Chicago by day and night

by Harold R. Vynne

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.

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.