The Grand Opera House

712 Mission St. | map |

Opened: January 17, 1876 as Wade's Opera House with a production of "Snowflake!" The theatre was a project of Dr. Thomas Wade, a dentist. The initial lessee was Frederick W. Bert. It was claimed that at the time of its opening that this was the largest theatre in the country. The building, on the north side of Mission St. between 3rd and 4th, had a footprint of 110' x 275'.

By 1880 Wade was out of the picture the theatre was just known as the Grand Opera House. One version of this photo is on Calisphere from the Museum of Performance and Design Performing Arts Library. A copy from the Martin Behrman Negatives Collection of the archives of the Golden Gate National Recreation Area appears on the Open SF History Project website.

The photo, despite being labeled 1881, is actually from 1882. Art Siegel researched the image and calls our attention to the signage in front for "Youth," a production that opened December 20, 1882. He also notes that on October 31, 1882 the building had been renamed the Andrews & Stockwell's Grand Opera House and the names of that duo can be seen above the entrance. The theatre was later known as Morosco's Grand Opera House and then was again just the Grand Opera House after Walter Morosco sold his lease in 1901. 

Closing: The building was seriously damaged in the April 1906 earthquake and subsequently demolished. The site is now part of the park called Jessie Square, east of the current St. Patrick's church.

Architects: Samuel Charles Bugbee and Charles Lewis Bugbee of the firm S.C. Bugbee and Son.

Seating: 2,860, not counting standing room, is the number Morosco was using in 1900. Evidently he had reduced the main floor capacity a bit when he took over in 1894 to create more of a promenade around part of the seating area. Benjamin E. Lloyd's 1876 book "Lights and Shades in San Francisco" says it had a seating capacity of 3,000 but at one time over 4,000 people were in the theatre. Lloyd notes that the seating levels at the time were called were orchestra, dress circle, balcony, family circle, and gallery. In addition, there were 12 proscenium boxes and 22 mezzanine boxes.

The 1884 "Social Manual of San Francisco" noted that this was "the largest place of dramatic entertainment in the city. Its vestibule, lobbies and corridors are spacious, affording safe and convenient means of entrance and exit, and an elegant place for promenading during entr'actes. It has four tiers of seats, the two lower being the same in price, and equally eligible...The auditorium is well lighted, well ventilated, and is, in the fashionable tiers, furnished with broad chairs of the latest pattern.."

A parquette and orchestra circle seating chart from the 1890 San Francisco Blue Book.

A dress circle seating chart that appeared in the 1890 San Francisco Blue Book. Thanks to Glenn Koch for sharing these charts from a copy of the book in his collection. Also see the seating charts in the 1899 San Francisco Blue Book, on Internet Archive. These publications didn't have any interest in the seating in the upper levels of the Opera House.

The orchestra floor seating was later redone, eliminating the separate orchestra circle section. Thanks to Glenn Koch for sharing this chart from a 1900 San Francisco Blue Book in his collection. 

Stage specifications:   Stage depth: 85'    Wall to Wall: 106'   Stagehouse height: 100'   Illumination: all electric -- there were no gaslights in the building. 

History: We got a construction progress report in the February 8, 1875 Daily Alta California. Thanks to Art Siegel for locating the article via the California Digital Newspaper Collection.

"MISSION-STREET THEATRE. Work Being Rapidly Pushed Forward—A Season of Italian Opera in Prospective. The Grand Opera House, located on the north side of Mission street, between Third and Fourth, will be completed on the first day of May next. The erection of this theatre was commenced about two years ago; but, on account of financial difficulties, the work had to be discontinued. A few months since, however, the troubles were satisfactorily adjusted and work has been resumed. The front elevation is completed and the interior arrangements are receiving the finishing touches. The walls at the rear of the building are not yet built to the required height, but this portion of the work can be done in a very short time. 

 

"The parquette, dress circle and balconies are laid out in the rough, but will not be completed until after the other portions of the structure are more advanced. The Opera House has a frontage of 110 feet on Mission street, and runs back 275 feet. There will be two stores on each side of the main entrance, 75 feet deep each. The main entrance is 25 feet wide, and the side entrances 12 feet wide each. The auditorium of the theatre proper, is 76 feet in length and 81 feet wide. The height from the floor to the ceiling is 78 feet, and the stage measures 81 feet from the footlights to the rear. 

