The Times similarly lauded the building, writing in late July 1890 once the opening night date (August 14) had
been finally set:
...it will be something to witness the fine building with its gala dress and the brilliant audience that
will assemble for the first time within its wails. The building has been under construction for the past
year and a half and is now nearing completion. Every detail known to modem architecture will be
brought into play for the comfort and convenience of auditorium and stage, and our people will
certainly look to it that a sum is realized generous enough to add such furnishings and appliances as
will give us an opera house second to none in the northwest for its completeness and beauty. The
tickets for the opening night have been placed at $5 which is certainly reasonable for an occasion that
is to mark an important page in the history of our thriving city.
The r.e .maining boxes were auctioned off at the Harger and Bliss store during the morning of August 12 and the
remammg reserved seats went on sale mid-morning on opening day. A drawing for early subscribers of reserved seat
locations took place on August 13 (Times, July 30, August 9, 10,1890).
One key component of the opera house faf adc, still absent at the time of the grand opening, was the plarmed
porte cochere. The public was challenged to help make its completion a certainty:
The plans of the Grand call for a light, graceful iron and glassporte cochere, projecting over the
sidewalk from the grand entrance, enabling those who come to the house in carriages to go and come
without exposure to storm. Ifa proper appreciation o£the enterprise is shown at the opening night, this
porte cochere will be put up. As the house is otherwise complete without it, it probably will be left off,
if the people of Dubuque manifest indifference by a conspicuous absence at the opening.
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Dubuque County, Iowa
There were adherents for the older Duncan-Waller Opera House, but one of these, A. A. Cooper("who has a part of
everything stimulative of the growth of Dubuque") was featured by the Herald as a supporter of the new one:
Mr. Cooper is closely related to one of the proprietors of the old Opera house, and had interests that
would not naturally be favorably affected by the construction of the new house. But Mr. Cooper is so
broad in his appreciation of what is for the general good of our people that when called on to take
tickets for the Opera house opening, he unhesitatingly said, "Yes, boys, put me down for $100 worth..."
(Herald, August 10, 1890).
Opening night was set for August 14, 1890. There ~vere few options for engaging a theatrical company at such
short notice, given the imminent onset of the theatrical season. The Hess Opera Company had a Milwaukee summer
engagement followed by tkree weeks of performances in Minneapolis and it was already in the area. The opening
night matched their scheduled shift back to Milwaukee so their 65-person troupe could appear in Dubuque (Herald,
July 23, 1890).
Some prominent Dubuquers scouted out the Hess Company's Minneapolis performance of Carmen and
reported it "superb in every respect" and added the opera house management "could not have done better than to
secure [the company] for opening night" (HeraM, August 6, 1890).
Opening night failed to fill the house, given the 800-person attendance estimate but quality in terms of class
was present. The Times reported "the second gallery was deserted, the calcium light being its only occupant." The
four city raikoad companies reigned in the "points of honor--the four [lower] boxes with their costly draperies and
handsome bamishings." The occupants of the eight "stalls" were also carefully enumerated by the Herald and '°the
parquette and two lower circles were also filled by a fine assemblage of leading citizens." A. A. Cooper had Box E
with four seats. The several railroad companies purchased entire boxes for their management personnel. The
Chicago, St. Paul and Kansas City road (Box C), the Illinois Central (Box B), the Chicago, Burlington and Northern
(Box D) and Chicago, Milwaukee and St. Paul (Box A) all paid $100 for their boxes. These were the best "lower"
boxes. The Kansas City line alone decorated the front of its box with the company's Maple Leaf symbol, "worked in
ivory and smilax." Stalls D (Jacob Rich), B (G. B. Burch) and H (Mayor W. H. Day) all generated a $25 premium in
addition to the $5 seat charge (6-4 seats). Boxes C (W. L. Bradley) and A (Jas. Forester) rated a $20 premium. Stall
G (C. H. Meyer) went to $10, and the rest were pounded off for a mere $5 premium (Herald, August 15, 1890).~3.
The formal gowns of the best-dressed high society ladies were carefully noted, led by that of Mrs. B. H.
Harger, who wore a "dainty albatross." The HeraM was less than impressed with the performance. While the Hess
Company was "above the average...there was much in their stage movements that would bear criticism." The three-
plus hour-long Carmen was "on the whole...not one of the most popular operas in Dubuque, yet perhaps as much so
as anything that could be secured at this season of the year." Encores were "neither numerous nor hearty" but the
artists "carded their difficult parts well and caught the applause of the audience" (Herald, August 15, 1890; Times,
same date).
x~ The ushers were in fidI dress as well. Jo Kelly was head usher, assisted by Charles Tibbals, Charles Fitzpatrick, Jerry Howell Jr. and
Vincent Lagen (Herald, August 12, 1890).
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Dubuque County, Iowa
The finished building interior was minutely described at the time of the grand opening event by the Herald:
The house is constructed of Dubuque brick with the fi:ont wall of St. Louis pressed brick. The
trimmings are of Bayfleld red sandstone. The front of the ground floor is used as a vestibule, box
office, two small stores and ladies' and gents' toilet rooms. Back of these is the opera house itself.
Three offices each are located on the second and third floors in front, while on the fourth is a large hall
which can be used for lodge or other proposes.
Passing through the vestibule, the doors swing open and we are admitted to the interior of the Temple
of the Muses where oft in days to come the people of the Key City will be entertained by the best opera
and dramatic troupes in the country. Gazing on the great room, one is impressed with awe, for it is as
fine an opera house as can be found anywhere outside the great cities. The wood work is in imitation
of old ivory. The walls are frescoed in modem style to harmonize therewith. The colors are most
beautifully blended and under the softening rays of the gas hght, the view is most pleasing to the eye.
