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Arranged and Published by 

Historical Pictures from Collection of 

Plates and Engravings 

Press of 

iKOfflfOIS THCaTRfi 






^^ e>^itractioiv 

NOVEMBER, 23 J 1 Kif^aRl^GERS. 





Iroquois Theatre 



erected and owned by 
The Iroquois Theatre Company 

directors and proprietors 

William J. Davis Harry J. Powers 

A. L. Erlanger J. Fred Zimmerman 

Sam'l F. Nixon Marc Klaw 

WILLIAM J. DAVIS. HARRY J. POWERS, Resident Owners and Managers 

The Business and Working Staff Includes 

THOMAS J. NOONAN, Business Manager and Treasurer 

EinVARl) J. DiLI.OiN I Tj^^, , , 

ITT T A T 1- rsox ' ' 

Will J. Davis, Jr. ) 

Helen Hag ax, Secretary 

J. E. G. Ryan, Press Rei-resentative 

Antonio Frosolono, Director of Music 

G. N. Disenberry, Doorkeeper 

Ed. J. Clmmings, Master Carpenter 

Walter Hueston, Electrician 

Robert Murray, Engineer 



Randolph, between State and Dearborn Sts., Chicago. 

Beginning Monday, November 23, 1903. 
E,very E,vening, Including Sunday. 
Wednesday and Saturday Matinees. 

KLAW 6 EF^LANGELF^ present 


The Great Spectacular Entertainment from Theatre R^oyal. 
Drury Lane, London 


Adapted for the American Stage by JOHN J. McNALLY 

The Lyrics, unless otherwise indicated, by J. Cheever Goodwin. 

Music, unless otherwise indicated, by Frederic Solomon. 

Ballets by Ernest D'Auban. 

Produced under Stage Direction of Herbert Gresham and Ned Wayburn. 

Business Direction of Jos. Brooks. Edwin H. Price, Manager. 


Scene 1— The Market Place on the Quay, near Bagdad. (.Bruce Smith.) 

Mustapha plots to separate Selim and Fatima and sell the beautiful Fatima to the 
monster Blue Beard. Blue Beard arrives; purchasess laves. Sister Anne falls in love 
with Blue Beard and spurns Irish Patshaw. Blue Beard seizes Fatima and takes her 
on board his yacht. 

Opening Chorus— 

a. "Come, Buy Our Luscious Fruits." 

b. " Oriental Slaves Are We." 

c. " We Come From Dalmatia." 

d. Algerian Slave Song and Chorus. 

aa. Grand Entrance Blue Beard's Retinue. Medley Ensemble. 

bb. Song—" A Most Unpopular Potentate," Blue Beard and Chorus. 
a. "Welcome Fatima." 
Song — "I'm As Good As I Ought To Be," Blanche Adams. 
Finale— "Then Away We Go." 



Only Way" 



Scene 2-On Board Blue Beard's Yacht. (Bruce Smith.) 
Fatinia with Selim attempts to escape from Blue Beard's yacht, but i.^; prevented. 
Selim jumps overboard. 

Opening Chorus— "There's Nothing Like The Life We Sailors Lead." 
Duet— Miss Rafter and ]Miss Adams. 

" Beautiful World It Would Be." (Harrv Von Tilzer.) Harry Gilfoil. 
" I'm a Poor Unhappy Maid." (Jerome a'nd Schwartz.) Eddie Foy. 
Finale—" He's Gone." 

Scene 3— The Isle of Ferns. (H. Emden.) 
Fairv Queen appears to Selim, promises him her aid and the power or tlie Magic 
Fan to reunite him to his loved one and to protect them from evil. 
Scene 4— The Laud of Ferns. (H. Emden.) 
Ballet of Ferns- Procession and waving of the Magic Fan, by the Fairies and 
Grand Corps de Ballet. 

.Scene 1— i ik- i^a>Tie Terrace ami ucn^. i .ut*. irci > . > 
Fatima believes Selim dead and agrees to marry Blue Beard. She get> 
the Castle from Blue Beard, who enjoins her not to open the Blue Chamber, 
Opening Chorus—" Davlight is Dawning." 

"Songbirds of Melody Lane," Beatrice Liddell, Elsie Romaine, and Chorus. (Ed- 
wards and Brvan.) . ,, . J 
"Beer That Made Milwaukee Famous." (Harry Gilfoil. > Bonnie Magmn and 
Pony Ballet. 

Sister Anne and the Pet Elephant. 

"In the Pale Moonlight." (Jerome and Woodward.) 

"Ma Honey." (Hoffman.) Bonnie IMaginn and Chori- 

Scene 2 — Chamber of Curiosities. (Mc»„n.t ■ _> . r 
Conquered by curio.'^ity, Fatima opens the Blue Chamber and discovers Blue Beard's 
awful secret. 

Blue Beard's wives discovered. 

Scene 3— Home of the Old Woman Who Lived In a Shoe. (E Albert, i 
The disobedient children. 
Song — " Wake L"p Mammv," Maude Nugent. 

.Song— " Mother Eve." (Schwartz.) Eddie Foy, Pony Ballet, and Chorus. 
Scene 4— Hall in Blue Beard's Palace. (E. Albert.) 
Dancing Specialty by Frank Young and Bessie De Voie. Music by C. Herbert Kerr. 
Scene 5— Triumph of the Magic Fan. (H. Emden.) 

Tableau 1— The Land of Palms. Tableau 4— Japan. 

Tableau 2— EgvT)t Tableau .5— Parisian Rose Garden. 

Tableau 3— Indi;. Tableau (5-^ ~e Garden. 


Xellie Reed, Premiere, and Grand Corps de Ballet. 

Scene 1— Hall of Pleasure in Blue Beard's Palace. (E. Albert, i 

Scenes of revelry in Blue Beard's absence. 
Opening Chorus— "Let Us Be Jolly As Long As We Can." 

"Spoony Mooney Night." (Gus Edwards.) Bonnie Maginn and Chorus. 

Ponv Ballet Specialtv. Music bv Jean Schwartz. 

" Juiie." (Wm. Jerome and Jeaii Schwartz.) Herbert Cawthorne and Chorus. 

Blue Beard returns unexpectedly. 

Sister .\nne gives evidence of temporary insanity. Imagines herself Ophelia. 
Song- "Hamlet" Was a Melancholy Dane," Eddie Foy. (Wm. Jerome and John 

Schwartz.) " : 

Blue Beard discovers that Fatima has disobeyed him and threatens her and her 
friends with death. 

Scene 3— Below the Ramparts. (Hicks and Brooks.) 

Blue Beard gives Fatima one hour in which to accept his offer of marriage or per- 
ish with her friends. Selim summons Fairies' aid. Attack on the castle by the Fairy 
Army. Fatima and,l)ftr Jxiends in periU . . . 

Scene 3— The Fairy Palace. (Bruce S'"'"^ > 

Blue Beard is overthrown and the lovers are reunited. 

Entrance and triumph of the Fairy .\riny. 

Grand Transformation Scene. 

Trains of Quality 

"20th Century Limited" 


Leave CHICAGO, daily.. 12.30 p.m. 

Arrive NEW YORK, daily 9.30 a. m. 

"The LaHe Shore Limited' 


Leave CHICAGO, daily 5 30 p. ni. 

Arrive NEW YORK, daily 6.30 p. m. 

Arrive BOSTON, daily 9.03 p. m. 


A. J. SMITH, Gen'l Pass'r and Tkt. Agt., CLEVELAND, OHIO 
C. F. DALY, Chief Assistant Gen'l Pass r Agt., CHICAGO, ILL. 

















ZARA I Blue Beard's Six J :\IISS BEAUTE 

NADIE - r Prettv Wives, "^i MISS WILLIAMS 





KNOUSE [ Blue Beard's Six J C. W. NORTHRUP 

BADUN r Ug-lv Wives. i JOHN VATKS 




Elephant and Head Tricks by Lambert and Gallagher. 




Costumes designed by Comelli, London. Made by Alias, Auguste, Simmons, 
Baruch, D'Allessandri, and Harrison, London, Paris, and Berlin. 

Costumes for Specialties, "Ma Honey," "In the Pale Moonlight," "The Old Woman 
Who Lived In a Shoe," and the Pony Ballet, de.signed by F. Richard Anderson ; made 
by Klaw & Erlanger Costume Company. 

