THE THEATERS.
[Illustration]
The Wayfarer having received some hints as to the quarters in which he
may establish himself, one reaches the much more important question of
how he shall amuse or divert himself while here. Before coming to the
point of the more unique or unusual modes of diversion with which the
city abounds one’s first thoughts naturally turn to the theaters.
Chicago is famous as a theatrical center, and the very best attractions
are constantly to be found at one or another of the great play-houses.
Just at this stage, therefore, it is meet to utter a few remarks on the
leading theaters and the class of excellent entertainment they present
to their patrons.
THE CHICAGO OPERA HOUSE.--This theater, one of the youngest in
Chicago, is perhaps entitled to primary mention by reason of its
virtual monopoly, except at stated intervals of the cream of the
city’s theatrical business. It has a very large seating capacity;
was first opened about seven years ago with the tragedian, Thomas
Keene, as the attraction. The director of the Chicago Opera House, Mr.
David Henderson, has achieved a wide popularity, both in and out of
the profession, and is aided in his efforts by a corps of efficient
assistants, notable among who are Messrs. Thomas W. Prior and Max
Godenrath. While presenting to the public attention first-class
attractions all the year around, the Chicago Opera House has earned
the major part of its distinction by the superb extravaganzas it
has been producing annually. These extravaganzas usually commence
in May and run through the summer months, thus securing to the
house a steady patronage during the “dog-days.” It is beyond all
question that the first of these spectacles, the “Arabian Nights,”
established Mr. Henderson’s reputation as a purveyor of this class
of entertainment, (termed by the irreverent “leg shows.”) The second
production, the “Crystal Slipper,” enhanced this reputation, and those
succeeding--“Bluebeard Jr.” and “Sinbad”--kept it going. This year
(1892) the summer spectacle at The Chicago will be “Ali Baba, or the
Forty Thieves,” and if advance gossip is to be taken as evidence, it
will transcend in magnificence anything of its kind that has ever been
produced under Mr. Henderson’s supervision. The libretto of “Ali Baba”
is by Harry B. Smith, the distinguished wit and literateur, who has
performed a like service for the pieces before mentioned. The Chicago
Opera House is situated on the South side of Washington Street, between
Clark and La Salle Streets, and is invariably thronged throughout the
hot weather. Mr Henderson manages to group upon his stage as choice a
galaxy of feminine loveliness as is to be found in any climate, and the
costuming (or rather the lack of it) is doubtless as gratifying to the
performers as it is to the spectators, being constructed on the hot
weather plan; light and airy. It is no uncommon sight to see a party of
honest country folks appearing, gripsacks in hand at the doors of the
Chicago Opera House, having come straight from the train to the theater
to witness the show, the fame of which had penetrated to their homes in
the country; and which, after their return, they would rather die than
let their families and the church folks know they had seen.
MCVICKER’S THEATER.--It is situated on the south side of Madison
Street, between State and Dearborn, and is one of the oldest resorts of
its kind in the city, though the present structure is quite new, having
been reconstructed on the site of the old one, which was destroyed by
fire in the spring of 1891. The attractions at McVicker’s are usually
of the solid, legitimate order, though the gray-haired proprietor
occasionally is guilty of a lapse to a variety show. McVicker’s,
however, is the home of high-class drama and comedy, and the theater
itself is perhaps without a rival on the continent in the way of
magnificent decorations and comfortable furnishing. While Mr. McVicker
is opposed to Sunday performances, he occasionally permits them, which
enables the stranger, not infrequently, to encounter a first-class
Sunday night show within a few paces of his hotel.
THE GRAND OPERA HOUSE.--This admirable play-house is located on the
east side of Clark Street, just north of Washington. It is another
old-established theater enjoying a large patronage. The Grand is the
home of Hoyt’s farces, each of these fanciful productions having been
produced successfully at Mr. Hamlin’s temple. At the Grand, also appear
most of the German companies, though the latter will, it is to be
presumed, go to the new edifice, Schiller theater, Randolph Street,
near Dearborn.
HOOLEY’S THEATER.--Located conveniently on Randolph, between Clark and
La Salle Streets, is devoted to all sorts of attractions, and is one
of the handsomest theaters of its size in the country. The patrons of
Hooley’s may run the gamut from low comedy to grand opera; and Irish
comedy-drama often following immediately after one of the high-class
engagements, such as that of the Madison Square or Lyceum Theater
Companies.
[Illustration]
COLUMBIA THEATER.--In the very heart of the business district, on
the south side of Monroe, between Dearborn and Clark Streets. This
theater is one of the oldest in the city, and has passed through many
managements, being at present under the direction of the Hayman Bros,
and Mr. Will J. Davis, both of whom are gentlemen of the highest
standing in the profession and thoroughly competent to cater to the
desires of an amusement-loving public. The attractions presented at the
Columbia are of a wide range, the properties of the house being suited
to the production of grand or light opera more than anything else.