The decorating was done by Mitchell & Halbach, of Chicago...
The Grand has a seating capacity of 1,107, besides the boxes and stalls? The seating space is
divided into parquette, parquette circle, first balcony and second balcony. There are in the parquette
and parquette circle 533 seats, in the first balcony 254, and in the second balcony 320. All the chairs
are tilted and have cushioned backs, while the seats are cushioned as far back as the third row in the
parquette circle and two remaining circles. The carpets are moquette and Bmssles.
The eight boxes are elegantly hung with rich drapery curtains and enclosed, as are the eight stalls,
with an ornamental brass rail. Superbly upholstered chairs in variegated plush colors, are in the boxes
and stalls.
The stage is 66 V2 feet wide inside; wall to wall, 60 feet to rigging loft; 35 feet curtain opening;
36 feet in depth; 23 ½ feet under fly galleries.
The stage is supplied with a fine line of scenery from Sosman and Landis, of Chicago, and was put in
under the superintendency of their stage machinist, Joseph Wikoff. It cost $3,500. The drop curtain is
especially grand. It is a copy ofF. S. Church's famous painting "The Witch's Daughter." Attired in
beautiful drapery, she sits on the moon, surrounded by hght clouds, while at her side sits an owl,
intently gazing into her face. The painting is a superb work of art and called for much praise last
evening...(Herald, August 15, 1890).
The Times described an entryway "arched with several flags." The foyer and "ornamental stairs" had a soft
gray colored carpet. The arches which separated the foyer and dress circle were "finished in ivory and gold and hung
The reduced seating, down from the original oal of 1,400 seats, reflected a reduction inconstmction costs.
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Grand Opera House/Theater
Dubuque County, Iowa
with beautiful draperies." "...flashing diamonds [worn by those in the dress circle] sent back agt/m the rays of the big
sun burner in the center of the roof.
Figure 52: Grand Theatre Advertisement with Potter sketch, 1892-93 Dubuque City Directory
The house inventory of scenery consisted of the following:
Interior Scenes:
French fancy scene, parlor set, Gothic scene, rustic kitchen, plain chamber set, palace and bastille
prison.
Exterior Scenes:
A pair of cottage flats, ancient street, modem street, garden with steps and balustrades, dark wood, cut
wood with drop and foliage borders, light landscape, ocean and mountain pass
Set Scenes:
House and return pieces, cottage and return pieces, rustic bridge, rocks, grounds and set waters, rustic
kitchen fire place, sectional bridge, center vampire (better known as the Hamlet trap) side vampire,
stair trap, rain boxes, glass crashes, wood crashes, picket fence, snow cloth and vases and statues to
complete garden scene (ibid.).
William Roehl, "an experienced theater manager," became the Grand's manager as of August 27, 1890. The
next winter, he was permanently contracted by the company at an annual salary of $1,200. It was his intention to
provide six plays weekly during the regular season. The first regular program, "The Noble Outcast," presumably
another Hess Company feature, followed the opening night on August 17, drawing a "fair audience." By the end of
the season it was claimed that the Grand had enjoyed "the largest [receipts] of any opera house in the state." The
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Cu'and Opera House/Theater
Dubuque County, Iowa
dozen boxes and stalls were auctioned offin mid-August 1890 at the start of the first season. Figure 24 (Section 7)
depicts a modified auditorium seating plan that locates four large boxes and four larger stalls on the ground level, and
four small boxes and the same number of smaller stalls on the first balcony level. It is probable that the original
layout, likely four ground level boxes with four large stalls on that level and the first balcony was later subdivided to
create more marketable smaller units. There were $1,342 in additional unspecified improvements made during 1894,
but no further such expenditures recorded until 1901 (ibid., August 12, 18, 1890; February 22, 1891; Minutes,
Febmary 5, 1891).
Figure 53:1891 Sanborn Fire Insurance Map (north is to the top of the map)
Figure 53 depicts the completed building with its twin storefronts on the ground floor front, and its two
balcony levels. Note the lack of change in the half block save for the clearance of dwellings from the north end,
presumably in preparation for building a new firehouse. The comer lot east of the opera house remains undeveloped.
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Grand Opera House/Theater
Dubuque Couuty, Iowa
Figure 54: Grand and billboard comer lot, c.pre-1896.
Note the fi.me building to the east later purchased by theater, view to the northwest.
Note also commercial office lettering on right-hand second floor office window.
Figure 55: Security Building in place west of Grand, post-1896, view to the northwest
Eighth Street in the foreground crosses Main Street to the west.
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Grand Opera Home/Theater
Dubuque County, Iowa
Figure 56:1896 Security Building with Grant to east, view to the northeast from Main and 8th streets.
Note similar glass and metal canopy on Security Building front, as well as intersecting car lines in foreground.
Figure 57: Parade in front of theater, note streetcar tracks on Street, view to the northeast
This image clearly shows the presence of a recessed foyer with no doorways set within the main arches.
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Dubuque County, Iowa
All the events had wonderful bands with them and they would parade up and down
Main Street at noon and before the show they'd play in fi:ont of the theater for a half
hour.
Frank Hoffman, long-time usher (note Figure 46, above)
Telegraph-Herald, September 15, 1963)
On February 19, 1893 the old Duncan-Waller opera house offered its final stage show, now operated by
realtors Duncan and Coates, gave up unequal fight with the Grand and closed its doors, leaving the Grand as the city's
only opera house (Telegraph-Herald, May 14, 1933).
