The GRAND Theatre is a historical landmark that has been part of Calgary’s cultural and architectural evolution for over a century.
A modern marvel.
When The GRAND Theatre was conceived, Calgary was home to just 50,000 people. Senator James Lougheed, a visionary businessman, recognized the need for an entertainment hub in this rapidly growing city and enlisted architect L. R. Wardrop to bring his vision to life. Belle Lougheed, his wife, was an influential Indigenous academic, artist, and community builder who played a crucial role in the theatre's creation. A high-status socialite and a passionate advocate for the arts, Belle's support for visual and performing arts was vital to the success of The GRAND. While James sought to establish a world-class performing arts center, it was Belle’s dedication and vision that truly helped shape the vibrant cultural hub we have today.
On February 5, 1912, The Theatre opened its doors, hailed as the largest theatre in the country. It was a true marvel of modernity, equipped with electric lighting, automatic sprinklers, and dressing rooms with hot and cold running water. The opening show, “The Passing of the Third Floor Back”, had previously enjoyed successful runs in London and New York, and featured a renowned English actor named Johnston Forbes-Robson.
The GRAND Theatre was built in conjunction with the adjacent Lougheed Building in the Chicago Architectural Style using local brick and sandstone. The vision was to house a mix of offices, retail, and residential spaces within the same complex. The two structures cost approximately $500,000 to build (equivalent to approx. $13.3 million today) and were adorned with refined finishes.
Visitors entered the theatre through the lobby, which featured marble wainscoting and copper-leaded stained glass, boasted 1,350 seats – 810 on the main floor, and 540 in the upper gallery. Box seats were also located in the upper gallery. Today, balcony patrons use the same elegant staircase and handrail that were in place on opening day.
Our cultural heritage.
Over the years many attempts were made to secure historical status and protection for The GRAND. Unfortunately, due to numerous renovations over the years that had altered much of its original architecture and décor, the theater did not meet the criteria for historical preservation.
In 2005 The Lougheed Building was designated a Provincial Historical Resource under the Alberta Historical Resources Act. This designation protects the building from demolition or disturbance without express permission from the Minister of Culture.
Throughout its history, the building has been home to a diverse array of tenants, including the United Farmers of Alberta, United Grain Growers Limited, the Alberta Wheat Pool, Home Oil, and various restaurants, bars, and cafes.
Over the years, The GRAND has welcomed countless artists, celebrities, and notable figures. It has also been the backdrop for political events, business dealings, and cultural gatherings.
This theater has survived two World Wars, the Great Depression, a devastating fire in 2004, the 2013 flood, and two global pandemics. It stands as a testament to the enduring spirit of Calgary and the cultural heritage it continues to preserve.
The GRAND through time.
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On February 5th, 1912 The GRAND made its opening debut as “The Sherman GRAND Theatre” - named after the theatre’s first manager (Bill Sherman).
Opening night, patrons were treated to "The Passing of the Third Floor Back", featuring English actor Johnston Forbes-Robertson, in the lead role, who was regarded as one of the greatest actors of his generation.
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Though Sherman was responsible for getting the theatre on the travelling Orpheum circuit to bring many internationally recognized stars and acts to The GRAND. However, his name was dropped when he was fired in the summer of 1914 following a series of poor business decisions. The final straw for Lougheed was a racist incident on February 3, 1914, when Sherman denied Charles Daniels, a Black CP Rail Manager, access to the theatre, which led to one of the first civil rights cases in Canada.
The theatre then simply became known as “The Grand Theatre”.
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With the death of Senator James Lougheed the previous year his son Clarence inherited The GRAND, and leased the theatre to the Famous Players movie chain marking the beginning of the end of live entertainment at The GRAND.
News of this sparked apprehension as investors in the Lougheed and patrons of The GRAND kept asking “Will The GRAND be kept dark or do the terms of the lease require that it be kept open for legitimate shows” (i.e. performing arts).
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Calgary screens its first “talkie” film (film with sound). However, The GRAND is unable to afford to install a modern sound system for “the talkies” and remains one of two theatres playing silent films.
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The Great Depression begins and attendance at the theatre dwindles further. In order to keep The GRAND open the Lougheed family and theatre management are forced to cater even more towards film audiences and transition The GRAND away from live performance and towards cinema.
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The GRAND became one of the Lougheed family's biggest financial problems. After Famous Players end their lease in 1931 the Lougheeds try to run the theatre on their own but realise that they lack the necessary show business background to do it successfully and it is a constant struggle to attract audiences to the theatre.
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On Jan 1st, 1934, the Lougheed family leased the theatre to Ken Leach; a family friend and experienced theatre manager, with the condition that 50% of all revenue generated goes to the Lougheed family. Though Leach has some successes attracting notable performers, The GRAND was dark most of the year.
