From the Program of the Nixon Theater, "Final Performances, Week of April 24, 1950."

The Headline over the story in the Pittsburgh Dispatch of December 6, 1903, describing the fabulous new Nixon Theater read "Theatrical Epoch Begins at Opening of New House." How prophetic this was, can now be realized as we approach a new epoch in which this building will no longer figure.

We believe that theatre-loving Pittsburghers will be glad to have this word picture of the Nixon as it has stood through the years. It will help them to conjure up the setting for many delightful memories.

"Not in the history of Pittsburgh theatres has a genuine epoch-making event of the sort that takes place tomorrow night occurred. The opening of the new Nixon Theatre is essentially the mark of a new era here. The first theatre in Pittsburgh was not a more important event in the way of a place of amusement, in theatrical history.

"This new Nixon Theatre brings to this city all that is new and modern and magnificent in the way of theatres. Not before has Pittsburgh possessed a genuine metropolitan playhouse, one that represented the furthest advancement in all the details that concern a theatre. Not alone is the new theatre a thing of beautiful architecture without, a work of beautiful designing and decoration within and a thoroughly perfect playhouse in the manner of its appointments, but it stands as a temple devoted to the best art of the theatre, as well as the best entertainment of theatre-goers. From the electrical carriage announcer at the front of the theatre, which has taken the place of the crude and annoying megaphone, to the equipment of the stage at the other end of the playhouse, everything is representatively modern and new.

"Something by way of description here may not be amiss. There are many elements in which the Nixon Theatre is remarkable. The ground on which it stands is worth at least $600,000 without a brick on it. Building and all the enterprise represents an investment of nearly a million and a half of dollars. It is built on a lot 122 feet wide and 17 feet deep, therefore it is one of the largest and certainly the widest in the country. The stage is 47 feet deep and 86 feet wide; the proscenium arch is 40 feet wide and the height at the center 39 feet. If the reader has any knowledge of stage mechanics he will know that on such a stage any kind of performance, no matter how colossal the scale, can be given.

The building from the exterior point of view differs from most theatres recently constructed. The skill of the ordinary theater builder has been mainly directed to the interior. The outer walls usually present little of character and less of beauty. But like many of the dramatic temples of Europe, the new Nixon is an architectural structure of real beauty to which the native of Pittsburgh can point with pride, whether or not he sees the inside. Benjamin H. Marshall, the youthful architectural genius, who designed the building, had in view a building showing graceful lines on construction with compactness and solidity. The ornamental attributes are new and original, with a leaning to what may be named as the modern French renaissance. In its outward appearance there is nothing like this theater in this part of the country and nowhere can be found a building of any character similar to it.

"The most remarkable of these new ideas is the rising promenade, or logela, in the auditorium, by which patrons of the first balcony or dress circle, can reach their seats without ascending a single step of staircase. Mr. Marshall was the first to make use of this idea. He introduced it in the Opera House designed and built by him at Los Angeles, Cal. But Mr. Marshall declared that in the new Nixon the idea has been elaborated to more completeness than was obtained in the Western playhouse. It will be agreed by most people who see the practical workings of this principle in the new theater that it can hardly be brought to greater perfection.

"There is only one tier of boxes on each side, five in a row and but slightly elevated above the floor of the parquet. They have been built with a view to both seeing and hearing, and the sculptural figures with which they are ornamented are chaste in design and delightful in color. The boxes are furnished with splendid silk velvet draperies in color harmonizing with the decorations of the house.

"The architect has also held well in mind the comforts of all patrons of the Nixon. The slopes of the floor in the parquet, dress circles and gallery are so contrived that a perfect view of the stage is assured to everybody occupying a chair. Although posts are used in support of the balconies these are so placed not one is in front of a seat. Entering the lobby one is immediately struck by the cleverness and originality or Architect Marshall's plans. The ceiling is high, this effect being increased by the decorative treatment, which at the same time foreshadows the beauty of the main body of the house.

"One enters directly from the lobby into the main foyer of the theater, and directly at the head of the center aisle of the parquet. Separating the foyer from the parquet seat is a wainscot of about three and a half feet in height with massive columns occurring at intervals, constructed in imitation of Parawazza marble, each surmounted by a capitol of composite character, though leaning somewhat to the Ionic order. At each side begins the incline promenade, ascending to the dress circle, the rise being co-incident with the fall of the foyer leading to side aisles and boxes. Here the decorator begins to show the extent of his power. The caps of the marble columns and pilasters are of solid gold, giving brilliant finish to the ceiling. which is made to suggest the tints of mother-of-pearl. The side walls are paneled, the effect aimed at being damask silk of delicate cerise red, the whole framed in a molding and styling of green, gold and red.

"The three curtains are well worthy of special reference, the regular curtain used to begin and close the performance is of asbestos and wholly fireproof. It and the act curtain were painted by St. John Lewis of Chicago an artist famed throughout the country for the beauty and originality of his designs. On the asbestos curtain presents a subject arcadian in idea, to which the artist has given the title "In Lover's Land." Two figures in picturesque costumes are prominent in a landscape of uncommon prettiness, both in the matter of coloring and composition. Cupids and draperies form the ornamental elements of the design, to which is added a descriptive verse.

"As previously stated the proscenium opening of the stage is 40 feet wide, 39 feet high, this expanse permitting the free and untrammeled use of any scenic or spectacular production, however large or pretentious. The stage itself is conceived along the most modern lines and filled with every appliance and apparatus known to stagecraft. The dressing rooms are revelations in every way and sufficiently numerous to accommodate the largest musical or dramatic organization traveling. They number 32 in all, arranged in five tiers on either side of the stage. The two on the stage floor intended, as usual, for the stars, are larger than the others. On the second tier are four dressing rooms, on the third six, and ten each on the fourth and fifth floors. All are fireproof, handsomely furnished with dressing tables, metal hangers, shelves and doors and lighted by both electricity and gas. An innovation is a trunk lift and elevator to all the tiers, thus facilitating the handling of baggage, etc.

"In a word the Nixon Theater represents the highest type of achievement that the theatrical architect and his collaborators have so far been able to attain. It is an addition to Pittsburgh's notable features to which the people of the city may point with pride, and such a feature as will arouse interest and attention in all portions of the country."

Last updated: 16 March 1999.