It is perhaps an impossibility to summarize the broad range of programs that the Grand would have offered
during these early years. In addition to the travelling troupes opera houses offered "opera, concerts, minstrels,
Humpty-Dumpty combinations (vaudeville, burlesques, exhibitions and lectures). Minstrel shows were the financial
mainstay of many a theater. Inclnded in the Crrand's lengthy roster of visiting shows were Beach & Bowers, both
native Dubuquers. Commonly a local organization would sponsor a major performance. In 1893 the Dubuque Boat
Club sponsored a minstrel show. In 1906 the play the "Egyptian" was offered under the auspices of the local YMCA
and as late as 1912 that same organization sponsored "Ahasuerus". The local Order of Eagles brought the Eagles
Minstrels to the theater in 1908. German language and cultural programs dominated in a city that was
disproportionately German. The Saengerbund held a singing concert at the Grand on November 9, 1891 during its
second season (ibid., play bills).
Any theatre becomes embroiled in the occasional controversy and the Grand managers on numerous occasions
were criticized, particularly by the Catholic Church, which was particularly dominant in Dubuque. The German
Catholics asked Mayor Haas to prevent the performance of"The Girl In The Taxi" in 1914 but audiences loved the
show. Most of these programs were found to be acceptable. The Herald reported "No Morals Ruined" for one 1900
performance. "Soul Kiss" offered in 1910 was said to have left its audiences "ashamed" (Telegraph-Herald, April 11,
1900; February 3, 1910; September 14, 1914).
The most controversial Grand engagement was surely that of the notorious Cherry Sisters (Effie, Addie and
Jessie), a female troika billed as "the World's worst act." When they appeared, or tried to appear in mid-May 1893,
the Grand suspended its poorest curtain behind the sisters to protect its better ones fi:om damage fi:om flying objects.
The largest tossed object was a wash boiler, that was passed into the balcony fi:om the alley and tossed onto the stage.
This was the first year on the road for the sisters and it would take them three more years to reach Broadway and the
big time. The local newspaper rated the show 'huoral but audiences driven to drink." The audience was
predominantly male in its makeup, and the patrons were primed to show their appreciation of the sisters' many talents.
The local papers condcmmed the theater for failing to protect the performer, but Manager Roehl countered with a
detailed account of how he stationed seven men in the gallery to keep the audience both offthe stage and out of range.
The sisters unsuccessfully sued the city for $20,000 (Mills; Daily Times, May 17, 18, 19, 20, June 2, 1893; Telegraph-
Herald, n.d.).
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Dubuque County, Iowa
Figure 58: Winter view of faqade, view to the northwest
Note "Grand Opera House" inscription along sides of canopy, balcony atop the canopy, and electrified "The Grande"
suspended sign. A new two-story comer building stands east of the theater at right.
Notable performances brought large animals and fire and flood (rolls of blue cloth) to the stage. Chicago
burned, the Battleship Maine sank, sandstorms were staged ("Garden of Allah" with donkeys, camels and horses) and
there was a chariot race with three chariots and a dozen horses, which ran on temporary treadmills (the orchestra was
told to play "fufiouslf' to drown out the racket from the treadmills) as a part of Ben Hur. Ben Hur stayed for three
evening performances while most bookings played just a single night. The Boston Opera Company was in Dubuque
for a week and presented seven full-scale operas. "Uncle Tom's Cabin" and the "Pirates of Penzance" were the most
popular shows, the former came to Dubuque two or three times a year and commonly recruited its audience with a
street parade, with Little Eva riding in a chariot. Some o£the greatest names in the theater performed at the Grand.
The list included Richard Mansfield, singer A1 Jotson, Comelious Otis Skinner (1896, "Richard 1II"), Sarah Bernhardt
(1917, "Merchant of Venice," farewell trip to America), Walter Whiteside (1896, "Hamlet"), George Arliss, Lillian
Russell (1908), George M. Cohan, and the pianist Ignace Paderewski. John Philip Sousa's United States Marine band
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Grand Op~a House/TI~eater
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was at the Grand. In total, an estimated 2,600 live stage performances graced the Grand from 1892 through 1928
(Telegraph-Herald, April 17, 1933; Julyl4, 1957).
The theater, after just eleven years, was substantially remodeled inside during the summer of 1901. The new
work included "new decorations, new carpets and many other [unspecified] additions and improvements" along with
all new scenery. The new fimtishings likely did not include new general seating however. The company accounts hst
$1,421 in repairs for the year (Daily Telegraph, August 25, 1901; Minutes).
Death claimed another theater founder in 1904 with the loss of William L. Bradley Sr. He was the board
president at the time of his passing. He was succeeded by his son, William L. Bradley Jr. In early January 1905 the
theater board purchased adjacent land to the east/northeast that included a frame residence (see Figure 43) to be used
as a dressing room area. The Daily Times recounted in mid-July 1906
"the theatre has been handicapped for some time for dressing room accommodations and the building
in the rear of the Grand will greatly overcome difficulties experienced in the past... The present
dressing rooms of the theatre are now under the stage and they have been found to be inadequate. They
will still be used in connection with the new rooms."
Ten rooms were to be added to the newly acquired building. Another reshuffiing was the relocation of the ma'm box
office to the theater building proper, no previous location being identified in the report (Minutes, July 27, 1904;
January 9, 1905; Daily Times, July 7, 1906).~s
Annual improvements are recorded in the company ledgers for the years 1904 through 1907. The purposes are
largely unspecified. The 1904 figure was $3,915, and that for 1905 was $1,106. In 1906 $1,513 was spent on the
dress rehearsal area and another $1,029 on other items. In 1907 improvements included a fire escape ($389), general
repairs ($307), boilers ($1,510) and "B&B" ($513) (Minutes).