After one year he was only able to generate about $2400 (about $53k today). Which was just enough to pay for the heating costs, up-keep, taxes and insurance. The following year was no better and The GRAND was only open for a total of 33 days, and the Lougheed family were now desperate to sell the property.
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In 1937 the now financially beleaguered Lougheed family sells The GRAND to Jacob Bell 'Jack' Barron (better known as J.B. Barron), who had found extreme successes as the owner and manager of Palace Theatre (which is still on Stephen Avenue today). Under Barron management new life was breathed into the theatre!
In the summer of 1937 JB began renovations and installed a new, larger projection booth—triple the size of the old one—along with modern stage lighting and wiring for sound, and on September 3rd, 1937 they reopened the The GRAND with a thirty-five-piece orchestra in a programme of popular classical musical directed by renowned bandmaster Giuseppe Creatore!
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After reopening, J.B. tried to line up vaudeville shows for The GRAND, but this proved very difficult. By the early 1940s The GRAND had, yet again, become primarily a movie house.
In order to compete with the rise of television and emergence of suburban and drive-in theatres competing for entertainment dollars, the Barrons partnered with Odeon (known as Cineplex Odeon today) to showcase a steady stream of first-run movies, at The GRAND.
Eventually The GRAND would again transition back towards operating solely as a movie house but during much of this decade it welcomed a number of live performances each year, and even brought live animals to the stage; including elephants!
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In early 1942, the long awaited British WWII feature film, “49th Parallel” starring Laurence Olivier, Leslie Howard and Raymond Massey, premierd in Calgary at The GRAND.
The Grand showed the film forty-five times in nine days (January 30th - February 9th, 1942). As the theatre had a seating capacity of 1500, and only about 90,000 people living in Calgary in 1942, meant that potentially over half of the city's population potentially came to see "the 49th Parallel" at The GRAND during those 9 days.
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The Jubilee Auditorium opens in Calgary and attendance at The GRAND dwindles.
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The GRAND is purchased by Odeon (the precursor to Cineplex Odeon) and the space is renovated to accommodate two, 625-seat theatres, allowing two movies to run simultaneously.
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Pierre Gauthier was the General Manager of the Odeon theatre between 1961 - 1981. During his tenure, The GRAND showed many iconic blockbuster movies such as Jaws, Halloween, and the James Bond movies to sold-out crowds.
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Additional renovations transform the theatre spaces into a stacked configuration maximizing occupancy while adapting to the changing needs of the movie industry. It is now called The Showcase Grand Cinema.
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Cineplex Odeon chooses to not renew their lease and The Lougheed building is under threat of demolition to make space for parking & office space.
Allison Robertson forms a committee to save the theatre.
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The GRAND is leased for a short term to Terry Carter, who renovates the theatre into an indoor golfing facility and renames the space: “The Players GRAND Golf Centre”
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The GRAND & Lougheed Building are purchased by Neil Richardson of Heritage Property Corporation, and announces his intention to restore both spaces.
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Ensemble theatre company, Theatre Junction, with the aid of Carol Armes, signs a deal to purchase the theatre and raises the additional $10.5M needed to restore and renovate The GRAND.
The main performance space, "The Flanagan Theatre," is named in honor of philanthropist Jackie Flanagan, whose generous donation helped save the theatre from demolition.
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Montréal artist, Eric Sauvé, installs the iconic bottle chandeliers in the lobby.
The GRAND reopens and is re-named “Theatre Junction GRAND”
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The GRAND celebrates its 100th birthday.
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Theatre Junction vacates the space following a period of financial challenges and concerns about the workplace environment.
The theatre’s name reverts to The GRAND and Tony McGrath is appointed as CEO. -
Making Treaty 7 and Black Radish Theatre become resident theatre companies at The GRAND.
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The GRAND is forced to shut down due to the COVID-19 pandemic.
A sale of the theatre is negotiated with ALLIED Properties REIT, a company that specializes in historic buildings.
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Erynn Lyster is appointed Executive Director.
The sale was the first step in developing a sustainability plan to secure The GRAND’s future in Calgary’s performing arts ecosystem; the second step was a new stewardship arrangement that would have integrated the historic theatre with other downtown arts facilities.
The Calgary GRAND Theatre Society, announces its revised mission statement and vision to offer artists a stage to amplify their voices, share their stories and create art from the diverse communities they represent and we serve.
The GRAND’s programming team focused heavily on building relationships with arts stakeholders, community leaders and artists. The 2021 Summer Residency supports nearly 50 practicing artists from myriad disciplines and career levels through free studio time for project incubation and development.
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The society hired an expert consultant and embarked on sustainability planning.
There was a change in the board of directors at the 2022 AGM, Devon LeClair and Quinton Rafuse were elected chair and vice-chair, respectively.