Shoes by Cammeyer. Tights by the Brooklyn Knitting Co. Wigs by Clarkson 
London, and Hepner, New York. Electrical effects by H. Bissing & Co. 


Business Manager Mr. Samuel Harrison 

Stage Manager Will Carleton 

Assistant Stage Managers Wm. Plunkett, Carl Kahn 

Musical Director Herbert Dillea 

Ballet Mistress Mme. Sarraco 

Mechanical Department Max. Mazzanovich, J. Andrew and Wm. Owen.'i 

Properties Wm. Price 

Electrician Wm. Dunn 

Wardrobe Mistress Mrs. Quist 

Assistant Wardrobe Mistress Mrs. Kelly 

Wardrobe Man Bert Ewmg 

Armorer Wm. Shermna 


By Charles E. Nixon 

THE pioneer days 
of players iisino- 
the vernacular 
were anything but 
"palmy." These poor 
wandering Thespians 
were opprobriously 
called "vagabonds," and 
when they attempted to 
give performances in the 
larger towns, the author- 
ities, under pressure of 
the prevailing sentiment, 
were ever trying to for- 
bid them. As a result 
of petty persecution and 
municipal meddling, a great change eventually came 
about, bettering both the drama and its expositors, 
for the players wisely abandoned strolling and pre- 
pared to establish themselves permanently 


Undesirable tenants, the actors were forced, as a 
makeshift, to build houses of their own beyond the 
town limits. Fairly familiar with the classic drama, 
they had neither the means nor the motive for 
reproducing the imposing slavcbuilt theatres of 
antiquity, seen amid the ruins of Rome and Athens. 
As the strollers had been accustomed to performing 
in the court-yards of humble inns or feudal castles, a 
simple enclosed court served their modest architect- 
ural ambitions. Their most popular model was 
square eighty feet in each direction, the central por- 
tion open to the sky. The enclosure was a quadrangle 
of galleries that were divided into " rooms " for the 
wealthy and aristocratic class. Currently these 
" rooms" would flank the stage and be called boxes; 
as it was then the lords and ladies occupied the 
galleries exclusively. 

The ground floor was so in reality, for it was 
merely a yard wherein the ordinary spectators had 
to stand. Projected into this space was a platform 
forty feet square which served as a stage. Along the 
base of the rear gallery spanning this stage were 
himg tapestries to shield the space behind, which 
might be used as a dressing-room. The gallery was 
for the use of actors and stage service. Its elevation 
served as an upper room, a balcony, a beetling cliff, 
or the drawbridge of some besieged castle to be 
valiantly defended. This " stage was considered so 
spacious that spectators could hire stools and sit at 
the right or left, viewing the play and players at 
close range. 

This severely simple platform, minus scenery or 


furnishing, save the 
arras at the back and 
its quaking balcony, 
had of necessity t< 
represent all the se- 
quence of places that 
the imaginative play- 
wright could demand. 
This poverty of re- 
source may have pro- 


voked the dramatist 

and plagued the actors. Yet the inadequacy and 
provoking plainness appeared to be acceptable to the 
majority of the uncritical spectators in the golden 
Elizabethan age. This condition of simplicity was 
not, however, relished by all the patrons of the 
playhouse. The censorious Sidney, familiar with 
better conditions on the stage of Italy, protested 
against the stage on which the scene would seem 
to change continually, simply because there was no 
scenery to be changed. Sidney wrote of it as he saw 
it: "The player, when he comes in, must either 
begin with telling where he is, or else the tale will 
not be conceived. Now shall you have three ladies 
walk to gather flowers, and then we must believe the 
stage to be a garden. By and by we hear the news 
of a shipwreck in the same place ; then, we are to 
blame if we accept it not for a rock. Upon the back 
of that comes a hideous monster with fire and 
smoke ; and the miserable beholders are bound to 
take it for a cave ; while in the meantime two 
armies fly in, represented with four swords and 


bucklers, and then what hard heart will not receive 
it for a pitched field." 

The undertakings advanced by ihe heroism of the 
poor persecuted pla}^ers in the elder day of the Eng- 
lish drama, the practical and progressive managers 
have improved and perpetuated and the modern 
architects have beautified. During the past decade 
theatrical architecture has made wonderful advance 
in this country. Inconsiderate travelers may remark, 
in contrast to local achievement, the Grand Opera of 
Paris, the Royal Opera of Vienna, or the wonderful 
stages of Bayreuth or Budapest, overlooking the 
pertinent fact that such structures are subvented 
institutions under governmental jurisdiction or royal 
patronage, while all the opera houses and theatres 
in America are private enterprises, and, generally 
speaking, provide better entertainments and far 
better accommodations for the public than the most 
pretentious of the famous foreign opera houses. 

The American public now, more than ever before, 
demand elegance of environment for their amuse- 
ments, as well as provisions for comfort and security ; 
yet the opportunity for architectural compliance with 
these exactions is restricted by reason of the enormous 
land values in the heart of great centers of civiliza- 
tion, the most advantageous locations for theatres. 

The latest and most noticeable achievements in 
theatrical construction, not reckoning the cost to 
secure the finest results, are significant in the re- 
cherche New Amsterdam Theatre in New York, the 
finest concrete example of L' Art Nouveau in the 
world; the beautiful Nixon Theatre, now approaching 


completion in Pittsburg-, and last but not least, the 
Iroquois in Chicago, the finest and most complete 
of its many modern houses devoted to the drama. 

The desirable site chosen for the Iroquois is 
close to that associated with the very beginning of 
things theatrical in this municipality nearly sixty 
years ago. It is located within " The Loop," is more 
readily accessible from traction and railway lines 
than any other Chicago theatre, and has a frontage 
on three thoroughfares, with many avenues for exit. 
The practical part of its promotion as an elegant 
edifice as w' ell as a perfect theatre show the result of 
skill added to good judgment in unstinted financial 
outlay, with a determination to secure the best as 
befitting such an important artistic adventure. Every 
penny of the large expenditure represented in the 
Iroquois was made in the theatrical business. Mr. 
Will J. Davis and Mr. Harry J. Pow^ers, as the result 
of ripe experience, understood exactly what was 
needed. The judicious character of their invest- 
ment is unquestionable and the artistic addition to the 
city most advantageous. Associated with the Chicago 
managers are Messrs. Klaw and Erlanger of New 
York, and Messrs. Nixon and Zimmerman of Phila- 
delphia, both firms being large producers as well. 

The George A. Fuller Company is second to none 
in handling building enterprises of magnitude, and 
in carrying them to completion in spite of all ob- 
stacles that the uncertain temper of the times may 
impose. It may be recalled that this corporation 
carried the Illinois Theatre to completion under con- 
ditions that seemed prohibitive, and has been equally 



successful in completing" the Iroquois at a time when 
other builders have been seriously delayed or entirely 
abandoned constructions, discouraged by the attitude 
of labor and contract conditions. 

Mr. Benjamin H. Marshall, the architect, has 
shown admirable capability as a modern theatre 
builder, and in this instance has again given Chicago 
its most beautiful temple of the drama. The Illinois 
Theatre was the first monumental structure of the 
kind in Chicago, and the Iroquois is a surpassing 
second, as the entire building is devoted to theatrical 

The Iroquois presents the most imposing and 
attractive fagade to be seen in this city of modern 
structures, and will impress even the most superficial 
observer by its beauty and grandeur. The style, 
architecturally, is French renaissance, which has a 
strong suggestion of the classic. This mingling of the 
heroic and lighter lines is artistically adroit, and the 
result very satisfactory. The Randolph Street front 
is of Bedford stone deeply recessed (sixty feet wide 
and eighty feet high), the admirable proportion and 
architectural treatment making it appear larger than 
it really is. The central feature is a deep French 
coved arch thirty-five feet in width and fifty-two 
feet high, flanked on either side by stone columns 
four feet in diameter and thirty-eight feet high, 
weighing thirty-six tons each. Next to these in cor- 
rect architectural spacing is an engaged pilaster 
four feet wide that returns back of the columns, 
acting in double function. The front view gives the 

impress of double free columns on either side of the 


arch, adding grace and strength to the uplift of the 
edifice. These columns and pilasters rest upon a 
mammoth pedestal of St. Cloud granite sixteen 
feet square. The width of these bases will serve as 
bulletins of attractions, for which a space five feet 

square is recessed and framed in carved leaves of 
laurel, the top center being a rich cartouche. The 
columns and pilasters are surmounted by a cornice 
nine feet high, running across the entire front from 
pilaster to pilaster, breaking back to the face of the 

MR. J FRf D. 



arch at the top of either 
column. These returns 
are sustained by elabo- 
rately carved massive 
brackets of French 
pattern. The upward 
continuation of the cor- 
nice forms a pediment 
or gable, the apex of 
which is seventy-five 
feet above the pavement. Above its crown moulding 
is a parapet. Surmounting the center as a terminal 
is a monolith of stone twelve feet wide and fifteen 
feet high. The massive character of the masonry 
will be appreciated when it is stated that this upper 
wall is fourteen feet thick. 