 

"There will be twenty private boxes in the dress circle, besides twelve proscenium boxes. The total seating capacity, exclusive of the private boxes, will be 2440. Messrs. S. C. Bugbee & Son are the architects, and the building is being erected under the immediate supervision of Charles Siskron. The Grand Opera House has been leased by Frederick W. Bert for a term of ten years, and it is expected that it will be thrown open to the public on the night of the 1st of May next, with a season of Italian opera." 

 

They didn't make the expected May 1875 opening. 

 

An ad in the 1875 San Francisco City Directory announcing the wonders of the new theatre, then under construction. Thanks to Art Siegel for finding it via Internet Archive.

 

The "Snowflake! And the Seven Pigmies" souvenir program for the January 17, 1876 grand opening of Wade's Opera House. The program, from the Museum of Performance and Design Performing Arts Library, is on Calisphere.  The Library also has a copy of the less elegant paper version of the program. 

The new theatre was described on page 12 of the 1876 city directory in a section detailing the year's "Building Improvements":

Thanks to Art Siegel for locating this. The directory is on Internet Archive. 

 

The "recently opened" building was discussed at length by Benjamin E. Lloyd in his book  "Lights and Shades in San Francisco" (A.L. Banctoft & Co., San Francisco, 1876). Thanks to Art Siegel for locating it via Google Books. Mr. Lloyd's chapter on theatres begins on page 146 and this discussion about the Opera House begins on page 155:

 

"WADE'S OPERA HOUSE AND ART GALLERY - In 1873 Dr. Thomas Wade, a successful dentist of San Francisco, conceived the idea of building an Opera House that would rival in size and elegance any building of its character in the United States. The site chosen was on Mission Street, somewhat remote from any other places of amusement, though a central location in the city. It was projected under the name of the Grand Opera House but as a compliment to its founder was christened at its opening Wade's Opera House. Considering the number of theatres and halls for amusement and the comparatively small population of the city, this enterprise was deemed by many as premature. For this apparently very good reason, the projector did not receive that encouragement that is generally extended to such worthy undertakings and hence its history from inception to completion was not of uninterrupted progress. 

 

"Owing to sudden reverses, Mr Wade was compelled to organize a stock corporation or forego the prosecution of the work. This plan met with unexpected opposition, and work on the building was suspended for the greater part of a year. During this period of inactivity Mr. Frederick W. Bert became the Doctor's coadjutor and lessee. The two, by dint of great perseverance and energy succeeded in organizing a company, and the building was then speedily pushed to completion The Opera House was opened to the public on the evening of January 17th, 1876, and the spectacular play of Snowflake was produced and continued with unabating success for four weeks. The production of this play, the scenic character of which was sufficient to test the capabilities of the stage, took the public by surprise, and at once placed Wade's Opera House in the first rank of popular places of amusement. Mr. M. J. McDonald, a capitalist in the city, is president of the corporation. Much credit is due him for the material aid he extended to the association when the progress of the building was so seriously impeded. 

 

"The area covered by the Opera House is 110 x 275 feet. There are only two theatres that have a larger auditorium in the United States. It has a seating capacity of three thousand but as many as four thousand persons have occupied it. The external architecture is Romanesque and Italian. The cornices are highly ornamented and the balcony surmounting the wall is relieved by vases and small statuary. The central corridor leading to the auditorium terminates in a grand vestibule, 35 x 81 feet, opening through to a skylight above. In the centre of the vestibule is a beautiful crystal fountain showering cologne water from myriads of needle jets. The auditorium is divided into the orchestra or parquette, dress circle, balcony, family circle and gallery; twenty two mezzonine [sic] boxes, and twelve handsomely furnished proscenium boxes. 

 

"The predominating color is light blue; the chairs, drapery, woodwork and frescoe, all showing this tint. When brilliantly lighted, the effect is beautiful. Upon entering, the immense size of the auditorium is at once remarked. The lofty proscenium, flanked on either side by elegant private boxes in front, with tier above tier receding in the distance behind, are contemplated in silent admiration. The ceiling is arranged as a sounding board and no seat is objectionable because of its remoteness from the stage. The old style roll up 'drop' is supplanted by an artistically painted lift curtain, which draws up bodily. The stage proper is eighty-seven feet deep by one hundred and six wide and is formed of sections -- all or any part of which can be removed in a few minutes. The flats are immense -- the largest in use in the world -- being twenty four feet high. 

