18-GRAND THEATRE RESTORATION PROJECTCITY COUNCIL AGENDA ITEM BRIEFING SHEET
Submittal Date:
08/02/2012
Council Date:
08/13/2012
Originating Department:
City Council
Presented By:
Council Member Frierson
Agenda Item No.:
18.
RECOMMENDED MOTION:
POLICY ISSUE(S):
Fiscal and economic development
BACKGROUND:
At the City Council meeting of June 25, 2012, Council discussed costs of the Grand Theatre Restoration
Project and future use of the theatre. At that time, Council Member Frierson said he would study the
project and inform Council of his findings.
The purpose of this item is to provide an update of the project, including future use and funding far the
Grand Theatre and provide direction to city staff.
BOARD/COMMISSION RECOMMENDATION:
EXHIBITS:
Historical overview of the Grand Theatre
ACTION:
BUDGET INFO:
❑ Financial Report ❑ Minute Order
Expense
$
❑ Department Report ❑ Resolution
Budgeted Amt.
$
Z Presentation ❑ Ordinance
y'r'D Actual
$
❑ Public Hearing ❑ Other
Acct. Name
Acct. Number
FISCAL NOTES:
City of Paris ` 127 Revised 2/04/08
UIsTOUIcAU ovILUvILw
It was in 1912, that a young business man, C. J. Musselman, by a chance investment ~C j• Musaelman M0»08c.
N Partt' Ne¢+cat Theatsc
found himself the owner of a motion picture theatre. A pharmaceutical chemist by
trade and without knowledge of show business, "Muss" took over the operation of a
theatre in Paris. As he continued in the operation of this theatre, the fascination of
the show business became instilled in him and he made the decision that the enter-
tainment business was a career that he was best suited for and with the little know-
ledge he had gained by the short period of operating this theatre he made the theatre w,
business his major endeavor. ~
~ image 1~
.J. ~/russelman, Paris - Texas,
1912 / f'roperty of f3ilfy N,a!con~b.
The first thing "Muss" wanted to do was to give to the people
of Paris an up-to-date playhouse, as at that time stage and
vaudeville were the major entertainment fields since the
screen had not been developed to that point. This theatre
was named the Grand and was opened to the public in 1912.
As the finest theatre in this section of Texas, the Grand pros-
pered under Muss management and while automobiles were
still in their infancy and hard surfaced roads were an unheard
of thing, the Grand drew to Paris thousands of out of town
people who by use of special trains, which were run for the
big attractions that were being presented at the grand, had
come to Paris to be entertained.
In 1916, on March 21st, the Grand was destroyed by a fire which swept through the city and laid the
major portion of the City in a heap of ashes. On the morning following, it was announced by the Wise
family and Mr. Musselman that construction would start immediately on another Grand Theatre which
would be even finer and more luxurious than the one destroyed.
The construction of this new theatre would take time, especially under the circumstances of the short-
age of workmen and materials due to the fact that the whole town was in the process of rebuilding.
"Muss" constructed a temporary theatre building in order that entertainment and amusement could be
offered to everyone during this period of rebuilding. This temporary building, while not a very lavish or
expensive building, was the Mecca for entertainment seekers for about a year.On Christmas day,
1916, the rebuilt Grand theatre was opened. This new building gave to Paris the most up-to-date thea-
tre in the state as every new feature of theatre architecture was incorporated. Its ample stage,
equipped with every requirement needed to present the largest stage attractions on the road, made this
theatre known from Broadway to Hollywood as it afforded Parisians the opportunity to see the big New
York road shows which were on tour. Many of these shows were booked for the Grand at Paris, some
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Image # 2:
/
Grand T'neatre. Paris-Texas, arca 9:2
Property oi Bi(iy f-ialcomb.
of the most important of which were Raymond Hitchcock in "Hitchy Koo," "Up in the Clouds," "The
Passing Show of 1917" with Willie and Eugene Howard, and many others.
With the development and installation of the "talkies" and the
decline in stage entertainment, the Grand was converted into
a sound motion picture theatre playing the few stage attrac-
tions which were on the road during this time. While not a
building which was best suited for sound pictures, it contin-
ued to retain its reputation as the outstanding place of
amusement.
