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Continued from Page One, DeGive’s faith In Atlanta was shown not only In that but In his enterprise in things theatrical. He entered the theatrical business thon- accident, but he had confidence in Its future. The’ old Bijou on Marietta-st. and the splendid Grand on Peachtree are mon uments to his belief in the South's abil ity to support music and the drama, In the Twilight Hours, He was a picturesquere, this white-haired old gentleman of 82 years. For many seasons he had mingled but a little with the public, having turned over the management of his business enterprises to his sons, and being him self content to enjoy the twilight of his career in the comfortable apartments he had equip for his family when he erected the Grand theater and apartment building. but there were few really good plays or players in the theater which did not draw him from his rooms to his family box—the sec ond from the stage on the left of the home—where, with his wife and daughter and an old friend or two he watched the action of the play with the keen eyes of a boy, tempered ge the critical interest which came wit years of theatergoing. On the stage of the Grand and the theaters which had preceded it, he had seen the world’s great players pass in review—Forrest and Booth and Salvini, Bernhardt, Davenport, Modjeska. He could—if he would—have written an interesting story of the drama of four decades, A Boy in Belgium, Laurent DeGive was born in the little town of Denant, In Belgium, a little more than 42 years ago. He was well reared, well educated. The university at Liege gave him his degree in the law, and for a short time he practiced his profession. He married and pros peree with no thought of leaving the land of Leopold. But in America trouble between the states was brewing. The South, look ing to Its future, became anxious to establish trade with Europe. Howell ions and other Southern men visited Belgium to stimulate trade with the Southern states and a cargo of goods was made up for shipment to Savan nah. Young DeGive'’s health was not the best just then, and he believed a sea voyage would help hi He came to Georgia with the to take charge of its sale. He has seen his native land but once since then, going back for a short time, accompanied by his wife, during the Civil , which began a few years after his arrival in America. Mr. DeGive never relinquished his Belgian citizenry. King Leopold, the monarch who died a few months ago, named him consul for Belgium in At lanta, an honor of which he was very proud. He was several times decorated his king, but he has never been seen to wear one of the medals. Four of them repose in the old safe at the Grand, A Founder of Theaters. The embarkation of ‘Mr. DeGive in the theatrical business was largely, ac cidental. Shortly after the war he sold to a Masonic lodge the lot In Martletta at, upon which the Bijou theater now stands. The Masons began a temple upon the site, but when work had reached an advanced stage a financial depression began and the enterprise was stopped. Mr. DeGive bought In the property and, at a loss,to use the half-completed bullae accepted the advice of a friend and turned it into a theater, then known as DeGive's opera house.” Since that day the name of DeGive has been known to the theatri cal profession of America as identified with the drama in the South. It was his enterprise which encouraged some of the world’s great players to venture Southward a which made possible the complete theatrical circuits of the present day ‘Then the New Grand. The old theater was’ outgrown after twenty years of success and Mr. De Give, confident and liberal, erected the magnificent Grand opera house build ing,the largest theater in the South, investing a sum which made many of his friends believe it could but be a financial failure. It was opened into early seventies, with Forrest, the emi nent tragedian and idol of theater goers, an ihe first star. A week's en gagement drew such audiences as At lanta had never seen, and this success was followed by many others. The fle of old programs at the Grand, dog eared and dusty, shows the names of players who have long since made their last exit, but whose Influence is felt today in all that is best in acting, Bernhardt, Salvini, Barrett, Fanny Da venport, Rhea—those were among the first of the greater stars to tread the boards of the Grand. In later years there has been hardly a player who has not s jared there. And from the shadow of his box the pioneer watched them come and go, each playing many parts; and many who were in the rime of fire and vigor answered their curtain call before him—Sol Smith see! and Roland Reed, Stuart Rols on, Modjeska, Janauschek, Jefferson, Mansfeld—and but a few weeks ago, one of the last of the old school, Louis James. And now, well put the allotted Uiree score years and ten, the father of the Southern stage has also an swered the final call; the curtain has been rung down, Laurent DeGlye re dead, but his works live after him,
Newspaper Details
Atlanta Georgian and News
Atlanta, Georgia, US
Thu, Mar 17, 1910
Page 29
Full Page
Clipped by
Todd D.
USA 25 Jul 2026
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