1903:  Inside the Lyceum

photo credit:  R.C. Gleason Collection

New Lyceum Theatre
Comic Opera at the Lyceum Theatre
England's Famous Moving Pictures at the Lyceum Theatre

Opera House News

New Lyceum Theatre

     The first of the week the writer visited our new opera house and found that work is progressing rapidly and from present indications it will be finished in about two weeks.  When finished it will be one of the most modern and convenient of play houses in this section.
    The scenery has arrived and has been placed in position. The drop curtain is a beautiful fishing scene and the others are equally artistic and have all the modern appliances for handling.
      The seating capacity will be about 700 with something over 400 in the auditorium and the balcony is on a rather steep incline, so a good view of the stage can be had from any seat in the house--if the ladies will realize that it is the proper thing now to remove their hats.  Two boxes also adorn the auditorium.  The orchestra pit is well arranged and has two entrances from under the stage.
      From behind the scenes you will see a large, well-appointed stage.  Off the green room, which is under the stage, are six dressing rooms, a store room and two toilet rooms.  The green room can be converted into a spacious kitchen when the occasion demands.
      The building is heated with hot air and lighted with gas.  The gas plumbing is so arranged that the lights in any part of the building can be raised or lowered from one station without affecting those in other places

photo credit:  R.C. Gleason Collection

This is an unknown early production at the Lyceum photographed by R.C.Gleason




Amateurs Present Comic Opera Before Crowded House at the Lyceum Tuesday Night.


 Cast and Chorus Looked After by Capable People-Will Be 
Presented Saturday Night

     It is a time-honored custom for country newspapers to puff home talent entertainments no matter how inferior or tedions they may be, but it is a genuine pleasure to describe a good one and to give the "Little Tycoon" the write-up it really deserves would take all of the first page of this paper.  Sufficient, therefore, to say at the start that every member of the cast and the chorus played his or her part in a manner entirely worthy of the liberal applause bestowed upon them.
     It was with pleasant surprise that the majority of the audience listened to the development of the opera and commenced to realize the high degree of musical and histrionic talent possessed by the amateurs making up the company.  It is not misstating facts to say that some of the parts were sung in a manner to put many professionals in the shade and one of the most striking examples that can be quoted was the singing and acting of Mrs. Katherine Hungiville, who played "Violet," afterward the "Little Tycoon," the leading female role of the opera.  The young lady has a soprano voice of wonderful sweetness; strong and with a pleasing purity of tone--a voice that can well be envied by four-fifths of the comic opera stars of to-day.  
     Guy H. McCoy has scored many successes in amateur productions, but he never had a part that allowed him to so thoroughly demonstrate his ability as an actor and vocalist as that of crabbed old "General Knickerbocker," father of "Violet."  His comedy work was highly appreciated and the rendition of his solos mark him as the possessor of a voice of remarkable range and pleasing tone.  Few professionals "have anything on" Guy in the part.
     Charles XXXX, as "Alvin Barry," afterward "The Great Tycoon," made an instantaneous hit.  His voice is a charming tenor and his duets with "Violet" were especially effective.
     Charles Cheeseman, as "Rufus Ready," chum of "Alvin," played the part of a fun-loving young man to perfection.  Mr. Cheeseman is a very good singer and was the recipient of many compliments.  
     J. Lawrence Morrison as Lord Dolphin has a singular part.  He does not speak a word during the opera, but his expressive "oh-ah"

It seemed fairly wonderful that such graceful skill in music and movement could be developed in the comparatively short time the opera has been in rehearsal.  The ladies composing the chorus were as follows:
     Agnes Barry, Anna Barry, Cora Erhart, Carrie Clark, Ora Campbell, Carrie Eilingsfelt, Georgiz Freeman, Ethel Tull, Irma Wells, Alice Daly, Sarah Greer, Lucy Backus, Genevieve Bouton, Mayte Connolly, Viola Chapman, Dora Keenan, Esther Erhart, Ruth Forrest, Beulah Holder, Margaret Ardrews, Gertrude Walker, Maude Heath, Maude Hussy, Edna McCoy and Stella Rubin.
     The male portion of the chorus was composed of well drilled, good looking young men, who could and did sing and act.  Their names follow:
     Leo Digel, Bernard Garlick, Leo Herzog, Harry Haley, Fred Masser, Emmet Quinlisk, Fred Wendell, Lloyd Armstrong, Leo Koenig, Ed Bates, Clarence Choate, Scott Redfield, Al Heath, Orlo Hamlin, Harry Rubin, John Clark, Ellsworth Andres, Harry Pancoast and Frank Dunbar.
     The costumes used in the play were 

research supplied by James R. Herzog



Lyceum Theatre ad from the

Thursday, March 3, 1904.

research supplied by Seth Queen, Esquire


go back to King Street entrance exit side door Break time:  go out front door! see the Smethport Basketball Team