The ornamentation of the pediment is emble- 
matic, showing the semi-recumbent figure of a woman 
heroic in size, representing Traged)', and the figure 
of a jester, typifying Comedy. They support a richly 
carved cartouche as the central ornament. 

The sculptors of this large group are Beil and 
Mauch, and the carver, Joseph Dux. The figures are 
cut out of the solid stone projection, the relief being 
3^ feet from the face of the pediment. The size of 
these sculptures may be judged by the fact that the 
ornamental head forming the keystone of the arch 
ten feet below them is 3^{> x 4 feet. 

Springing up within the arched entrance are a 
pair of stone pilasters thirty-four feet high, support- 
ing a cornice spanning the arch at the beginning 
of the curve. The upper members of this gable are 


cut out as a broken pediment, allowing space for the 
sculptured bust of a noble Iroquois that Mr. Davis 
selected as typical from his large library Americana. 
Back of this arch is an elaborate screen of orna- 
mental iron work (in which the Winslow Brothers 
have fairly outdone the Germans in their handicraft). 
This screen is set with heavy plate and jewel glass, 
giving light and airiness to the inner lobby and 
outer front. Five pairs of wide mahogany doors 
with glass panels give entrance to a vestibule 20x40 
feet, with an eighteen-foot ceiling beamed and pan- 
eled with marble. This is elliptical in shape, allow- 
ing room for ticket and other offices on either side, 
their windows being an attractive feature of the 
otherwise plain solid construction. At the east end 
ornamental iron stairs lead to the business offices of 
the house and to the third floor above, the manager's 
private office. A second series of swinging doors 
admit to a foyer truly palatial (sixty feet wide and 
eighty feet long), with a colonnade of pavonazzo 
pillars carrying the ceiling upon groined arches sixty 
feet above the tessellated floor. It is- by far the most 
majestic interior in this city or in this country, 
rivaling many vistas to be seen in the Congressional 
Library in Washington. In the dignity of its dec- 
orative disposition it siiggests some kinship with the 
latter noble structure; but its lines are lighter, its 
treatment not so severely studied, while its originality 
is worthy of the highest praise. 

A point worthy of remark is that the foyer of this 
house is not only in itself wonderfully impressive 
and attractive, but its relation to the auditorium is 


singularly harmo- 
nious and effective. 

All parts of the house 

are open from this 

noble, lofty room of 

entrance, and in turn 

it is intimately close 

to the great audience 

room — the architect 

has turned the trick 

of the angle to per- 
fection. To see and 

be seen is the duality 

of advantage presented for the patrons of the 


The colonnade of tinted marble pillars on white 
marble bases sentinel the sides of the foyer, and 
mark the landings along the graceful lines of the 
grand staircases rising along the wall of the outer 
courts. These broad, easy ascents have five landings 
opening upon balconies that project between the 
columns, the ornamental iron filagree supporting 
graceful candelabra used as electroliers. The wall 
dado, as well as the wall itself, is of white marble, 
while high up along the line of the second story is a 
succession of arched French windows ornate with 
graceful little balconies. The draping of these win- 
dows show rich oriental colors, and their frames are 
set with plate mirrors which add to the brilliancy of 
the decorative detail and magnify the spaciousness 
of the interior. Pendant from the bosses of the 

groined arches are Etruscan crystal bowl lamps, giv- 


ing; soft light to the stairs and the plastic beauties of 
the ceiling. Deeply tufted settees, upholstered in fine 
fabrics, are in every embrasure along the walls of the 
foyer and highway of the stairs, giving a fine color 
note to the marble walls, the delicate veining of the 
pavonazzo pillars, and the decorations of the coves 
and arches. The line of these staircases leading to 
the dress circle and balcony is fascinating in its 
formation, framing the pillars of the inner court, 
whose Capitols sustain an elaborate cornice and a 
number of heavily recessed arches along the balcony 
promenade. In turn these lead to ornate beaming 
around a skylight, 20x40 feet, of delicately tinted 
glass in cloud forms, studded with jewels, giving the 
effect (from concealed lights) of stars in the changing 
clouded sky. 

The ladies' parlors and check rooms are at the 
center of the foyer to the left, and opposite are siin- 
ilar conveniences for gentlemen. These rooms sink 
under the broad staircases clear of the foyer. Below 
stairs on the right is a gentlemen's smoking room 
fitted up with special reference to its use. The whole 
effect of this foyer is delightful in detail and striking 
in its dazzling ensemble. 

There are a number of interesting innovations in 
the construction of this building that will never be 
seen by the public. There are no obstructing pillars 
in the body of the house to interfere with the fine lines 
of sight. The dress circle and balcony are carried upon 
cantilevers that upon an eight-foot anchorage carry 
an overhand of twenty-six feet, the enormous roof 
trusses on the rear wall holding down the cantilevers. 


Glass -paneled . 

doors, swinging be- 
tween the arches on 
the north of the foyer, 
lead to the parquette; 
a similar entrance for 
the dress circle is 
directly above, and 
that for the balcony 
on the third floor, all 

parts of the house, vestibule 

being accessible from the grand foyer. As for 
exits, they are far more numerous, the entire north 
frontage being available for such service in case 
of emergency. Another large emergency exit leads 
across the stage to Dearborn Street from the passage- 
way and doors behind the boxes on the south side of 
the auditorium proper. The directness of entrance 
and the availabilit}' of exits are a praiseworthy fea- 
ture of this admirabl}- planned house of amusement. 

The great audience room is attractive in its 
arrangement, spaciousness, and decoration. It is 
wide, compared with its depth (ninety feet wide by 
seventy-one feet in depth), this shell shape giving 
direct lines of sight and aiding the excellence of 
acoustics, so that the stage entertainment can be 
thoroughly enjoyed by every spectator. 

The aisles are wide and the distance between the 
rows of chairs is two inches more than ordinary. 
The latest and best systems of heating and venti- 
lation have been installed, so that the pure-air prob- 
lem has been successfully solved. A series of col- 


umns seven feet from the rear wall of the lower floor 
follow the curve of the rear row of seats supporting 
the unseen cantilevers, adding grace to the structure 
by carrying a series of attractive electroliers. The 
dress circle sweeps in a flat curve so high above the 
parquette that the top of the proscenium arch can 
be seen from every seat. 

There are 744 seats in the parquette, not counting 
the box seats, numbering 24, one of the largest lower 
floor capacities in the city. The dress circle has 465 
seats, with two upper boxes accommodating 16 ; and 
the balcony has seatings for 475, making a total of 
1,724 chairs, with plenty of good standing room on 
each floor. 

The ceiling under the dress circle is effectively 
treated in a decorative way with elliptical panels, 
delicately defined, giving the effect of a Titanic fan 
spread open. The paneling of the walls is in French 
style and the color scheme of the house is American 
Beauty red, opulent in association with neutral tints 
of green and gold used on the plastic details. Around 
the house on all floors is a wainscot six feet high, of 
curly Hungarian ash. 

Over the proscenium is a sounding board twenty 
feet wide, its Rococo paneling giving the key to all 
the ornamentation about the frame of the stage, 
involving the order of its proscenium boxes. The 
line of the elliptical proscenium arch is ornate with 
wreath of laurel leaves; the opening is forty-one feet 
wide and thirty-six feet high. The orchestra pit 
is spacious, with ample room for forty instrumental- 
ists. The projection in front of the footlights is 

convexed and decorated in conformity with the pre- 
vailing style of the house. 

In the rear of the boxes there is ample space, 
which will allow plenty of room for comfortably dis- 
posing- of wraps, bonnets, hats, and such other wear- 
ing apparel as patrons may desire to discard before 
entering the boxes. 

The plan of the decorations in the Iroquois is one 
full of variety in design and color and more sumptu- 
ous than anything hitherto attempted in a Chicago 

The walls of the vestibule are of white marble, 
with a subtle treatment of antique gold in the ceil- 
ing, leaving the total effect very rich yet quiet. 