Some of the first artists in the world have appeared at the Columbia,
notably, Henry Irving and Ellen Terry, the latter having, on one
memorable night, formally christened the theater which, prior to that
time, was known as Haverley’s; Sara Bernhardt, Adelina Patti, Christine
Nielsson, and others almost equally famous. The seating capacity of
the Columbia is as large as that of any of the down-town theaters and
it possesses the advantage of large, comfortable seats, very liberally
spaced, that other managers might do well to emulate.
THE “PROVINCIAL” THEATERS.--The houses mentioned are known as the
“down-town” or high-priced theaters, the scale of prices ranging from
25 cents to $1.50 per seat. In addition to these, however, there are
a number of houses, some of which are equally large, scattered about
in the three sections of the city, which are known as the “second
class” or “provincial” theaters, where the price of admission ranges
from 15 cents to $1.00. Of these may be mentioned the following: South
Side--Alhambra, State and Archer Ave.; Madison Street Opera House, 83
Madison Street; Olympic, 46 South Clark Street; Havlin’s, Wabash and
19th Street; People’s, 339 State Street. North Side.--Clark Street
Theater, Clark and Kinzie Streets; Criterion, 374 Sedgwick Street;
Windsor, 459 North Clark Street. West Side.--Haymarket, 169 West
Madison Street; Lyceum, 58 South Desplaines Street; Standard, 167 South
Halsted Street; Halsted Street Theater, Halsted and West Congress
Streets.
The outside, or provincial theaters usually offer a more sensational
type of plays, specimens of the wild and woolly border drama being
usually presented for the edification of their mercurial patrons.
The Park Theater, 335 State Street, ought not to rank with the other
theaters, but is often patronized by travelers whose tastes lead them
to desire entertainment of the more democratic type. The accessories
of tobacco smoke and liquid refreshment, which are to be indulged
in at the Park, form an attraction that they find it impossible to
resist, nor is it difficult for a patron, whose pocketbook enables him
to indulge in such luxuries, to obtain an introduction through the
influence of the manager to the more or less fascinating “fairies,” who
go through their performances on the stage. Further mention of the Park
will be made later.
[Illustration:
THE COLUMBIA.
GRAND OPERA HOUSE.
HOOLEY’S THEATRE.
CHICAGO OPERA HOUSE.
MCVICKER’S.
THE AUDITORIUM.
THE SCHILLER THEATRE.
]
THE DIME MUSEUMS.--Chicago is probably more bountifully supplied
than any other city in the Dime Museum line. It is not necessary to
particularize as to the various houses of this character; they are
scattered in all quarters of the city, and in them is to be found
infinite material for entertainment and instruction at the modest
admission fee of 10 cents. The freaks of all climes are to be found
on exibition and most of the museums throw in a stage performance of
some kind more or less meritorious. A favorite plan of a party, large
or small, desirous of a little quiet fun, is to execute a “Dime Museum
Raid,” as it is called. They assemble at the hotel or other meeting
place, and start out on a tour of the various museums, visiting each in
turn, with, of course, the usual intermission for drinks. The amount
of fun to be obtained from such an excursion can easily be imagined.
Aside from the entertainment to be derived from viewing the freaks on
exibition, it is a very easy matter to discover food for mirth in the
freaks among the audience. There is a happy-go-lucky atmosphere in a
Dime Museum which is not found elsewhere, and the Dime Museum “raiders”
are in the habit of getting much more than their money’s worth; but
so long as their fun does not end in a fight, there need be no cause
for complaint. A thing that should be looked into is the attendance at
certain of these cheap shows of young girls whose tender youth leads
one to marvel why their parents do not manage to keep them at home,
or, failing that, to box their ears and send them to bed for their
contumacy. It is not the province of the writer, however, to purify
the morals of this great and growing town, so let those “kick” who
will.
THE CASINO.--This resort, formerly known as the Eden Musee, is a
unique place of amusement, situated on the west side of Wabash Avenue
just north of Jackson Street. Its leading feature is a magnificent
wax-work exhibit, which good judges say almost equals the famous resort
of Madame Tussaud in London. All the famous characters in history,
past and present, are reproduced in life-like manner. There is also a
“Chamber of Horrors,” which may be visited by those who desire to feel
their flesh creep. On the top floor is a roomy amphitheater, in which
a good stage show is always in progress, and the rear part of which is
filled with neat, round tables, where the patrons may indulge in light
refreshments of various sorts. The admission fee to the Casino is 50
cents, which entitles the visitor to all the privileges of the house
without extra charge.