TWO UNIQUE PLAYHOUSES.
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The Madison Street Opera House and the Park Theater, which were
briefly mentioned in the preceding chapter, are two resorts that may
be regarded as occupying a unique position in the amusement roster.
The Madison Street Opera House gives two performances daily and its
manager, the veteran Colonel Sam T. Jack, is reputed to be coining
money. The size of the audiences that fill Col. Jack’s theater twice a
day is attributable, possibly, to the fact that the house is devoted
entirely to the presentation of burlesque. Companies of more or less
merit appear from week to week, and in order that they may secure a
“date,” it is necessary that they possess a number of shapely women
in the cast. An artist would probably call the costumes of the ladies
who appear at the Madison Street Opera House artistic. Certain it
is that if they were constructed on any other plan than that of the
present one they could not possibly convey a more liberal view of “the
female form divine.” Indeed, there was one engagement that included
the presentation of a series of classic tableaux, in which the
complete suits of skintights that the ladies wore, were if anything
more attractive than no costumes at all. No drinks are served in the
Madison Street Theater itself, but it is situated over a large saloon
which is easy of access by means of a staircase leading directly into
the parquet. It is needless to say, perhaps, that the nature of the
spectacular gems to be seen on the Madison Street Opera House stages
are strongly calculated to produce thirst--especially in a masculine
audience. Not very long ago the Chicago _Mail_ undertook to “roast”
the Madison Street Opera House, and to stigmatize its performances as
improper. Mr. Jack at once sued the paper for libel. If a jury should
have a notion to visit the theater it might materially assist in the
rendition of a verdict in accordance with the facts.
The Park Theater, situated on State Street, in the “Levee,” or
“Tenderloin” district, is even more democratic. Drinks are sold and
consumed during the stage performance, and smoking is allowed. This
is a favorite resort for “bloods” who, having come to town for fun,
propose to see all there is in it. A party of three or four who
purchase a box may, if they choose, enjoy the society of the actresses
who will visit them between acts and have a pleasant, social time. It
is within the bounds of decorum to invite the fair performers to drink,
and if an acquaintance so auspiciously begun should be carried to even
more agreeable lengths, why, who is going to complain so long as the
City authorities permit its open programme? Not the manager, surely. He
is there to see that his guests have a good time and will exercise all
his efforts to the procurement of that end.
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There are several wine-rooms upstairs, and in these one may enjoy a
_tete-a-tete_ and a bottle of champagne with his chosen charmer, if
his inclinations (and his pocketbook) will permit him to go to that
length. An amusing feature of the _regime_ at the Park is the system
whereby the actresses keep matters straight with “the house.” Under
the rules, each “lady” is allowed a percentage on the money received
for drinks that she causes to be purchased. She carries a memorandum
book and pencil, and jots down every cocktail or whiskey straight that
her admirer (for the moment) may purchase. After the “show,” when
the audience departs, she goes to the bar and tallies up with the
barkeeper. A balance is struck at the end of the week and the money
paid over. An idea of the informality of the performances at the Park
may be gathered from the fact that when James Owen O’Connor played
there awhile ago, a lot of boys went about in the theater selling stale
cats, cabbages and other garden produce to the audience--the same to
be used for the purpose of pelting the actor! Anyone who wishes to see
a “tough” audience and a “tough” show will find what he wants at the
Park, which seems to be entirely within the idea of police regulation,
nevertheless.