 

"There is an excellent arrangement whereby the scenes can be either lifted to the top of the building or lowered into the basement, where they remain until required for use on the stage. The foot-lights are below the stage, and different colored globes are so arranged over them that any color of light desired can be thrown upon the scenes. These, with all the burners in the building, are lighted by electricity -- the batteries and the keys for lessening or increasing the volume of light being behind the scenes. Every improvement, of whatever character, whether for the comfort and safety of the patrons, for ventilation, view, or stage machinery, has been introduced, and Wade's Opera House, although in a city scarce thirty years old, and remote from the great centres of art has no superior in the world.

"The art gallery occupies the space over the entrance hall, and is 40x80 feet in dimensions. The ceiling is lofty, and extending entirely around the walls is a light gallery, for convenience in arranging the paintings. Opening into it are numerous offices designed for artists studios. This, by a system of corridors, can be connected with the theatre, and forms a most pleasant promenading hall for the visitors. Its walls will be adorned by paintings by local artists, and also some select pieces from European masters. Statuary also will be introduced. The furniture is elegant and detracts not a whit from the general artistic surroundings. Mr. Fred W. Bert, the lessee, is a son of E. G. Bert, formerly a lessee of the old Metropolitan theatre, in San Francisco. He was born in Harrisburg, Penn., is thirty three years of age, and has been identified with histrionic art for many years. He has also had some journalistic experience, having been at one time connected with the Morning Call. The perseverance he manifested in the building of the Opera House is a sufficient guarantee that under his management the reputation it has gained will rather increase than diminish."

A drawing of the theatre's interior that appears following page 146 in Benjamin Lloyd's "Lights and Shades in San Francisco." Thanks to Mark Reed for locating it. A black and white version appears on Calisphere from the Museum of Performance and Design. For more interior views, scroll down to see the four color images that were included in a souvenir program in 1900.

The venture was in financial trouble by the middle of 1876. The Pacific Coast Architecture Database reports: 

 

"By 08/1876, building investors, including M.J. McDonald and Louis Vesaria, filed separate suits against The Opera House and Art Building Association totaling $20,358.36, each due payments on promissory notes. Theatre manager Frederick W. Bert, also sued The Opera House and Art Building Association, for multiple fees owed to him; the association had earlier sued him for $9,000 in back rent. Bert contended that the opera house was not constructed or completed 'as a first-class theatre, according to the terms of the lease dated March 31st, 1875.' Because the theatre was not complete, Bert contended that he had to put $12,088.54 of his own money into finishing it, and, because the building was not done on time, deprived him of $12,993 of potential revenue. He claimed total damages and fees of $38,591... Multiple legal feuds started Wade's Opera House off on bad footing."

 

By 1880 Wade was out of the picture and the building was just known as the Grand Opera House. 

 

 

The program cover in 1882 for the "first of appearance of the most versatile and celebrated artiste Marie Geistinger" appearing in "Madame Favart." It's on Calisphere from the Museum of Performance and Design Performing Arts Library. 

On October 31, 1882 the theatre became the Andrews and Stockwell Grand Opera House. They didn't stick around very long. 

 

 

 

Absconded! The January 24, 1883 issue of the Santa Barbara Morning Press had the story about Charles A. Andrews and R.L. Stockwell leaving town. The issue of the paper appears on the website of the California Digital Newspaper Collection. Thanks to Art Siegel for the research.

 

The 1884 "Social Manual of San Francisco" noted that the building was owned at that time by the Nevada Bank with a Mr. H. Rogers managing the theatre.  

 

 

The theatre as seen on the 1887 Sanborn insurance map. Thanks to Art Siegel for locating it.

 

The Divine Sarah came to visit in 1891. Thanks to Bob Ristelhueber for finding the flyer for a post on the BAHT Facebook page. Al Hayman was also involved with the Baldwin Theatre as well as various ventures in Los Angeles. 

Morosco gets the lease: In 1894 Walter Morosco took over the operation and renamed it Morosco's Grand Opera House. Before Morosco leased the Opera House he had been in Union Hall, a building dating from 1863 located on Howard St. between 3rd and 4th that he had renamed Morosco's Theatre.

 

This article appeared on page 17 of the March 18, 1894 issue of the Chronicle. Thanks to Art Siegel for locating it.  