Manager Roehl fired of the frenetic pace of theatrical management mid-way through the 1905-06 season. "I
have simply grown tired of the business" said Roehl, after 16 years in the position. President Bradley replaced him.
The tragic Iroquois Theater fire in Chicago on New Year's Day 1904 prompted city leaders everywhere to check on
fire safety provisions at local theaters. Dubuque's mayor Berg sent Fire Chief Reinfried and Captain Daly to inspect
the Grand. The theater had nine exits for its 1,100 patrons exclusive of stage exits. All of the exits had outward-
swinging doors. There was water and three hoses (coveting both sides of the stage, the fly area and the area beneath
the stage) on the stage and a fireman was present during every performance. Two alley side stage exits had their
hinges reversed so that they too opened outwards, and the theater promised to buy and install an asbestos fireproof
main curtain. The investigative report noted that the first balcony seated 252 patrons and was served by three exits as
well as the ma'm stairs. The gallery with an unspecified number of seats had two rear exits, one alley exit and separate
stairs from the balcony below it. Manager Roehl invited the public to come to inspect the theater system. The curtain
was installed just before the 1904-05 season opened. That season's first play, the "Heart of Chicago" featured the
zs The purchased involved the east 43 feet of Lot 171 and the north two feet of the east 43 feet of Lot 172, the purchase price was $3,000
(Minutes, July 27, 1904; January 9, 1905).
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great Chicago fire onstage! That susnmer (1904) the theater had been re-seated with new chaffs. Patrons were
allowed more legroom. The existing basement dressing rooms were improved and others built. Hot and cold running
water was added. A new ladies' parlor was built on the east side of the ground floor beneath the manager's office. A
smoking lounge was added in the west basement. At year's end the entire building was finally wired for electric
lights. The Daily Times of December 13, 1904 noted "Patrons of the Grand Opera House will be agreeably surprised
tonight to see the house lighted with electricity throughout." The play "The Royal Chef' was the first performed
under electric light and not the limelight at the Grand. Fire safety concerns continued into 1906 and Mayor Shnmk
was involved in negotiations regarding the building of a rooftop fire escape onto the adjacent Malting Company
building. At year's end an alley side cast iron fire escape was erected instead (Minutes, November 26, 1906;
November 27, 1907; Herald, January 6, April 24, August 30, 1904; Daily Times, Decmnber 13, 1904; March 21,
1906).
In 1908 the billboard lot to the east of the theater was infilled with a two-story saloon. The theater board was
asked to approve the saloon's location. The new building is visible in Figures 47 and 51. In 1909 the original theater
corporation was resolved when it reached its 20th year of operation, and new articles of incorporation for the Grand
Opera House (replacing the Grand Opera House Company) were filed for record. The only substantial organizational
change was the reduction of the board size to between three and five members. One tenant firm in the theatre building
was that of Bradley & Maclay, a real estate and insurance finn headed by two of the theater's officers, William
Bradley, board president and John Maclay, who had replaced James Shields as secretary and director in June 1909.
There was usually an eatery in one of the storefronts. The Opera House Restaurant was there as of 1902 and the
Grand Opera House Buffet was in operation as of 1906 (Minutes, January 9, 1905; October 26, 1908; June 30, August
25, 1909; Daily Times, July 7, 1906).
By mid-1909 all but $1,000 of the ori~jnal $25,000 mortgage was paid off, a clear indication of the
profitability of the theater in its first 20 years. In addition to paying offthe construction loan the directors had
acquired the first of many sites scattered around the city which it used for billboard promotions for its productions.
The new corporation bought out the old one for $39,800 (ibid., July 15m, 1909).
The year 1910 was the year of fires for the city's theaters. On April 7 the Old Bijou at 4th and Main was
destroyed by fire, setting the stage for the construction of Dubuque's other surviving theater, the Majestic/Orpheum?
The massive Standard Lumber Company Fourth Street fire of late April 1910 threatened the Grand. That same night,
four other arson-caused fires broke out in several factories including one near the Grand. Fire broke out in sheds
between the theater and Iowa Street to the east. The fire started in an iron-covered shed used by the theatre for
scenery storage. The shed had been added to the rear wall. Some of the scenery was destroyed and the rest was
damaged (Telegraph-Herald, April 22, 1910).
The Orpheum was not an opera house but was built for "refined vaudeville.
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Dubuque County, Iowa
Figure 59: Opera House program cover, 1908-09 season.
The third 1910 theater fire was a sensational one, certainly due to the preceding larger ones. Walter Smith was
charged with incendiarism for setting several fires behind and below the stage in the Grand on May 2. Smith was also
suspected initially in having started the April fires as well. No serious damage was done to the theater, each fire being
started in pieces of furniture and the blazes being quickly extinguished. Smith was sentenced to five years at the
Anamosa Reformatory. The final 1910 fire was also at the Grand, a minor chimney blaze which broke out in
December, creating "a small amount of excitement" (Telegraph-Herald, May 3, 4, 6, June 6, 18, 1910).
The 1910 shed fire set the stage for all new scenery ("everything back of the curtain" in the words of Manager
Voels) in August 1910. Company records give a total of $3,061 expended. The Twin Cities Scenic Studio of
Minneapolis produced the new sets. The theater was also redecorated and reseated. Another reason for the new
scenery was the establisltment ora house "permanent stock company" that would supplement a planned twice weekly
"high class" travelling shows, the stock company performing five nights a week. Despite its new scenery, the stock
company folded within a month's time. This failure was compounded with the opening of the rebuilt Orpheum on
November 16, 1910 (ibid., August 19, September 7, 14, October 13, 24, 1910).