The Programming team worked to build a strong relationship with Making Treaty 7 and other arts organizations such as One Yellow Rabbit through co-presentations. The creation of a local programming performance series called “Live and Local” offered paid performance opportunities to artists trying to recover from Covid shutdowns. The Summer residency was offered once again, subsidizing valuable studio time.
Thanks to the Society’s relentless efforts, the GRAND recovered from the 2020-22 global pandemic and continues to host community events.
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Sustainability planning is ongoing, working alongside community partners with like-minded vision and values.
The GRAND seeks to explore a model whereby arts organizations work in collaboration and share resources with key partners.
A sustainability proposal is developed in collaboration with a key strategic partner, Arts Commons.
The landlord, Allied Properties REIT, rejects the proposal after many months of negotiations in good faith, leaving the Calgary GRAND Society’s future uncertain and the fate of the oldest theatre in Western Canada in their hands.
The programming team partnered local community leaders at the forefront of their disciples, which included Wakefield Brewster and Jiajia Li. The programming team also hosted a Capacity Building workshop for artists and theatre technicians, offering free access to classes, workshops and seminars. The GRAND expanded its visual arts program, partnering with The Centre for Sexuality, Handsome Alice and the National Access Arts Centre.
The Charles Daniels Committee is formed, and led by creative Black visionaries Wakefield Brewster, Cheryl Foggo and Lisa LaTouche, with support from GRAND staff & board as part of our commitment to “sharing the story of Charles Daniels as part of our own”.
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The GRAND Society is working diligently alongside our landlord, Allied Properties REIT, and engaging the broader community and funders to preserve Calgary’s historic 112-year-old theatre as a vital part of our city’s arts landscape. As dedicated stewards of The GRAND, we are committed to ensuring its sustainability as a venue that champions wellness, creativity, connection, and diversity.
Through our programming, The GRAND continues to support local artists, foster meaningful partnerships with arts organizations, expand arts capacity, and create an inclusive space for patrons and artists from equity-serving communities. Our mission is to present high-quality, thought-provoking works that resonate with diverse audiences.
Negotiations with Allied are ongoing, with a lease agreement in progress.
We look forward to sharing more updates as we work together to secure The GRAND’s future with the support of our community.
UPDATE: (November)
The future of Western Canada’s oldest theatre is more certain after The GRAND Theatre Society reached an innovative partnership agreement with its landlord, Allied Properties REIT.
“Allied’s willingness to collaborate reflects their commitment to the performing arts community and a reinvigorated downtown,” explains Devon LeClair, board chair. “After several months of conversations and creative efforts to preserve our city’s historic theatre, we worked closely with Allied on a unique partnership agreement to attract new community partners who want to invest in, and share, our space.”
Approximately 70 arts community stakeholders participated in a workshop on November 5, 2024 to provide input on ways The GRAND can be accessed by more organizations. Feedback from that session indicated high interest in leveraging the historic space for more diverse and inclusive purposes.
“The GRAND’s history with cinema started in the 1960's and we are so thrilled Allied is committed to ensuring a key part of Calgary's history and future remains intact,” says Katherine Penhale, executive director, Calgary International Film Festival. “We look forward to partnering with The GRAND and ensuring we contribute actively to the stewardship of such a critical asset to the arts ecosystem.”
“Our recent community workshop and new agreement give us renewed hope and optimism, but our advocacy work is ongoing”, notes Erynn Lyster, executive director. “The Society’s mission is to offer artists a stage for sharing and showcasing their talent. To fulfill this commitment, and sustain the space, we invite arts organizations to make The GRAND their home. We’ll also require stronger financial contributions to help make it accessible.”
Notable performers.
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Born 1853, in London England, Johnston Forbes-Robson was regarded as one of the greatest actors of his time and was well renowned for his mastery of the stage and English language. So talented was he that iconic playwright George Bernard Shaw once seriously proposed that not only should Johnston Frobes-Robertson’s speech be recorded phonetically to be used as a standard for spoken English, but that he also wrote his play, “Caesar and Cleopatra,” specifically for for him to perform, as no one else could possible do it better.
Johnston Forbes-Robertson performed the leading role in “The Passing of the Third Floor Back” for The GRAND’s opening debut, February 5th, 1912. It cost a staggering $5,000 (equivalent to roughly $157,000 today) to secure his talents .
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Fred and Adele Astaire embarked on a vaudeville journey in 1903 under the guidance of their mother. Initially, their act struggled to gain traction, but their perseverance led them to Broadway in 1917.