As you enter the foyer, the effect is in rich con- 
trast to the vestibule. The walls are of white mar- 
ble, with pavonazzo columns. Around the mirror 
panels on both sides of the flanking stairways is a 
welcome velvety red. The draperies and furnishings 
in a deeper tone of this same color are important 
notes of the decorative scheme. 

The foyer ceilings and domes in the richest col- 
ors of green and rose tints of the French Renaissance 
style, liberally elaborated with gold, add brilliancy 
and crispness to the general tone of this beautiful 

The color scheme of the auditorium is as beautiful 
as it is appropriate. The colors are quiet and neu- 
tral greens on the ceilings and a rich red on walls 
and wdth gold in the boxes and draperies. 

The colors of the proscenium arch and entabla- 
tures of boxes are soft green and silver gray. 



All constructional 
parts have the color 
of French statuary 
bronze and verdigris, 
elaborated with ivory 

The auditorium 
ceiling is a well- 
blended sky effect done in soft greens, cerulean 
blues, and mauves, with clouds in grays and pearl 

All the coves are finished in Sienna. 

It will be observed that the facings of the boxes, 
dress circle, and balcony are in keeping with the 
colorings in the great sounding board over the pros- 
cenium arch. 

This color scheme, with the deep rich red of the 
walls back of the seats in tone with the warm tones 
of the pavonazzo marble, combine to make this inte- 
rior a triumph of elegance in decoration. 

The designing and decorating of the Iroquois 
Theatre throughout is the work of the W. P. Nelson 
Company, an old-established Chicago firm, who also 
did Powers' Theatre, this city, the New Amsterdam 
Theatre of New York City, which has attracted 
much attention on account of its striking originality 
of design and coloring, and the new Nixoii Theatre 
in Pittsburg, Pa., now nearing completion. 

Mr. St. John Lewis has provided two exquisitely 
painted curtains, unique in their significance. The 
asbestos, or fireproof curtain, shows a summer scene 
on the Mohawk River, made from a sketch by the 


artist himself, from which, however, he has eliminated 
every semblance of modern civilization, with the 
view of illustrating the historic v^alley as it might 
have appeared 150 years ago, when its banks were 
peopled with the Iroquois Indians only. -The picture 
is in the artist's best style, and was suggested by the 
following verse by Mrs. Lydia H. Sigourney : 

" Ye say their cone-like cabins 

That clustered o'er the vale 
Have disappeared as withered leaves 

Before the autumn gale ; 
But their memory liveth on your hills, 

Their baptism on your shore ; 
Your ever-rolling rivers speak 

Their dialect of yore." 

The act drop is a study rich and mellow in atitum- 
nal tints. It is a landscape also, and treated in Mr. 
Lewis' best style, intended to illustrate the following 
lines by Greer : 

" October, tinting the summer skies, 
Had ranged on a scaffold of mist 
His gold, and crimson, and purple dyes. 
And russet and amethj'st." 

The plush curtain, which is of rich velvet of a 
beautiful red to harmonize with the color of the 
auditorium, is ornamented with a portrait of Sagoya- 
wata, or Red Jacket, a chief of the Senecas, and later 
the most celebrated chief in all the tribes in that con- 
federacy of Indians known as the Six Nations, or 
Iroquois, after which the theatre is named. This 
curtain was made and ornamented b)^ Marshall 
Field & Co., who also furnish the draperies. 

The stage of the Iroquois Theatre is spacious, 
modern, and perfectl)' appointed, with a depth of 


fifty-three feet and a width of i lo feet. The rijcging- 
loft is seventy-six feet from the stage floor and is 
believed to be the best constructed ever placed in a 
theatre. The full width of the stage corresponding 
with the proscenium opening is entirely clear under- 
neath, and of sufficient depth to give working space 
for the most elaborate and pretentious of stage 
productions of every description. There are two fly 


galleries on either side of the stage, all of steel con- 
struction, and a steel paint bridge on the rear wall 
unites these upper galleries. 

There are thirty-six dressing rooms, all large and 
comfortably furnished, and most of these above and 
on the south side of the stage. They are readilv 
reached by broad, easy stairs, and, wonder of wonders, 
have an elevator that works at every performance 
instead of merely lifting baggage at the beginning 
and conclusion of an engagement. The supernum- 

cranes have large rooms in a separate part oi Liie 
basement. Adequate accommodation for the per- 
formers is unusual, but Mr. Davis, who inaugurated 
drastic reform in dressing-rooms in the building of 
the Ha3'market, has elaborated on his original ideas 
for comfort in the Trocpiois. 

» L 

$ o 

< u. 
O O 

From Sauganash to Iroquois 

• ■I)ui ^'J Europe; 


III -^Tlie J- 

McKenii,:y uH'f jduin nan, • ■ 

TwoMhirds of a Century in the 
Theatrical History of Chicago 

By Edward Freiber 


;Uir.t..s \v.. 


were few and 
eJue liuu muunl;;-;iii :uy,lii, wiicn the ice 
■ /,■ <.r Chicu'^'i tunied Miit f . >r a skate and a i 

t hundred 

persons on the river between Wells Street and the forks. 
Just imagine, one hundred persons the " whole of Chicago ! '' 
Remember, please, that the village was not inviting to settlers. 
As recently as 1S23, twenty years after the lirst house was 
built by John Kinzie, Major Long and partj' had visited Chi- 
cago on their way to the St. Peter's River, and in the narra- 
tive of the expedition, Mr. Keating, the writer, saj-s : "We 
were mnch disappointed in Chicago and its vicinitv. The 
village presents no cheering prospects, as notwithstanding its 
antiquit)-, it consists of but few huts, inhabited by a miserable 
race of men, scarcely equal to the Indians from whom thev are 
descended. Tlicir Iol;- houses are low, iilthj-, and disgusting, 
displaying ii ast comfort. As a place of business ii 

offers no inducement to the settler ; for the whole amount of 
trade on the lake did not exceed the cargo of five or six 
schooners, even when the garrison received its supplies from 

Still the village progressed, and in the year 1833, during 
which there were but four arrivals of lake craft, it' organized 
a debating society with Gen. Jean Baptiste Beaubien as presi- 
dent, and soon thereafter came the first public entertainment 
to which an admission fee was charged. The C/u'cai^o Detno- 
crat of Tuesday, February iS, 1834, printed the following 
advertisement, the first ever published in Chicago in the inter- 
ests of amusements : 


Joy lia/h i/s limits. We hut borrow 
Oiit> hour of mirth from months a 

The Ladies and Gentlemen of Chicago are most respectfully informed 
that Mr. Bowers, Professor de tours Amusant, has arrived in to\vn, and 
will give an Exhibition at the hcim 'if >[r. D. Graves, on Monday even- 
ing next. 

Part First 

Mr. Bowers will fully personate Monsieur Chunhert, the celebrated 
J^ire King-, who so much astonished the people of Europe, and so thro' 
his wonderful Chemical Performance. He will draw a red hot iron his tongue, hands, etc., and will partake of a comfortable warm 
supper by eating fire balls, burning .sealing wax, live coals of fire, melted 
lead. He will dip his fingers in melted lead, and make use of a red hot 
spoon to convey the same to his mouth. 


Part Second 

..1 .,■..- ^ n will introduce many amusinj^ feats of / enlriloqiiism aiui 
Legerdemain^ many of which are original, and too numerous to mention. 
Admittance 50 cents, children half price. 

Performance to commence at early candle li.sjht. Seats will be 
reserved for Ladies, and every attention paid to the comfort and con- 
venience of the spectators. Tickets to be had at the bar. 

The home of Mr. D. Graves, referred to, was the IMansicjn 
House, at No. SS Lake Street, owned by Dexter Graves. 

Enter the pioneer of local dramatic critics. The first criti- 
cism of a public performance of any kind ever published in a 
Chicago newspaper was the following editorial paragraph in 
the Democrat of Wednesday, June 11, 1834: 

"We were truly delighted last evening with the performance oi 
Mr. Kenworthy. He is certainly an accomplished Ventriloquist, and is 
entitled to the support of those who feel interested in a display of nature's 
gifts. In his 'Brombach family,' he represents seven perfectly distinct 
characters, and carries them all through to admiration. He performs 
many other very interesting feats. It will be seen by reference to his 
notice in another column, that he raa.y be found for the last time at 
Brombach Hall' this evening. This opportunity will not be lost by 
those who have an interest in exhibitions of the kind." 