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Dubuque County, Iowa
Figure 60:1909 Sanborn Fire Insurance Map (north is to the top of the map)
Figure 60 depicts the opera house when it was twenty years old. The original porte cochere remained in place,
as did the twin balcony levels and the storefronts. Electric floodlights were noted in the stage area and a boiler room
was now intruding west beneath the alleyway. For the first time a rear flame storage appendage adjoins the opera
house along the northeast side. This was a scenery storage area and it figured in the 1910 fi:re the next year.
Immediately west, the Security Building was in place on Main Street. On the north end of the half block the Central
Fire Station had infilled the vacated lot and the police station building.
In February 1911 the theatre management had to warn patrons that late-arrivals would no longer be seated
between acts. Those wearing hats were thanked for removing them during performances. Manager Bradley resigned
the next year (he 'lust didn't care to continue") and was succeeded by John H. Maclay (ibid., February 18, 1911;
January 31, 1912).
The Grand started showing motion pictures beginning in 1915. The company records list $1,760 expended
that year and $1,755 spent the next year for equipment, and $588 for wiring.~7 That fi:rst year film rentals 0£$7,383
yielded receipts of $22,872, a profit o£$15,488. Total theater profits doubled between 1914 and 1915, due to the
addition of motion pictares. During this same time, legitimate theatre receipts declined fi:om $12,814 to $4,772 in
1915. Chart 1 below graphically indicates where the money was when film revenues were compared to live stage
revenues. The latter enjoyed a modest increase during the prosperous post-World War I years but film revenues
The last year for which improvement totals are available is 1918, when the total expended was $969 (Minutes).
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simply exploded. Live stage was much more expensive to produce, a substantial cost being represented by the full
size omhestra. In 1922 alone, this cost line was $6,674 (Grand financial records, Minutes Books; Geroux, p. 531-32).
80,000
70,000
60,000
50,000
~4
o,ooo
30,000
20,000
10.000
0
Revenue
-~-FilmRevenue
Chart 1: Film versus live stage revenue, 1915-1928
Chart #2, below, summarizes the financial picture of the Grand for its first 50 years. Prior to 1918, there were
just six bad years. World War I related inflation greatly increased the theater's operational costs beginning in 1915.
Revenues briefly stalled in the postwar recovery but then rebounded, the increase presumably representing growing
film revenues. The worst years were 1913-16, and 1926-27. Revenues declined and then flattened beginning in 1909
and rising costs nearly equaled income in 1913-14. In 1926-27 revenues fell below expenditures and the live stage
revenues were just $2,360 (ibid.; Geroux, pp. 531-32).
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Dubuque County, Iowa
40,000
30,000
20,000
10,000
0
Live Stage Revenue
Film R~ven ue
120,000
40,000'
2O,000
0
× / / /
Revenue
Profit
Chart 2: Revenue and expenses, Grand Theater, 1892-1932
Live stage performances presumably declined both in scale and frequency after the wax. The f'mal professional
show- was on March 14, 1928. Another performance, "Ladies of the Jury" produced such a dismal attendance that the
manager cancelled the next planned attraction. The opera house company records are silent to programming during
the 1920s. The company increased its capitalization from $40,000 to $150,000 in December 1922, and they issued
$60,000 in stock at the same time. There were 1,500 shares of stock. The articles of incorporation were renewed on
August 12, 1929, having once again expired after 20 years. On September 6, 1949 the company became a perpetual
corporation and capitalization was increased to $200,000 (Minutes, December 18, 1922; August 12, 1929; September
6, 1949: Telegraph-Herald, April 17, 1933; September 15, 1963).
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Figure 61: Motion pictures displace live stage (Herald, January 10, 1926)
In 1930 the theater was "stripped to its frame and rebuilt as a [movie] theater..." The extensive work required
three months to complete. The entire auditor/urn area was remodeled, the upper balcony was completely removed and
all of the box seats went with it. The orchestra pit was removed and covered over and the semi-circular stage front
was flattened out. A massive air ventilation system filled the rehearsal rooms which were beneath the stage. The first
movie screen (14x16) was one-sixth the size of the 20x35 cinemascope screen that was in place as of 1963. Two
large fireproo£projection booths replaced the dressing rooms and hall areas, which had served the upper balcony. The
seats were recovered and just 681 of 1,100 seats remained. The Grand Opera House became the Grand Theater
(Telegraph-Herald, July 14, 1957; September 15, 1963).
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Figure 62 1909/36 Fire Insurance Map
The updated (to 1936) 1909 Sanborn Map (Figure 62) recorded an inaccurate depiction of the Grand Opera
House. The map still depicted the two balcony levels and the original porte cocher as remmning in place. Neither was
as of 1930. An asbestos curtain is noted. Behind the opera house was a range of attached storage sheds and a dressing
room in one of the 8th Street properties. For the first time, a Sanborn map recorded the comer two-story building on
the comer to the east.
An undated typed specifications list for the theatre, prepared while John H. Maclay was manager, gives the
house capacity as 848 seats (554 on the main floor and 294 on the balcony). The seating plan presented as Figure 24
dates to this period of theater operation. This list represents the theater operation when it combiued films and live
stage. The list contains full stage dimensions as well as the specifications for the two Kaplan Sure-Fit film projectors.
The distance from the projector lens to the screen was 102 feet. The screen was 24 feet back from the foothghts and
eight feet in front of the back wall. There was a spotlight with color wheel, frames and shdes and a Western Electric
sound system. The ventilating system was powered by a 7.5 h.p. air washer motor, and two 10 h.p. blower motors.
The theater was apparently reseated betwec~n this arrangement and the 1930 remodeling. In some manner 167 seats
were eliminated with neither arrangement involving a second balcony. The majority of the removed seats must have
been from the box seat areas. The upper balcony was apparently abandoned and it is possible that the film projectors
were placed on the lowermost front of that balcony, thus accounting for the short distance between the screen and
projector (typed manuscript, n.d.).