In the early part of 1937, plans for a new Grand were con-
summated when, through the close cooperation of the Wise
family who jointly owned the Grand theatre, an agreement
was reached for a complete remodeling of the Grand, making
it an ultra modern theatre. With the completion of this work
and the opening of this theatre, the citizenship of Paris and
this trade territory had a theatre which they could well be
proud of.
The newly renovated Grand Theatre began with completely
gutting the old structure and erecting in its place a new and
modern theatre. Complete with refrigeration, the newest
image 43 RCA sound, acoustical treatment, indirect lighting and com-
Grand Theatre Facade. Pur;s-reXas circa 19161
l3i,'ly Halcomb property fortable seats, the theatre set a new standard in theatres of
.
this capacity (seating less than nine hundred). The remode-
ling included an unusually attractive mezzanine floor with lounges for men and women.
No expense was spared in making the new Grand Theatre one of the most modern, most comfortable
and most beautiful theatres in Northeast Texas. The only portion of the building that was not renovated
or reconstructed were the original side walls and roof of the old building.
The front was constructed of white stucco decorated and trimmed with orange, red and maroon porce-
lain strips. It had a conventional marquee which was trimmed in porcelain and extended over the si-
deWalk th2 efltll'e Wldth Of th@ fP011t. SPACIOUS MEZZANINE PROMENADE AT NEW GRAND'
irnage # 4:
Grand Th2atre 1✓ie7Zanrn2. Paris-Texas circa
1937/
Lsiriy Haicc;mb property,
nh. ,eo..
nn e.e d
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Resting on the marquee was a battleship
prow type of attraction board carrying chan-
nels for the metal letters used to display cur-
rent attractions at the theatre. This attractive
board was trimmed in porcelain and tied into
the general color scheme of the front. Direct-
ly above it and resting against the front of the
building was a huge vertical electric sign
spelling the word "Grand" vertically in individ-
ual letters. This special Textile sign was
modernistic in design and was done in metal
and porcelain with the color scheme of ma-
roon, orange and red. It was outlined entirely
in neon light.
The walls of the outer lobby were in cream
colored porcelain decorated with maroon
strips of color and were broken by maroon
trim and glass enclosed attraction panels:
The box office at the sidewalk entrance and
on the right side of the outer lobby was circu-
lar in design with a heavy black base and top
trimmed in chromium metal. The floor of the
outer lobby was in terrazzo tile, the sidewalk
in the area immediately in front of the theatre
was constructed of maroon and light red con-
crete.
The inner lobby was reached through a set of
rust colored doors paneled in plate glass with
a white metal base strip and hardware of the
Ir,age # 5:
same color. The side walls of the inner lob- ~ Grard Th,eaire Facade Tendering. Paris-Ter.as circa i937/
Fsr!!y l latco .m,b property.
by were of fawn colored plaster decorated'
with panels of gold and rust and it has a composition ceiling in lemon yellow with orange and maroon
decorative motifs.
The walls on each side of the inner lobby contained glass panel frames of a harmonizing color which
carried advance attraction posters. From the inner lobby, the foyer and downstairs promenade were
reached through a set of solid slab doors in rust color with circular panels of glass trimmed in metal for
visionary purposes. The side walls of the foyer were greenish gray with lemon ceiling and decorative
bands of grays, blues and greens. The lower promenade which immediately joined the foyer was sand
colored with decorative maroon and gold bands.
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The auditorium which was separated from this
promenade by a plastered gray green wall, was
done in tones of greenish blues with rust and gold
dominating the decorative patterns. The ceiling
was in lemon yellow, divided by strips of turquoise
blue, and light terra cotta. The proscenium arch
followed the same decorative and color motifs
and the stage had side drapes of rust velour and
draw curtains of the same material in peanut
brown.
image # 6:
/
Grand Theatre Facaae, Paris-Texas crrca 1960
From, Grard Theatre facebook aroup.