Remember that this was-onh- a few months after the Potta- 
watumies had given up their lands to the white man. Chicago 
was beginning to make history. On June 19. 1834. C. Blisse 
gave a concert, and then came the usual small, very small, 
circus with the still smaller side show. In the spring of 1S35, 
when Hour was selling for $28 a barrel, Uncle Sam gave Chi- 
cago a postoffice. And then, on June iS, 1835, came "a nov- 
elty in Chicago." This was the first fair, held bj- "the ladies 
of the Protestant Episcopal Church of this town." The town 
was growing, and it required onh- "five days by daj-light 
to go by coach to St. Louis." The population had grown 
on December g, 1835, to 3,279. The town had forty-four stores, 
four druggists, two breweries, one iron foundry, eight taverns, 
one lottery office, one bank, five churches, seven schools, 
twenty-two lawyers, fourteen dbctors, a lyceum, and a reading 
i-oom. But actors, dramatic critics, and press agents were 
conspicuous by their absence. Amusements were at a stand- 
still until the Chicago Harmonic Society gave its fix'st concert 
at the Presb^-terian Church, Friday evening, December 11. 


George A. Fuller 


Chicago New York 


Albany St. Louis 

i-^35. iit (1. 3u o'clock, iiucl another Friday, Janua: 
celebrate the opening of a new line of mail coaches 

Chic;'';''" ''"il l).'tv,,it \\-liii-li i\-c>nt tuol,- nlaic Taniiarx i 

The: vicinity, 

for J- -i., the tV). "'I'- 

li<"^. -.I'M-. :ni; "-'cn 

1 Lake Mich- 

i"a;i •■ere 

,.,,■'. '.or 

pr.,," -.L ih nut sur- 

i:,i> :t''rs" in this 

i uestrian 
:' ( tcl'jber '.'1 ,i ^3'-', the single 
'os. 1-2. ly.j, aiT"! i7''i T.alTL' 

ailnr b'- 


■vv thcir 

l l:l'.- nu-,7]ii!- 

vtv-t;\vn silver 


"LL-ll llSCll ]]] liiis, 

I'l pa\' him ^iiT. in 

jicross Three 
Mountain TKjxnges 





The OzarkSs The Kiamichi 
and the 'Boston J\Iountains 

SAN ANTONIO aeaeaaaa^a 

Write for Copy of Illustrated Book entitled 


General Agent General Passenger Agent 

332 Marquette Bldg., Chicago St. Louis. Mo. 

thf authorities to make the license payable weekly, but the 

i-equest was denied, the Council naming i$ioo as the amount. 

Evidently this was too much for them to pay, for they left the 

city without giving a performance. Mr. Edwin Dean was the 

father of the famous actress, Miss Julia Dean. ]Mr. McKinney 

had been a po^jular actor at the Bowery Theatre, New York, 

ill 1S35. He afterward became the first manager of the Eagle 

.Street Theatre in Buffalo, New York. 

Now listen to the overture to the first performance of a play 

in Chicago. The first petition that met with the favor of the 

young city was the following : 

'• Chicago, October 17, 1837. The subscribers respectfully petition 
the Honorable the Mayor and Council ot" the City of Chicago for a 
license to perform plays in said city. They respectfullj- represent that 
this establishment is intended toaflford in.struction as well as amusement; 
that they are encouraged and patronized by the leading portion of the 
inhabitants of the city, who are interested in tlieir success; that they 
propose to remain here during the winter, and that they make no calcula- 
tion to receive more money in the city than what they will expend during 
their stay, and, therefore, they trust that in offering a rate for license 
these facts may be taken into consideration. Isherwood & AlcKenzie 
the petitioners, request this license for six months, if agreeable to the 

The Council fixed the license at $125 for the year, and, 
while the petitioners protested that it was too much, thev 
paid it.* 

As the last two theatres to be opened in Chicago proudly 
bear Indian names — Illinois and Iroquois — so the first home 
of the drama in this citjr likewise bore an Indian name, that of 
Sauganash. The first plaj'' presented in Chicago was given in 
the dining-room of the deserted Sauganash Hotel, which stood 
on a bit of ground that is now doubly historical, for on the same 
spot there was erected, in 1S60, the famous" Wigwam," which 
was burned in the great fire of October 9, 1S71, and in which 
Abraham Lincoln was first nominated for the presidencv, on 
May iS, 1S60. One of the most prominent of the earh 

* A statement has been published in New York that the first dramatic 
performance ever given in Chicago took place on September lo, 1837, Airs. 
Hester Jefferson MacKenzie appearing as Helen, in "The Hunchback.'' 
.\s managers were not allowed to play without licenses, and as none 

\\ ;i- ssued until October 17, 1837, the statement is certainly incorrect. 

4 3 


-^OHE decora- Ut^lvJlNtrO 

^;^°S5'^o';j OF BEAUTIFUL 

is an example of TXITP D TOD ^ 
our Work; also ll>i 1 l-» rVj. V-/ IN^ 

that of POWERS' 

THEATRE in Chicago, the NEW YORK 


of JVeW Yorii City M The latter, just 

recently opened to the public, has attracted 

much attention on account of its striking 

originality of design and coloring JS JS The 

interior of the NEW NIXON THEATRE 

of "Pittsburg, noto under construction, Will 

shortly be completed by us M Correspond 

dence solicited With architects and owners 

about decorations of all descriptions JS J& 


w as Mark Beaubien, a brother of General Beaubieii, who erected 
;i log house on the east side of Market Street, about lofj feet 
south of Lake Street, converted it into a tavern, and called 
it the Sauganash. Beaubien. who was born in iSoo, was one 
of the popular heroes of the town, for when there were no other 
amusements, he would entertain the people — residents and 
\isitors — with his fiddling, and for years and years no reunion 
<if old settlers was complete without " Mark Beaubien and his 
fiddle," for the two were inseparable. Ikaubien laid aside his 
tiddle at Kankakee, Illinois, April i ul is now listening 

to better music. The tavern was naniud after a half-breed 
Indian chief, Sauganash, meaning •' English." His right name 
was Billy Caldwell, and he was born in Canada about the year 
17S0. His father is said to have, been an Irish officer in the 
British Army, and his mother a^ Pottawatomie squaw. He 
came to Chicago about the year 1S20, and soon became one of 
the most conspicuous and popular figures in the community. 
He died at Council Bluffs, Iowa, September 2S, 1S41.* The 
Sauganash was a two-story wooden structure 20 by 40 feet in 
dimensions, with a wing of the same height at the rear and 
another of one story at the right, the latter being a log cabin 
with two windows and a door. It looked very much like an 
ordinary log house of the Colonial period, with two windows on 
either side of the center door, and five windows marking the 
front of the second story, the roof being shaped like an inverted 
V. During September, 1S37, John Murphy, then the proprietor 
of the Sauganash, vacated it and moved into a new house 
on the west side of the Chicago River, that mai'velous stream 
whose once clear waters are now tainted by commerce, and its 
current reversed so that instead of running into Lake Michigan 
the latter now partially cleanses it and helps it reach the Gulf 
of Mexico. 

Messrs. Isherwood & MacKenzie secured the Sauganash 

♦MARRIED.— In this place on the morning of the i8th inst.. Rilly 
Caldwell, chief of the United Nations of Ottawa, Pottawatomie, and 
Chippewa Indians, to Saugua le Grand, of the l^otL-wvatomie Nation.— 
C/iicago Democrat, November 10, 1834. 