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Figure 63: frrst marquee, 1941
This marquee dated to the t930 remodeling.
After 1930 films were supplemented with wrestling matches on stage. Local wrestling star Heinie Engel was
an attraction. These matches ceased with the onset of World War 1I but other annual benefit shows continued to use
the stage (Telegraph-Herald, September 15, 1963).
Popcorn sales at the Grand were started in 1947. In the fall of 1954 the Grand Opera House Company divested
of its three billboard advertising sites around the city. Four other sites had long been operated by Charles Murphy
Advertising, the buyer of the properties, since 1939. In early 1955 the board discussed building a drive-in theater, and
the Grand was redecorated, particularly to improve inadequate interior lighting. The company also owned the Strand
and Avon theaters and had "a working arrangement" regarding the Orpheum Theater. The Grand work cost $104,826.
By July 1956 the capital surplus generated at the Grand was reduced by half, to just $20,000. The Avon was closed
and the board considered closing the State Theater. A separate corporation was finally organized to operate the State
Theater (State Theater Company) in 1958. A new screen for the Grand was discussed in 1959 and the frame
dwellings located north of and adjacent to the theater were in need of repair, just half of the buildings were rented.
The board decided to demolish the buildings at 855-57 Iowa for use as parking. The 1958-59 season the Grand
produced a profit of $3,300, while the Strand lost $4,300 and the Orpheum, now owned by the company, yielded
$8,900 (Minutes, May 1, 1939; September 28, 1954; January 1, 22, 1955; July 9, 1956; January 27, July 25, 1958;
July 14, 1959, April 6, 1961; Lyon, p. 182).
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Figure 64: Second marquee, view to the northwest, note Colonial Revival foyer doors
Note the weather beacon on the American Trust & Savings Bank building (895 Main Street) at upper left.
The new parking lot became a problem by mid-1961 as large tracks began to use it as a shortcut. The Murphy
Company was asked by the board to erect signs to stop the short-cutters, bringing back the comer billboard lot. The
Grand gained a dual adult-child water fountain and the east wall was sandblasted and waterproofed, apparently
because it was now partly exposed to the weather given the demolition of the adjacent building. Later that same year
a collapsed sewer line was replaced and a 25-foot long alleyway west wall footing was discovered to be unsupported.
In early 1962 the Prepakt Concrete Company pumped concrete grout beneath the abyss to give it the necessary
support. The boiler room ceiling was reinforced at the same time. The alley was in use by heavy trucks and the boiler
and well rooms extended out into the alleyway. Also in 1962 the curved movie screen was rebuilt and the foyer re-
carpeted. The board decided to stop showing "arts films" at the Grand during the winter months given the lack of
public interest (Minutes, July 18, December 18, 1961; April 9, July 2, 1962).
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Dubuque County, Iowa
Figure 65: Second marquee, 1957, view to the northeast, note remodeled comer building
In late January 1963 the board solicited advice on putting a new front and marquee on the Grand. The new
design was generally approved three months later, and on July 22 Frank Hardee prepared an "artist's conception" of
how the new fxont would look. The actual plan was not approved until the late fall. At the same time the board spent
$150 to hang a protective screen in front of the movie screen when the stage was in use, an indication that other types
of activities were supplementing film income (Minutes, January 28, April 20, July 22, October 5, 1963).
Figure 66: Artist's Conception, Grand Theater remodeling plan, by Frank Hardie, 1963
(Telegraph-Herald, September 15, 1963)
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Grand Opera House/Theater Dubuque County, Iowa
The artist's conception shown below (Figure 66) "wished away" the upper part of the theater that was not to be
buried beneath the metal front. As the other photos indicate, it didn't disappear as readily in reality. By mid-
September it was reported that ''workmen had chipped off the theater's ornamental red stonework" and were then
"coveting the 850-seat theater with gray and red metal panels, as part o£a remodeling program" (Telegraph-Herald,
September 15, 1963).
Figure 67: Starting the cover up, 1963 (Telegraph-Herald, September 15, 1963).
Note the barbershop storefront at left.
Figure 68: Full Metal Jacket, and the second marquee, 1964
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Grand Opera House/Theater
Dubuque County, Iowa
The company apparently stripped offthe ornamentation from the existing marquee and added a new triangular
neon masthead, a broader interpretation of the one envisioned by the designer. The year 1964 was a financially
difficult one for the theater company and lowered admission prices failed to turn things around. A first nine months
comparison with 1963 showed that the 1963 revenue was $95,323, while that of 1964 was $77,828. They decided that
the "Grand Opera House" title was too "antiquated" for a firm that owned all of the downtown movie houses and the
name "Bradley Theatres" was informally adopted in late January 1964 (Minutes, January 24, April 9, October 19,
1964).
Figure 69: Grand theater, view to the northwest, c. 1970
There was a pecking order between the company's movie houses. The Orpheum was gfven preferential
treatment in all things new and showcased the better fills. The Strand received hand-me-downs from the Grand; its
1947 popcorn popper was replaced in 1961 and was recycled to the Strand. In 1966, the Grand's 12-year old magnetic
sound system was shifted to the Strand as fewer new fills used that technology. The Grand was being upgraded a bit
and began to receive better fills. In 1967 a new concession stand (Figure #61) was put in place along the north wall
of the foyer. It featured two candy cases, a Formica counter top and a suspended ceiling. C. A. Johnson & Son of Des
Moines provided the stand for $2,900. The Coca Cola Bottling Company received a contract to provide drinks to the
theater, and drink revenues grew in response to the new stand. In late 1967 the Grand was once again re-seated on the
main floor for a cost orS10,000. The new seats (644 in number) provided extra tegroom. The main floor was re-
carpeted, and the better older carpet was shifted to the balcony. The balcony interior was completely redone and a
new floor laid in 1968. New Orzite carpet was installed. That same year the company sold the lot to the east of the
Grand to the City of Dubuque (Minutes, July 23, 1965; July 18, December 15, 1967; January 31, April 23, July 15,
1968; November 27, 1969).