The mezzanine promenade, which was reached
by stairs at the right of the foyer, had sand brown
side walls with the lemon yellow ceiling and
orange and maroon decorative panels. The foyer,
lower floor and mezzanine promenades were car-
peted in a thick luxurious carpeting material in
tan, orange and gray designs. Circular mirrors for
decorative purposes, deep cushioned settees and
refrigerated drink foundations for the convenience
of patrons were found on both the lower floor and
mezzanine promenades.
Ladies powder compartments and men's smokers
were located at one end of the mezzanine prom-
enade while the new offices of C. J. Musselman -
the Manager - were located at the opposite end.
Lighting fixtures throughout the entire theatre were modern in design and arranged from ceiling fixtures
of spun aluminum lights and pilaster reflectors.
The total seating capacity of the new Grand, including lower floor and mezzanine was 850. The new
seats were the special floating comfort stream-line type supplied by the International Seating Corpora-
tion. They had special cord upholstery trimmed in light tan with blue-gray standards. This light tan trim
enabled patrons to easily spot vacant seats in the subdued lighting of the auditorium. They were stag-
gered for perfect visibility and were comfortably spaced.
The most radical construction feature of the new Grand was that the projection booth had been moved
to the rear of the mezzanine and was completely fire proof. The latest type projection equipment includ-
ing Brenkert lamps, Simplex projectors and a Hertner generator were installed. The rear and side walls
throughout the entire auditorium were constructed of acoustic plaster board which insured better sound
reception for the patrons. The very latest type RCA high fidelity Photophone sound system, which was
then familiarly known as "the magic voice of the screen" had also been installed. There were two sets
of speakers, one for high and the other for low notes, making perfect sound reproduction. The new
Grand was the first theatre in Texas to be equipped with the new combination air and bone conductor
Acusticon units for patrons who were hard of hearing. Twenty seats were equipped with this service at
no cost to patrons. Special connections were established between the sound projection booth and des-
ignated seats in the house bringing an increased sound volume. Customers desiring this service ob-
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tained ear phones from the doorman as they entered the theatre, plugged them in the designated seats
and listened to the screen voices. Earphones were then left with the doorman as the customer left the
theatre.
The new Grand had cooling and heating systems as well. Air conditioning and cooling were furnished
by the latest Air Temps refrigeration and conditioning system. It included a 60-ton unit and was capable
of handling 30 cubic feet per seat per minute and induced fresh air which was circulated constantly and
which was changed every 3 minutes or less. The heating system was the latest type hot blast unit hea-
ters which were tied in to the cooling ducts and fans so that warm air was induced and circulated by the
same method as it was cooled. In addition to the units heating the auditorium proper, a heater was in-
stalled over the second set of doors leading from the inner lobby to the foyer. This tempered the cold
air rushing in from the front doors and thus prevented frigid blasts from reaching the auditorium proper.
Four inches of rock wool was installed over the entire ceiling primarily to facilitate the efficiency of the
heating and cooling system.
The stage was fully equipped for the presentation of stage shows. The dressing rooms were repainted
and refurnished in anticipation of live shows.
George P. O'Rourke Construction Company of Dallas were the general contractors. J. H. Elder director
of construction and maintenance; George Harris, assistant to Mr. Elder; Elmer Zrenner, director of
sound and projection and A. L. Stone, Jr. his assistant. All representatives of the Interstate-Texas Con-
solidated organization worked in collaboration with the contractors. Eugene Gilboe and his assistant,
Duke Mahoney were in charge of the painting and decoration.
The Grand was one of the finest equipped theatres for its size in the Interstate-Texas Consolidated sys-
tem and was designed for comfort and had nearly perFect screen and sound recordings.
In 1979, Cineplex Corporation, a theater chain with home offices in Marshall, Texas purchased the
Grand Theatre. The Grand was then "twinned" in 1980. The balcony was closed off in order to produce
a theater upstairs and down. The downstairs theater retained the approximately 400 seats that were
originally in the building, however, the balcony theater only retained 250 seats. Cineplex Corporation
added acoustical drapes and several other adjustments to aid with the movie presentation. They also
modernized the lobby and lowered the ceiling in the downstairs theater. This was done by the Corpora-
tion in order to improve hearing in the theater.
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