Standard Daily 
Through Sleeping Cars 













City Ticket Office, 97 Adams St., Chicago 

F. A. Palmer 

Assistant General Passenjjer AKen 

C. S. Crane 

General Passeugei- ami Ticket Agent 
St. Louis 

and converted the dining-room into a theatre accommodatin;^ 
about 200 persons. The floor was level and the seats wtrc 
rough boards, although a few common chairs were placed in 
front for ladies and their escorts. The building had been 
reconstructed internally to represent a complete modern 
theatre in miniature. This was a great building for a city 
scarcely seven months old, and with just 4.179 inhabitants. 
The price of admission was 75 cents. The opening play 
on this eventful first night of October 17, 1S37, was the 
three-act melodrama by J. T. Haines, entitled "The Idiot 
Witness, or A Tale of Blood." The leading man was William 
Leicester, an Englishman. Harry Isherw<jod, who did the 
-plain acting "as he termed it, was also the scenic artist '■: 
the company. He painted the first scenery used in Chicu'.;-' 
and as late as 187S was scenic artist at Wallack's Theatre. 
New York, his " exteriors " being particularly fine. He was 
born in New York, where he made his debut at the Park 
Theatre as Richard HI., and lived to be over eighty year< - -' 
age. Alexander MacKenzie, the junior partner, was an r.: 
of the present 'Joseph JefiFerson, having married Miss Hester 
JeiTerson, a sisterof the present Joseph Jefferson's father. 
:Mts. MacKenzie, born in iSii, and educated in Philadelphia, 
had the distinction of being the first woman to play Mrs. 
Malaprop in "The Rivals " in America, and likewise the <!i<- 
in Chicago. Both Mr. and Mrs. MacKenzie now lie buri. 
the old City Cemetery at Nashville, Tennessee. Willian 
cester, who played Robert Arnaud on that eventful night 
the honor later of being the first man to play Shylock in 
cago. In after days he succumbed to the demon drink. 
Chicago was even then an enterprising place is prove:, 
the fact that "The Idiot Witness" was first seen in America 
at the old Warren Theatre, Boston, in 1S36, so that it took 
barely a year for the play to come from the center f>t Tear: 
to the village in the wilderness. It is interestii;. 
that there is still one dearly beloved actress among 
took part in a performance of this melodrama as far 
as 1S49. when it was presented at the National Thi 



^^The Stratford 

Next Door to Illinois Theatre. 



200 Rooms /. 125 Batb= Rooms 

Located in the heart of Business, Shopping", and Theatre Districts. 

Rates, SI. 50 ana lipioards. 

Cbe handsomest **Dutcl)** Room in America. 

Cuisine f>igl)=Class. 

Special attention given to after-theatre diners. 
The hotel is equipped with the latest and best sanitary improvements. 

Uiuiniii 'ae^i, wlni hiiN-ioiir 

'^'■' 1'' ... Miss Jtlaucle Aflji.m^ 

r the Illinois TIk : 
I lirsL theatre did not even boast 
alk. Instead there was an uifli 
h two short and stumpy hiti 
pu.sL^ < i ioorway, which was barely large 

enough : .ns at (iiie tinu-. In 1SS4 Hamy 

Isherwood, T .Mr. James H. 

McVieker from New Yurk lluil he remembered but one play 
tjiVen duriiiL'' the lirst season of i>:;-, naniel\-. "The Straiiver." 
adding ne wrong 

is an interesting fact that at least three of the early Chieago 
actors were als') scenic artists., namelv. ITarr\- I>lKr\\i".(l , 
Joseph !., and Mr. Beclcwii 

John B. npany in i,*>47 and 1S4;. In those early day> 

the aiK liail eonie nearest to beinu;' i)laee> of aiur,-e- 

lieartil} .he I'lays were \\\ unci were 

aiwavs aree. 'Pile plavl/iV . tlie eiim- 

liancll.>;;i<. about i-jxi.- melies in size. '[istributed by 

carriers evcrv morning, as there we; ■ " dailA* ]")ai5ers 

iie plays presented dtxring tl 
no eompiete " -^ to be found. But it is known that 

Thomas Sar' 1 the '• old men "; James S. AVright was 

iitleman," and Mrs. David IngersoU was the 
• leading lady. Others in the c(mipany wei'e Mrs. Alexander 
MacKenzic, Madame Analine, actress and danseuse, and the 
present Joseph Jefferson's gifted half-brother, Charles Burke, 
who acted, and daiiced the Highland lling and the sailor's 
hoi-npipe. Mrs. David IngersoU was another aunt of the 
present Joseph Jefferson. She had nian-ied David IngersoU, 
a tragedian of great promise, who died in St. Louis in 1837, 
aged 25 years. She was an actress and a dancer, and lived at 
the old Lake House, a three-story brick structure built in 1836 

The electrical features of the Iroquois Theatre were 

installed by the Chicago Edison Company- 
Electricity for both light and power is supplied entirely 

from our street mains — ilic Modern Method. 

at the coniti wi i<.u^h aiul Kin/.ic .-Mn.(.'ts, where she taughi 
(laneing to young Chicagoans. When the eompany left here 
she remained a while in Chicago and continued teaching.. 
After leaving Chicago she married James S. Wright, a member 
of the old company at the Sauganash, who afterward became 
prompter at Wallack's Theatre, New York. Wright died in 
New York on June 27, 1S93, at the age of 79. Mrs. Wright 
died in 1S96. Chicago's first company of actors pleased the 
people for several weeks, and then left the city, presumably to 
appear in other cities in Illinois, and possibly in St. Louis. 
The towns that probably attracted the company were Juliet 
(now Joliet). Ottawa. Peoria, Jacksonville, Springfield, and 
Vandalia, the last named being then the capital of Illinois. It 
has been claimed by certain old settlers of Chicago that these 
performances at the Sauganash, in October, 1837, were undoubt- 
edh^ the first in the State of Illinois, a statement hardly apt to 
be true, as a number of the adjoining towns were much older 
and larger in 1S37 than Chicago, and must have drawn to them 
some of the roving companies that were seen in St. Louis and 
the Southern cities before Chicago was incorporated. 

The company returned in 1S38 and included among its 
members Mr. and Mrs. Greenbury C. Germon, then recently 
married. The latter, Jane Anderson Germon, was then but 16 
years of age, and was a cousin of the present Joseph Jefferson. 
Her mother was the first Joseph Jefferson's favorite daughter, 
iiuphemia Jeft'erson, who was born luiphemia Fortune, in New 
York, in 1774, on the identical day that her prospective husband 
was born at Plymouth, England. Euphemia's sister, Esther 
Fortune, became the second wife of William Warren, the elder, 
and in this manner the Jefferson and Warren families first 
became related to each other, a relationship emphasized in Chi- 
cago, in 1867, when Joseph Jefferson III. married Miss Sarah 
.\nne Isabel De Shields Warren, daughter of Henry Warren 
II. Jane Anderson Germon, who at last accounts was still 
living in Baltimore, retired from the stage during the season 
of 18S9-1890; Two years after her first arrival in Chicago, she 

.was in Augusta, Ga., where on June 13, 1S40, she became the 


r^OME admirer, name and address unknown, wrote this sentence on 
1^ the back of a menu card after a satisfactory meal in a Burlington 
dining car. It means that the Burlington offers passenger service 
that suits its patrons in every particular. The schedules of Burlington 
trains are fast, but reliable; the equipment comfortable; the employes 
courteous; the dining car service unexcelled. 

Burlington lines gridiron the West, reaching practically every 
important point between Chicago, St. Louis and the Rocky Mountains. 
Limited trains (no e.xtra fare) between Chicago and St. Paul, St. Paul 
and St. Louis, Chicago and Kansas City, Chicago and Denver, St. Louis, 
Kansas City and Denver. Through service to California via Colorado. 

Through service to the Pacific M"i-tv,«o<f via St I'ml 

Billings and Denver. 


Tell rae what point you wu 

how to get there, and what it will cost. 

P. S. EUSTIS, Passenger Traffic Manager, CHICAGO. 

motlici (if the talented Effie Gernion, who was for many years 
;i I'avMiii. ..iinedicnne at AVallaek's Theatre, Xew Yoi'k. Mr. 
< iermon, at the time of his arrival in Chicago, was but 22 years 
')f age. He plaved the usual variety of parts while in Chicago. 
and afterward became the original Uncle T' 
Tom's Cabin." He died in Chicago April 14, 1-^54. a-i ; - 
j-ears. William Warren, then only 26 years of age, \\;\- a 
member of this company of pioneer actors and 1> 
immediate favorite, appearing in several of the roles m wiikii 
he afterward won so much fame and popularity in Boston, 
favoring Chicago with his Sir Lucius O'Trigger in " 'iln 
Rivals" as far back as October 30, 1S39, when the majorlLx 
of the patrons of the playhouse were unfamiliar with classit- 
comedv, either in the librar\^ or on the boards. 