 

Art spotted a December 10, 1894 article on page 8 of the Chronicle with the headline "No House For Opera." The Met wanted to come to town and deemed the Opera House the only suitable theatre but Morosco wasn't interested in making it available. The article discussed the changes at the theatre:

"The transformation which Mr. Morosco has effected in the Grand Opera-house can now be appreciated. He has changed its fortunes entirely. Until he took hold of it, the house was tenantless nearly the year round, and the owner was glad when an operatic manager or an extravaganza genius came along to rent it for a few weeks. It stood vacant season after season, waiting for these angel visits, and nobody imagined that there would be any difficulty in engaging the Grand Opera-house. 

"Now the feat is not only difficult but apparently impossible. Mr. Morosco has converted the white elephant into a serviceable sort of quadruped. He means to run the operation in his own way, and his plans would be interfered with if he let somebody else have possession of the immense building for performances wholly different from those on which he has built his remarkable success." 

The article quoted Joseph Redding, the Met's local representative, on the virtues of the house: 

 

"In acoustics it is not excelled by perhaps any opera-house or theater in the world...Then the foyer is a broad, well-constructed promenade for social converse between acts. Over it is a magnificent room which Mr. Morosco has arranged as an art gallery and cafe. This room is probably eighty feet long by forty in width. The seating capacity of the house is ample. It has double galleries, which will permit the greater part of the music-loving people here to attend at reasonable prices..."

 

 

 

The cover of the program for the week of February 25, 1895. The show was Myron Leffingwell's "greatest dramatic effort," something called "The Hand of Fate." The image is on Calisphere from the Museum of Performance and Design Performing Arts Library. 

"The Handsomest Family Theatre in America." It's an 1895 cover for the program from the show "Bertha, the Sewing Machine Girl" by Milton Nobles. It's on Calisphere from the Museum of Performance and Design Performing Arts Library.

A view of the stage in 1895 during the run of the play "Dark Secret." It's an I.W. Taber photo on Calisphere from the California State Library collection. 

Walter Morosco's initial programming was rather down market but in 1899 he upped his game. A page 20 article in the April 2, 1899 issue of the Chronicle favorably reviewed a Southwell Opera Co. performance of "The Black Hussar." Regarding the theatre and the programming upgrade they noted: 

"The Grand Opera House - Morosco Begins His Musical Enterprise...The Grand Opera-house was opened last night as a light opera theater under the management of Walter Morosco, whose ambition is now to raise it to artistic importance. There was a very good house, and a few fashionable people had even put on their dress coats in memory of Melba and grand opera... 

"The house looked well - spacious, airy, yet warm and comfortable - and the acoustics made the music sound most effectively, more effectively than it has in any other theater. Mr. Morosco has left a broad promenade prettily carpeted around the back of the parquet down to the first pillars, which gives an appearance of ample room in the house, while it in no wise makes the auditorium look empty. Altogether, if an attractive house can make Mr. Morosco's enterprise a success, it is assured."

An April 11, 1899 review of a Southwell Opera Co. performance of "The Queen's Lace Handkerchief" on page 9 of the Chronicle noted:

"The class of people who now frequent the house is different from that which filled it when it was devoted to blood-and-thunder melodrama. The palcos and boxes are occupied very frequently by society people, and dress coasts are visible in small numbers every night. But the enterprise is one which needs to establish itself, and a good many people do not know yet how entirely Mr. Morosco has changed the character of his attractions and the style of his handsome theater."  

The Open SF History Project website has a photo of a poster up on a fence at Baker & Fell in April 1899 for the Southwell production of "The Queen's Lace Handkerchief." Thanks to Art Siegel for spotting the photo in the collection and locating the Chronicle articles.  

 

The Grand Opera House as it appeared on the 1899 Sanborn map. Thanks again to Art Siegel. 

A very elaborate complimentary souvenir program was prepared for the 1900 season. Thanks to Art Siegel for spotting this for sale on eBay in September 2020. It was going for $349.99 if you decide you need it. 