While Fred was more focused on crafting innovative dance numbers, it was Adele's vivacious performances that often stole the spotlight. Audiences worldwide were captivated by their signature "oompah trot" dance, particularly in London where they were enthusiastically embraced. In 1924, the siblings headlined George and Ira Gershwin's musical "Lady, Be Good!", marking a significant milestone in their careers. Critics lauded their partnership as a match made in heaven, with one even suggesting that Gershwin's music was destined for Astaire's feet.
The iconic triple threats were all the rage when they visited The GRAND in October of 1912, when Fred was only 12 years old!
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Adored by audiences, Langtree was famously (and infamously) known as a British Socialite, model, stage and film actress, who also ran her own theatrical production company. She captivated London Society with her charm and special dances, like the "Langtry Waltz," were penned in her honor, becoming beloved fixtures of the era.
Langtry performed at The GRAND in December of 1912. The review from The Albertan afterwards referred to her as the “Bernhardt of the English speaking stage.”
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Hailed as “the Divine Sarah,” Sarah Bernhardt is recognized as the first international stage star. She debuted in the title role of Racine’s Iphigénie in 1862 and was praised as a versatile actress with an expressive voice and poetic gestures, garnering titles such as “the queen of pose and princess of gesture” and praised for her “golden voice”.
In her illustrious career, she starred in some of the most popular French plays of the late 19th & early 20th centuries, making several international theatrical tours, and eventually went on to become one of the earliest prominent actresses to make sound recordings and to act in motion pictures. In addition to her talents as an actress she also wrote, painted, and sculpted. During a 1905 performance in Rio de Janeiro, Bernhardt badly injured her knee, which finally required amputation in 1915. Despite her injury, Bernhardt performed on stage and in films until weeks before her death in 1923.
The legendary French stage actress, graced The GRAND’s stage in 1913 and the again in 1918 performing vaudeville shows assembled by Martin Beck.
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Born September 20th, 1890, in Calgary AB, Kathleen Parlow was a violinist and teacher known for her outstanding technique, which earned her the nickname "The lady of the golden bow" and "The Canadian Violinist".
At the age of seventeen, having spent a year training at the St. Petersburg conservatory (of which she was the only woman in her class), Parlow began to put on public performances. She travelled with her mother and performed all across Europe and was highly celebrated for her exceptional talent by audiences which included the kings, queens, politicians, and other notable public figures.
Upon returning to her birthplace in western Canada, she received a very warm reception and her performances were lauded by provincial premiers. Parlow performed at The GRAND twice. The first on April 11th in 1921 and again on March 7th in 1922
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The comedic Marx Brothers got their start in vaudeville, then found success on Broadway. They appeared in 14 motion pictures from 1905 to 1949. They are widely considered by critics, scholars and fans to be among the greatest and most influential comedians of the 20th century. The brothers were included in AFI's 100 Years... 100 Stars list of the 25 greatest male stars of Classical Hollywood cinema, the only performers to be included collectively.
The core of the act was the three elder brothers: Chico, Harpo, and Groucho, each of whom developed a highly distinctive stage persona. The early performing lives of the brothers (the time where they visited The GRAND) was owed much to their mother, Minnie Marx (the sister of vaudeville comic Al Shean), who acted as their manager until her death in 1929.
They performed their new musical comedy “On the Balcony” at The GRAND January 12 -14 in 1922
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An early descendant of the Barrymore acting dynasty, Ethyl Barrymore was an American actress of stage, screen and radio, Ethyl’s career spanned six decades. She regarded as “The First Lady of the American Theatre”.
She performed at The GRAND in April of 1922 -
Jack Benny was an American entertainer who performed at The GRAND in both 1926 and 1928 playing violin on the Orpheum Circuit.
Eventually he became to one of the leading entertainers of the twentieth century with a highly popular comedic career in radio, television, and film. -
Marian Anderson was an American contralto. She performed a wide range of music, from opera to spirituals. Anderson performed with renowned orchestras in major concert and recital venues throughout the United States and Europe between 1925 and 1965
Marian Anderson visited The GRAND March 15th in 1940 and obtained an outstanding reception, with the audience of fifteen hundred calling her back for five encores.
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A Polish-American musician, Arthur Rubinstein achieved international acclaim for his performances of music written by a variety of composers (particularly Chopin), during his time and beyond. Today many regard him as one of the greatest pianists of all time
Rubinstein performed at The GRAND in 1942 and n 1944 -
On Feb 5, 1946 (the theatre’s 34th anniversary)The GRAND's 34th anniversary,the iconic American concert artist, stage and film actor, professional football player, and activist, Paul Robeson, performed on our stage.
The chance to see Robeson perform was in such high demand that extra seats were added behind the stage to accommodate as many people as possible who were all very eager to hear the celebrated bass-baritone perform live. A total of 350 people sat right behind him, elevating the audience count to nearly 2000.
Known for his passionate fight against racism, Paul Robeson received a standing ovation even before he uttered a single note.