And in this company wn- :- i;^'i. 1 >,vho lived lw ,,w m^ 

dean of the American sta;< .isite art has never 

been e.xcelled in' the playhouse, whose long flaxen hair grew 
shorter with the years, then darker, and then whiter as the 
blessings of age silvered his brow, the Avhile the player and 
the play-goer learned to del genius and profit by tht 

art of Joseph Jefferson, wh' ■" ''^" c, ,,,i1in,-,.,.;i ,,„•,,,.. 

of Spruce and Sixth Street- 

His mother was Cornelia Frances Si. Thomas Jefferson, hi> 
father being her second hn>~'iniri N'i>iing Jefferson's first 
plavhouse was "behind tli ' when on Monday 

evening, September 2S, 1903, Chicago was celebrating her Cen- 
tennial, Joseph Jefferson had the distinguished privilege ot 
appearing at Powers' Theatre in "Rip Van Winkle" and of 
saying to his attentive audience afthe close of the play: • I 
])laved in Chicago sixty-five years ago." 

1 1 \\a> sHJii found that the Sauganash was ; ; :;:- 

of the city, so the next building to be converted into a theatre 
and opened in May, 1S38, was known as the Rialto. a cheaji 
\\i;oden structure at N(<s. S and 10 South Dearborn Street, and 
owned by Augustus Garrett, who became Mayor of Chicag<i 
in 1S43. The theatre was in the upper portion of the struc- 
ture, a rofun 30 x So feet in size. Benjamin F. Taylor described 





The Wellington ' "Lini ited 
The Wellington White Room 
The Wellington Mahogany Room 








it as "a den of a place, looking more like a dismantled grist 
mill than the temple of anj-body. The gloomj' entrance would 
have furnished the scenery for a nightmare, and the lights 
within were sepulchral enough to show up the coffin scene in 
' Lucretia Borgia." But for all that those dingv old walls 
used to ring sometimes with renderings fine enough to grace 
grander Thespian temples, though there was a farce now and 
then somewhat broader than it was long." 

Still the Rialto was not opened without opposition, for the 
late Grant Goodrich, a prominent citizen in his day, declared 
the theatre a " menace to the moral welfare of the city," con- 
tending "that the tendencj- of the performance at modern 
theatres was grossly demoralizing, destructive of principle, " 
and that they "were nurseries of crime." But the Common 
Council thought differently and fixed the theatre license at 
ifioo a year, which was $25 less than the opponents of the 
enterprise had expected it would be. The Rialto, originallv 
used as an auction house by L. W. ^lontgomery, was quite in 
the center of the city. Side by side wei'e two saloons, "The 
Rialto" and "The Eagle," the latter kept by Ike Cooke. 
Directly opposite, on the east side of Dearborn Street, close to 
the auction rooms, was the "Eating House" known as 
" Steele's Refectory." The new playhouse was called the Chi- 
cago Theatre, and a number of new people were added to the 
company previously seen at the Sauganash. Joseph Jefferson, 
who first landed here by boat, in May, 1S3S, remembers that the 
Chicago Theatre " was quite the pride of the city, and the idol 
of the new managers, for it had one tier of boxes and a gallerv 
at the back. I don't think that the seats of the dress circle 
were stuft'ed, but I am almost sure that they were planed." 
The company consisted of William Leicester, William Warren, 
James Wright, Charles Burke, Joseph Jeft'erson, Sr. , Thomas 
Sankey, William Childs, Harry Isherwood, artist, Jcseph Jeffer 
son, Jr., Mrs. Alexander MacKenzie, Mrs. Joseph Jefferson. 
Mrs. David Ingersoll, and Mrs. Jane Germon. Young Jefferson 
was, in his own words: "The comic singer of this party, 
making mvself useful in small parts and first villagers : now 



and then doing duty as a Roman Senator at the back, wrapped 
in a clean hotel sheet, with my head peering over the profile 
banquet tables. I was just nine years old. I was found useful 
as Albert and the Duke of York. In those days the audience 
used to throw money on the stage either for comic songs or 
dances. And oh I (with that thoughtful prudence which has 
characterized my after life), how I used to lengthen out the 
verses." The stars during the season were Mrs. McClure, 
Dan Marble, and A. A. A'i-i'"< ^,.ni,^ ,,t" tii,. inlays acted 
were "The Lady of Lyon^ loh Roy," 

" Damon and Pythias," " Wivtb as They Were, Maids as They 
Are," and "Sam Patch." The first season at the Rialto 
continued until October, 1S3S, when a benefit was tendered 
Mr. MacKenzie by many of the citizens; fifty-one in all, who 
addressed a complimentary let tt-r to him in which they extolled 
the artistic excellence and p: ,1" himself and com- 

pany. Among those who signed it were : John Calhoun. 
Mark Skinner, Julius Wadsworth, T. R. Hubbard, Thomas 
Hcv -;e Kerchival, Norman B. Judd, H. O. Stone, and 

S. S. Bradley. The benefit took place October iS, 1S38, and 
was notable for the first performance in Chicago of " The Ladv 
"f kvvins." The cast was as follo\^ - 

Claude ^reln^ ■ ..William Leicester 

Beaiiseant William Warren 

''ilavis --'niry C. Germun 

Colonel Damas Thomas Sankev 

Deschapelles. James Wrig-h't 

Gaspar.. ("harles Burke 

Officer Mr. Watts 

Pauline . i )avid Inger^^oll 

Madame l/t- .ii>. Joseph Jefferson 

Widow Melnoi Mrs. Alexander MacKenzie 

At the conclusion ot the play ^Master Joseph Jefferson sang 
the comic song, " Lord Lovell and Lady Nancy." Mr. Germon 
then recited " The Hunters of Kentucky" for the first time in 
Chicago. The performance, which began promptly at 7 
o'clock, coijcluded with a very pretty drama, "Two Friends." 
The season began in May and closed in October, quite revers- 
ing the present order of things. No performances were given 
'It'.riiv^- what would now be termed the season of 1838-1839. 
■lie manager took in $100 a night, he did 


made easy 
by electric 

The Old Way — dim lights in ceiling 
of car, so that reading by night is almost 
impossible. The New Way electric 
side lights, conveniently placed in each 
Pullman section; you can read without 
eye-strain; also easily disrobe or dress. 

Many other new travel luxuries on 

The California 

The California Limited runs be- 
tween Chicago, Los Angeles, San Diego, 
and San Francisco. Daily service com- 
mences November 29, until then semi- 
weekly . Less than three days to southern 
California. Visit the GRAND Canyon of 
Arizona en route — a mile deep, miles 
wide, and rainbow-tinted. 

Our illustrated booklets, mailed free, 
will help you rightly 
plan a California tour. 

J. M. CONNELL, General Agent, 

109 Adams Street CHICAGO 

Santa 1 e 

^ W 


exceedingl)- well, and those were the good old days when good 
old actors and good younger ones, too, were content to play 
for a modest salary, when, in spite of appetites and desires, 
they still thought a little more of their art than they did of 
money, when every player realized that there was still some- 
thing left for him to learn. One of the actors of this period 
was Isaac ^lerritt, who was destined to win everlasting fame 
as an inventor. He usually played Richard III. His right 
name was I. M. Singer, a name now world-famous as that of 
the inventor of the Singer sewing machine. And at this time. 
April 27, 1S39, Edmund Gill attracted attention to his hotel on 
the corner opposite the Lake House, by calling it the Shake- 
speare. Dan M^EblAcame along during the last. week of Ma\-, 
1839, and "gave his Yankee tricks, stories, and notions in full 
style. His wife assisted him on the stage." 

Chicago had an actors" colony in those early days, tor the lirst 
City Directory, published in 1S39, contained the f< illowing names: 

BuKKE, Charles, actor. Chicago Theatre. 

Germo.v, Greene C, actor, Chicago 'J heatrc. 

GREEXE, C. L . actor. Chicago Theatre. 

jEFEERSO.x & M.^cKenzie. managers. Chicago Theatre, Dearborn St. 

Jefferson-, Joseph. lefterson & MacKenzie. 

JEFFERSON, JOSEPH, (Joe , comedian, Chicago Theatre. 

Jefferson, Thomas, actor, Chicago Theatre. 

Mackenzie, Ai.e.xander, Theater, Jef¥er.son & MacKen/.ic. 

SULLIV.\N, A., actor, Chicago Theatre. 

Warren. William, comedian, Chicago Theatre. 

INOERSOLL, Mrs., actress and teacher of dancing, bds. Lake House. 

