Lights and Shadows of New York Life / or, the Sights and Sensations of the Great City

by James Dabney McCabe

audience in case of fire, and, in connection with other facilities, said to permit the building to be vacated in five minutes. On either side of these main entrances are broad and lofty windows; and above them, forming a part of the second story, are niches for statues surrounded by coupled columns resting on finely sculptured pedestals. The central or main niche is flanked on either side by quaintly contrived blank windows; and between the columns, at the depth of the recesses, are simple pilasters sustaining the elliptic arches, which serve to top and span the niches, the latter to be occupied by statues of the great creators and interpreters of the drama in every age and country. The finest Concord granite, from the best quarries in New Hampshire, is the material used in the entire façade, as well as in the Sixth avenue side. The glittering granite mass, exquisitely poised, adorned with rich and appropriate carving, statuary, columns, pilasters, and arches, and capped by the springing French roof, fringed with its shapely balustrades, offers an imposing and majestic aspect, and forms one of the architectural jewels of the city.”

In its internal arrangements the theatre is in keeping with its external magnificence. Entering through a sumptuous vestibule, the visitor passes into the magnificent auditorium, which is, in itself, a rare specimen of decorative art. The seats are admirably arranged, each one commanding a view of the stage. They are luxuriously upholstered, and harmonize with the rich carpets which cover the floor. Three elegant light galleries rise above the parquet. The walls and ceiling are exquisitely frescoed, and ornamented with bas reliefs in plaster. The proscenium is beautifully carved and frescoed, and is adorned with busts of the elder Booth and the proprietor of the theatre; and in the sides before the curtain are arranged six sumptuous private boxes. The curtain is an exquisite landscape. The decoration of the house is not done in the rough scenic style so common in the theatres of the country, but is the perfection of frescoe painting, and will bear the closest inspection. It is impossible, even with a strong glass, to distinguish between some of the frescoes and the bas reliefs. The stage is very large, and

rises gradually from the footlights to the rear. The orchestra pen is sunk below the level of the stage, so that the heads of the musicians do not interfere with the view of the audience. The dressing of the stage is novel. The side scenes, or wings, instead of being placed at right angles to the audience, as in most theatres, are so arranged that the scene appears to extend to the right and left as well as to the rear. In this way the spectator is saved the annoyance of often looking through the wings, a defect which in most theatres completely dispels the illusion of the play. The scenery here is not set by hand, but is moved by machinery, by means of immense hydraulic rams beneath the stage, and the changes are made with such regularity and precision that they have very much the effect of “dissolving views.” The scenes themselves are the work of gifted and highly educated artists, and never degenerate into the rough daubs with which most playgoers are familiar. The building is fireproof, and is warmed and ventilated by machinery. The great central chandelier and the jets around the cornice of the auditorium are lighted by electricity.

The plays presented here are superbly put on the stage. The scenery is strictly accurate when meant to represent some historic locality, and is the finest to be found in America. Perhaps the grandest stage picture ever given to an audience was the graveyard scene in “Hamlet,” which drama, in the winter of 1869-70, “held the boards” for over one hundred nights. The dresses, the equipments, and general “make up” of the actors are in keeping with the scenery. Even the minutest detail is carefully attended to. Nothing is so unimportant as to be overlooked in this establishment.

With a few exceptions, the company is unworthy of the place and the fame of the proprietor. Mr. Booth, himself, is the great attraction. It is his custom to open the season with engagements of other distinguished “stars,” and to follow them himself about the beginning of the winter, and to continue his performances until the spring, when he again gives way to others. When he is performing it is impossible to procure a seat after the rising of the curtain.

The Grand Opera House is next to Booth’s in beauty. It is much larger than that theatre. But for its unfortunate location, nearly a mile from Broadway, it would be one of the most successful establishments in the city. The theatre is divided into two buildings, one fronting on the Eighth avenue and Twenty-third street, and containing the offices and entrances, and the theatre proper, which is in the rear of the former. The former building is a magnificent structure of white marble, in the Italian style of architecture. It fronts 113 feet on Eighth avenue, and 98 feet on Twenty-third street. It is adorned with statuary and carvings, and is far too handsome for the part of the city in which it is located. The greater portion of this

building is taken up with the offices of the Erie Railway Company.

The theatre proper is connected with the front building by means of a superb vestibule, into which open the doors of the auditorium. It is one of the most beautiful halls in America, and one of the pleasantest lounging places. The auditorium is finished in light blue, white, and gold, and when lighted up is magnificent. Every appointment and decoration is tasteful and beautiful, and there are many persons who consider it the finest interior in America. The stage is large and convenient, and the scenery good. The performances are passable.