 

 

 

 

The proprietor and his relatives. Images: Souvenir Program -1900 

 

 

"Grand Entrance." Images: Souvenir Program -1900

 

 

"Grand Foyer." Images: Souvenir Program -1900

 

"Dress Circle Foyer." Images: Souvenir Program -1900

 

"Auditorium From Stage." Images: Souvenir Program -1900

 

The Maurice Grau Opera Co. 1900 season at Morosco's. This program cover for "Lohengrin" during the week of November 26 is on Calisphere from the Museum of Performance and Design Performing Arts Library.

Morosco retires: After Morosco sold the business in July 1901 the lessee was an entity called Grand Opera House Co., a corporation headed by Charles L. Ackerman, operator of the Chutes Park, and Morris Meyerfeld, operator of the Orpheum Theatre. Harry Morosco, Walter's son, had a 25 percent share. The news was reported in a July 2 story in the S.F. Daily Call. Thanks to Art Siegel for locating the article on the website of the California Digital Newspaper Collection.

"Morosco Sells His Playhouse - Ackerman and Meyerfeld Head Purchasing Company - Policy of the Grand Will Not Be Changed by New Owners. The Grand Opera-house was purchased yesterday from Walter Morosco by a company of which Charles L. Ackerman, Morris Meyerfeld and Harry Morosco are the organizers, and which will be incorporated under the name of the Grand Opera-house Company. The transfer of ownership will not affect the policy of the management, and a stock company will be installed at the close of the Frawley season of eight weeks, under the management of Harry Morosco. There will be the regular grand opera season, as last year. The purchase price was $60,000, and the transfer included a three-year lease, of which but two months has expired, an option for a five-year lease at the expiration of the present lease and all the furnishings of the opera-house. 

 

"The building is owned by James L. Flood and John W. Mackay. Negotiations between the purchasers and Morosco began but four days before the consummation of the sale. Agreement was reached Sunday and the first payment was made yesterday, Charles L. Ackerman receiving for himself and associates the lease and option and a bill of sale for the theater furnishings. Other parties approached Morosco recently with a view to the purchase of the theater, among them a client of Otto I. Wise. Morosco named his price, but the deal was not made. Knowledge of the negotiations came to Messrs Ackerman and Meyerfeld, and they conceived the idea of adding to their theatrical investments. Mr. Ackerman conducted the for the proposed company. Morosco stipulated from the start that his son, Harry Morosco, should have a one-fourth interest in the new corporation, and the sale was made under such arrangement.

 

"From Vaudeville to Drama. The theatrical investments of Messrs. Ackerman and Meyerfeld have in the past been limited to vaudeville houses. Meyerfeld is president of the Orpheum Circuit Company. Ackerman is president of the reorganized Chutes Company. Both are heavy stockholders in each of these, and also in the Olympia. The purchase of the Grand Opera-house is their first investment in a playhouse devoted to the drama. The new company will be incorporated within a few days. It will be a close corporation, with a few other stockholders besides the three named. It is said that Morosco has expended $100,000 on the furnishings of the playhouse during the last seven years. Two years ago he refurnished it at a cost of $40,000. The electric lighting system alone cost $10,000.

"Retires From Theatrical Field. The sale of the Grand Opera-house marks the retirement of Walter Morosco from the theatrical field.. The veteran manager and proprietor began as a circus rider and acrobat, at the age of 15. His real name is Walter Bishop. That is the name upon the doorplate of his elegant country home in the Fruitvale hills, and the name he uses in private business transactions. Lewis H. Bishop, financial manager of  the Grand Opera-house, is his half-brother. Morosco's father, Joel Bishop, was a Guilford, Conn., merchant of old Mayflower stock. His son Walter left home at 15 to join a circus and took the name of Walter Melville. Finding that other acrobats bore the name of Melville he changed to that of Walter Morosco and had the name copyrighted. And as Morosco has he always been known here, and his son and his son's children, though Bishop is the name of the three generations. In 1880 Morosco became manager of Dan Rice's circus. He came to San Francisco in 1882 and with his son, Harry Morosco, appeared in Andrews & Stockwell's stock company production of 'Humpty Dumpty' at the Grand Opera-house, of which theater he secured control just twelve years later.

"Long Career as Manager.  Morosco made a tour of the coast with Sherman's circus in 1884, and afterward took the show to the Hawaiian Islands. In 1885 he opened the Wigwam, located on the present site of the Spring Valley Waterworks Building, as an amusement house. It had previously been used for political meetings. He first installed a circus in it and it developed into variety and then into vaudeville, the Orpheum being the final outcome. It was in 1886 that Morosco opened Union Hall on Howard street, afterward known as Morosco's Theater. He installed there San Francisco's first stock company playing at popular prices. 