One by one the other movie houses disappeared. The Strand (southeast comer 12th and Main streets) suffered
a fire, was empty for years, and was finally demolished in 1990. The State Theater (northeast comer l0th and Main
streets) was damaged in a 1965 fire. It was then closed, just six persons attended its final film showing.
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Dubuque County, Iowa
Figure 70 1966 Fire Insurance Map
Figure 70 clearly explains why the Grand was on the city's potential demolition list by the 1970s. The entire
halfblock had been completely cleared save for thetwo southernmost buildings. Themost notable change in the
Grand was the consolidation of the original lobby and one of the storefronts into a single space. The second marquee
is depicted and there was a different rear storage appendage, now centered on the north wall. The map also cntarges
the alley side powerhouse and shifts it further south than had previous maps.
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Dubuque County, Iowa
Figure 71: Third marquee and initial restoration c.1993
Richard Davis of Des Moines purchased the Grand in 1972. The Dubinsky Brothers bought Davis' interests in
1976. The movie theater closed down at an undetermined date and the building was placed on a municipal list of
potential demolitions. The Barn Community Theatre Troupe literally saved the Grand from the wrecking ball. On
August 15, 1986 the musical "Tintypes" was offered by the Barn Community Theatre, just two weeks after that
company purchased the Grand. The theatrical group was organized in 1971 and resided for first in a white barn in
Flora Park and then at Sacred Heart School. The new company burned their new mortgage just three years later and
celebrated the Grand's 100th birthday with a special program on September 14, 1990 (Lyon, p. 182; Huber, p. 26;
DeLong, pp. 16-17).
In keeping with the resumption of live stage shows, the theater was renamed the Grand Opera House within a
few years of the purchase of the building. A not-for-profit corporation was organized in 1996, titled the Grand Opera
House Foundation. It's stated mission was the restoration of the Grand and the establishment of an endowment fund
to both operate and restore the building and its programs. A capital campaign was begun in 1997. A three-phase
restoration plan was formulated. The first phase removed the covering from the fagade, cleaned and tuck-pointed the
masoury and stonework, added a new slate roof and new copper gutters. This first phase was completed by 2001. The
second phase will reconstruct the public entrances, lobby, foyer, stage and fly-space, and public restrooms. Funding
has been secured for the restoration of the front doors. The third phase will restore the auditorium, rehearsal hall and
office areas. The total estimated cost for all of this work is $2.9 million.
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Figure 72: Marquee Removal, pre- 1988
Figure 73 1967 concession stand
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Grand Opera House/Theater
Dubuque County, Iowa
Ghosts of the Grand:
Any half-decent opera house acquires ghost stories over its history, and the Grand has a goodly number of
them. Norman and Scott's Haunted America dates the Grand ghosts to post-1986, the time when the theater was
refurbished for live stage once again. Most commonly voices are heard in the office area, floorboards creak, lights
refuse to stay off. Less commonly cold drafls are felt, items are violently propelled across floors, and theater patrons
briefly appear in the rear theater seats. One indication that this is not a new trc~nd was the finding of a "ghost light" in
the building attic. It was used overnight to provide light on the stage (Scott, pp. 120-26)?
is A 1957 Telegraph-Herald article talked metaphorically about "Ghosts of the Grand's Glorious Past but gave no
actual ghost accounts (Telegraph-Herald, July 14, 1957).
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Grand Opera House/Theater Dubuque County, Iowa
9. Major Biblioeraphic References:
Primary Sources:
Arbogast, David, Narrative Description, Grand Opera House, December 16, 1996
Dew-Brittain, Merwin J., unpublished scrapbook of newspaper clippings, Center for Dubuque History.
Grand Opera House blueprints, n.p., n.d.
Minutes of the Grand Opera House Company of Dubuque, Vol. 1- 1889-1907, Vol. 2 - 1907-1967
Secondary Sources:
Baker, John Milnes, American House Styles; A Concise Gu/de, New York; W. W. Norton, 1994.
Cunning, Tracy A., "Foothghts in Farm Country: Iowa Opera Houses, 1835-1940," Tempe, Arizona: 1993 (multiple
property documentation form, State Historical Society of Iowa, Des Moines, Iowa)
Dubuque County Gazetteer, Alton, Illinois; Banner Printing House, 1889.
Edloff, George L., Hardie & Scharle's Dubuque Directory 1890-91, Dubuque; Hardie & Scharle, 1890.
Engineering and Building Record, 1888-92 (searched for Grand Theater bids and identification of builder/designer).
Geroux, Charles L., The History of Theaters And Related Theatrical Activity in Dubuque, Iowa 1837-1877, Wayne
State University, Ph.D., 1973.
Gibson, Michael, "The Grand Opera House," typed manuscript, h.p., n.d.
Glenn, George D., and Richard L. Poole, The Opera Houses of Iowa, Ames: The Iowa State University Press, 1993.
History of Dubuque County, Iowa, Chicago; Western Historical Company, 1880.
Huber, Daniel, "A Century of Grand Entertainment," Julien's Journal, September 1990, pp. 25-27.
DeLong, James, "Iowa's Theaters Called Back For An Encore," The Iowan, Winter 1993, pp. 16-17.