"After eight years, in which he amassed a considerable fortune, he disposed of the Howard-street playhouse and took a lease on the Grand Opera-house, in 1894. He followed the same policy there, but on a more ambitious scale, always priding himself upon furnishing amusement to the humbler classes. Three years ago Morosco built one of the finest country homes in the State on his farm in the Fruitvale hills. Of late the active management of his theater has been in the hands of his son, while his attention has been devoted to his horses and other blood stock of his farm. His latest fad is a team of ten Shetland ponies driven tandem fashion. He announces that he will not re-enter the theatrical field, either as manager or proprietor."

 

The program cover for the November 12, 1901 performance of Meyerbeer's "Les Huguenots" performed by the Maurice Grau company of singers, chorus, orchestra and ballet from the Metropolitan Opera House, New York. It's on Calisphere from the Museum of Performance and Design Performing Arts Library. 

 

Morosco didn't live long enough to enjoy much retirement. This obituary appeared in the December 26, 1901 issue of the Chronicle:

 

 Thanks to Art Siegel for locating the article. 

 

The Opera House is one of many theatres seen on this detail from a 1903 map. Note the cluster of Fischer's, Orpheum and Alcazar on O'Farrell St. between Powell and Stockton. Also on the map are the Tivoli on the SW corner of Mason & Eddy and the Alhambra at the NE corner of Eddy and Jones. Thanks to Bob Ristelhueber for finding the map for a post on the BAHT Facebook page.

 

 

The cover for a  March 1904 program appearing on Calisphere from the Museum of Performance and Design Performing Arts Library. The program was for the appearance of the celebrated actress Mrs. Fiske in a four week season beginning with Paul Heyse's historical / romantic drama "Mary of Magdala." 

 

 

A c.1905 look at the three-balcony house. The photo is on Calisphere from the Museum of Performance and Design Performing Arts Library. 

 

A program cover for the week beginning March 18, 1906. The show was George Primrose and "his big minstrel company presenting the distinctly original idea 'The Temple of Music and Laughter.'" The image is on Calisphere from the Museum of Performance and Design Performing Arts Library. 

 

A program from the ill-fated 1906 season. It was for the April 16 performance of "The Queen of Sheba."  It's on Calisphere from the Bancroft Library. Also see the inside pages of the program. Thanks to Mark Reed for posting the image on the San Francisco History Facebook page.

 

The Spring 1906 season with the Met visiting didn't go too well. The program cover is on Calisphere from the Museum of Performance and Design Performing Arts Library. 

 

The opera schedule for the week. Thanks to Art Siegel for locating this in the April 16, 1906 S.F. Call via the California Digital Newspaper Collection website. "Carmen" with Caruso was to be the unanticipated end to the season.

April 17, 1906 - The day before the quake the front page of the San Francisco Call was devoted to the opera "The Queen of Sheba." The image was a post on the Lost San Francisco Facebook page. On the lower right is a small article noting Enrico Caruso "to sing tonight" in "Carmen." Just a few hours after that performance, the earthquake struck.

Closing: The building did not reopen after the April 18, 1906 earthquake and fire. Enrico Caruso, staying at the Palace, vowed at the time to never return to San Francisco. Despite the vow, Emiliano Echeverria notes that he accepted a booking in San Francisco for 1922. But that was unfulfilled as he died in 1921. 

 

The aftermath:

A Shaw and Shaw photo looking west on Mission with the ruins of the Opera House on the right. The photo is on Calisphere from the California Historical Society.

The Grand Opera House is in the upper left of this collage by Joseph A. Muller. It's on Calisphere from the California Historical Society. 

More information: The theatre is listed on page 860 in the 1902 edition of "The American Almanac..." It's on Google Books. The Bancroft Library has a page about the 1906 opera season.

Many additional program covers from the theatre can be found on Calisphere. The Opera House is mentioned in "Commercial Development," an essay by Anne B. Bloomfield on the site Found SF.

The Opera House is discussed on page 106 of "San Francisco's Lost Landmarks" by James R. Smith. It's on Google Books. The theatre is discussed beginning on page 155 of Benjamin E. Lloyd's book "Lights and Shades in San Francisco." It's on Google Books.

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