Jacobsen, James E., Dubuque--The Key City; The Architectural And Historical Resources of Dubuque, Iowa, 1837
1955, Dubuque; Planning Services Department, 1999.
Lyon, Randolph, Dubuque Encyclopedia, Dubuque: Union-Hoermarm Press, c. 1991, pp. 181-182.
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Section number 9
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Page 75
Dubuque County, Iowa
McAlester, Virginia and Lee, A Field Guide To American Houses, New York; Alfred A. Knopf, 1984.
Mills, George, "Iowans Did Have 'The Word's Worst Act,' But Their Protective Wire Screen Was Myth," American
Heritage, Vol. 22, October 1982, pp. 28-31.
Norman, Michael and Beth Scott, Haunted America, n.p., n.d.
O'Toole, Donald, Thirty-eight Years of Legitimate Theatre At The Grand Opera House, Loras College thesis, 1958.
Shank, Wesley I., Iowa's Historic Architects; A Biographical Dictionary," Iowa City; University of Iowa Press, 1999.
Walker, Lester, American Shelter, Woodstock, New York; The Overlook Press, 1997.
Withey, Henry F. and Elsie Rathbun Withey, Biographical Dictionary of American Architects (Deceased), Los
Angeles: Hennessey & Ingalls, Inc., 1970.
Newspapers:
Daily Herald, March 23, 1882; February 17, July 11, August 18, 1889; March 13, June 22, July 23, August 6, 10, 12,
15, 18, 1890; February 22, 1891; March 4, April 11, 1900; August 25, 1901; April 22, June 18, 1910
Telegraph-Herald, August 17, 1902; January 6, April 20, August 30, October 31, November 9, 1904; March 20, 1906;
March 23, 1907; February 3, April 22, May 4, 6, June 6, July 18, October 11, 1910; July 12, 1936; July 14, 1957;
September 15, 1963.
Daily Times, April 12, May 11, 18, 29, June 13, June 15, 1889; December 13, 1904; March 21, May 3, 4, July 7, 1906
Telegraph-Herald and Times Journal, March 26, April 17, May 15, 1933
Dubuque Enterprise
Maps:
Perspective Map of the City of Dubuque, 1889
Sanborn Fire Insurance Map Company, 1884, 1891, 1909, 1909/36, 1966
Theatrical History Sources:
Henderson, Mary C., "Stenography, Stagecraft and Architecture," The Cambridge History of American Theater, Vol.
II, 1870-1945, Cambridge: Cambridge University Press, 1999.
Poggi, Jack, Theater In America: The Impact of Economic Forces, 1870-1967, Ithaca: Coruell University Press, 1968.
Wilmeth, Don B., The Cambridge History of American Theater, Vol. II, 1870-1945, Cambridge: Cambridge
University Press, 1999 (theater chronology).
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National Park Service
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Section number 9 Page. 76
Grand Opera House/Tl'~eater Dubuque County, Iowa
Young, William C., Documents of American Theater History, Volume I, Famous American Playhouses 1716-1899,
Chicago: American Library Association, 1973.
Edbrooke Sources:
Colorado Architects Biographical Sketch, Edbrooke, Harry W. J., www. coloradohistory.oahp.org.
Lee, Antoinette J., Architects to the Nation: The Rise and Decline of the Supc~rvising Architect's Office, New York:
Oxford Press, 2000.
Pearson, Marjorie, "W. J. Edbrooke," Maximilian Encyclopedia of Architects, New York: The Free Press, 1982,
Volume 2, pp. 6-7.
Pearson, Marjorie, "Willoughby J. Edbrooke," American National Biography, New York: Oxford University Press,
1999, pp. 287-88 (this is the best biography with a lengthy list of commissions).
Sinkevitch, Alice, editor, American Institute of Architects Guide to Chicago, New York: Hartcourt Brace and
Company, 1993.
Swartz, Nancy B., District of Columbia Historic American Building Survey Catalog, Charlottesville: University Press
of Virginia, 1976.
Talmadge, Thomas E., Architecture In Old Chicago, Chicago: Univ~sity of Chicago Press, 1941, p. 99.
The Chicago School of Architecture: A History of Commercial and Public Building in the Chicago Area, 1878-1925,
Chicago: University of Chicago Press, 1964, pp. 156-57.
Truman, Ben C., History of the World Fair, Philadelphia: Mammoth Publishing Company, 1893.
Who Was Who In America, Chicago: A. N. Marquis Company, 1967, (Historical Volume 1607-1896) (inaccurate)
Wodehouse, Lawrence, American Architects From the Civil War to the First World War, Detroit: Gale Research
Company, 1976 (the National Archives has 24 sets of Edbrooke's drawings).
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Grand Opera House/Theater
10. Geographical Data
Dubuque County, Iowa
Legal Description:
City Lot, Original Plat of Dubuque.
Boundary Justification:
The Grand Opera House building covers the entire lot that has been historically associated with the opera
house.
Photographs:
Photographer: James E. Jacobsen
Date of Photographs: September 11-12, 2001
Film Type: TMAX 100 ASA
Location of Original Negative: Property Owners
Image: Direction Description
1. northeast
2. northwest
3. north
4. north
5. north
6. north
7. northwest
8. southwest
9. northeast
10. southeast
11. southeast
12. east
13. east
14. north
15 east
16 north
17. east
general faCade
general fagade
fagade door detail
fagade, side door detail
detail, second-third floor windows
upper windows, dormer, fagade
east side wall
north wall
west wall
west wall
detail, drop doors
foyer, stairs to east
second balcony supports
attic trusses
attic truss
north end of attic, ceiling
dome base