On August 31, 1S39, the theatre was reopened by Joseph 
Jefferson (father of Rip), with Colman's musical comedy. "The 
Review, or The Wag of "Windsor," and "The Illustrious 
Stranger, or Buried Alive." The company was practically the 
same as during 1S3S, with the addition of A. Sullivan and 
C. L. Green. Mr. Jefferson, who like his son was a painter as 
well as an actor, had succeeded Mr. Isherwood as Alexander 
MacKenzie's partner. The theatre had been newly painted. 
The motto over the dro]) curtain was : ' • For Useful Mirth Or 
Salutar}- Woe." Chicago audiences of that day were not so 
well behaved as might have been desired, for the daily imi^er 
felt called upon to say " There is a police in attendance whose 
f/u/y it is to preserve strict order and decorum in the theatre. 
If the ladies are waiting for fashionable precedents, we will 


Electric Lighted. 

in 111 is Stale . llic Ih 
aUtiulcd ,^c*ncr;illy l>y tiK' licaut ' ' -liioii of the lai; • 

and by the ;4entlemen f)f the phu - Miieial ])ositions !"■ ;• 

Judge of the Supreme Coiu't down. This has beci. 
w L' believe, at St. Louis and in tlie East." 

Joseph Jefferson, tlie second, was l)orn in Philadelpliia in 
i->o4, and in 1S26 married Mrs. Hui'ke, wh' 

senior. He was manager and actor, and aiway^ paimcn m-- 
own sceneiy. He died suddenly at Mobile, Ala., at midnight, 
Thursday, November 24, 1S42, of yellow fever. He was br 
l!ie next day in Magnolia Cemetery, Mobile, the theatre Ijcin^ 
closed two nights, as the company, with tlie exception of six 
people, was composed entirely of members 

son family, and it was impossible to plii\ xxilmlkl lju. >_i]iv,i 
mourners. ]\Ir. John T. Ford, of BaUiniorc, said that Mr. Jef- 
ferson "was one of the most lovable men that ever lived." 

Up to this time no regular theatrical advertisements liad 
appeared in the daily paper, editorial paragraphs taking their 
place. But on Monday evening, September n m 

vegni'iv ■wU-,.vii^,.n,,.nt In 1 >, .1, ■, 1 1 of a Icgitin^'f' 
Idi ;)earance ^ 


Monday Evening, September 9, 1839. 

Will be presented the drama called 

The Magpie and tliR Maid, nr Which is the Thief? 

Farmer Geralii . ifr. (ireeii 

Heiijaniin, a Ji, \ ..Jefferson 

Annette ... i/s. Intfer.soll 

IJame Oera Mackenzie 

After which a CONCERT.— P.\kt I 
Ballad by' Mr. Dempster " She wore a wreath 
roses ". New vSong, by Mr. Dempster, '■ Can I 
forget to love thee? " — composed by himself — 
Scottish Ballad by Mr. Dempster " vSaw ye mv wet- iimig. 


The Angel's Whiper, by Mr. Dempster. — 
Song bj^ Mr. Dempster, " Some love to roam o'er 
the dark sea foam. " Song by Mr Dcmnstir 
" Oh promise me to sing love ". 

To conclude with the li'ish Tutor, or New Liji-hts. 


J. H. DI.MKKY, PKEsiDENT. T. AV. GII.MOHK. sk< vam.tkka 


C. W. Wilmartb Co 

Gas and 


Telephone, Harrison 8362. 



First Kational Bank Building . ..Chicago, 111. 

Railway Exchange Building Chicago, 111. 

Nixon Theater and Building Pittsburg, Pa. 

Butler Hotel Seattle, "Wash. 

Joliet Public Library ..Joliel, 111. 

Chesbrough Building Toledo, Ohio 

Hibernia Bank Building New Orleans, La. 

Third National Bank Cincinnati, Ohio 

First National Bank Cincinnati, Ohio 

Doctor Coffee's Residence.. Des Moines, Iowa 

Mr. W. J. Young's Residence Clinton, Iowa 

Governor Toole's Residence Helena, Mont. 

Please note that there was a change of bill at every per- 
formance and that two or three plaj'S were given every evening. 
■ ' Oliver Twist " had its first performance in Chicago, September 
if), 1839. ^Irs. Germon inlaying Oliver: Mr. Sankey, Fagin; Will- 
iam Warren, Bill Sykes ; and Mrs. MacKenzie, Nancy Sykes 
Tuesday. September 1 7, 1 S39, was another important first night, 
Colman's "The Poor Gentleman" being played with William 
Wan-en as Dr. Ollapod. ' ' She Stoops to Conquer " was first 
given on Thursdaj-, September 19, 1S39, and "Jane Shore" on 
Friday, September 20, 1S39, with Mrs. Germon as Jane Shore. 
During the last week of September, 1839, the management 
found it necessary to build "a separate entrance for ladies," 
due no doubt to the rather rude behavior of the male theatre- 
goers of that period. ' ' Damon and Pythias " was given for the 
first time Friday, September 27, 1S39, with Mr. Leicester as 
Damon and Mrs. Germon as Calanthe. The house was poor. 
The time was now ripe for the advent of so-called " stars." 
and they came. Mrs. McClure and Mr. Charles Kemble Mason 
had the honor of being the first stars to shine in Chicago. They 
appeared on Wednesday, October 2, 1839, in "The Lady of 
Lyons." The next evening they gave " The Wonder" for the 
first time here. Friday, October 4, 1S39, "Fazio" was given 
for the first time, followed by " Katherine and Petruchio." 
Still the first presentation of a Shakespearean play in its 
entiret}- did not take place until Monday, October 7, 1S39, 
Mrs. McClure being the first Juliet and Mr. Mason the first 
Romeo Chicago ever saw. " ]\Iacbeth " was first given Thurs- 
day, October 10, 1S39, ^vith :Mr. Mason as Macbeth, Mr. Leicester 
as Macduft", and Mrs. McClure as Lady Macbeth. And strange 
to say, the Shakespearean performances were the best of the 
season. And then followed the first performance of " Hamlet." 
Tuesday, October 15, 1S39. It was given for Mr. MacKenzie's 
benefit, and Charles Kemble Mason had the distinction of being 
our first Hamlet, while Mrs. ^^IcClure was our first Ophelia. 
Mr. James H. McVicker, in his interesting reminiscences of the 
eai-ly Chicago stage, credits Charles Kemble Mason with being 

the first Shylock that Chicago ever saw. This is an error, for 




A R T M E T AL W^O 1^ Is 

IrOQUOT<=; and Ilijvm!-; 1>TFATRI•:^ 

Office and Warehousf, Factory : Chester St., 

loo and I02 Lake St. Clybourn and Fnllerton Ave- 


■The Merchant of Venice " was not given until Thursday, 
October 17, 1S39, and for William Leicester's benefit, that gen- 
tleman appearing as Shylock. On October 21, 1S39, " Pizarro. 
or the death of Rolla " was given, little Joseph Jefferson appear- 
ing as the child. How many in the audience thought of seeing 
him in 1S6S as Rip \'an Winkle ? Wednesday, October 30, 1839, 
is of historic interest, for on that evening "The Rivals" was 
given for the first time in Chicago and for the benefit of William 
Warren, although no mention of his name was made in the 
simple advertisement of that day, and which read as follows : 


Wednesday Evening, October 30, 1839 

Will Be Presented 

THE RIVALS-Or, A Trip to Bath. 

To conclude witli 


Please observe the Jeffersonian flavor of the cast: 

Sir Anthony Absolute... Iliomas Sankey 

Bob Acres Joseph Jefferson 

Captain Absolute William Leicester 

Faulkland Greenbury C. Gernion 

I^a"<^--- — -...".C. L. Green 

Sir Lucius O'Trigger William Warren 

Fag - Charles Burke 

Mrs. Malaprop ...Mrs. Ale.xander MacKen/.ie 

Lydia Languish Mrs. David IngersoU 

J"li* - Mrs. Greenbury C. Gernion 

I'"<^y :\Irs. Joseph Jefferson 

The cast included Mr. Jenerson, his wife, his two sisters, 

his niece, his stepson, his cousin, and his niece's husband. 

At this time the elder Jefferson was only 35 yeai's of age, 




The Land of 
Sunshine, Fruit 
and Flowers 

California is less than 
three days away. 

Its balmy breezes, blue 
sea, smiling orchards, 
and beautiful mountain 
ranges, its magnificent 
opportunities for outdoor 
sports and its health- 
laden air, make it the 
greatest winter resort 

The most luxurious 
train in the world, the 
famous electric -lighted 

Overla nd Li mite d 

leaving Chicago daily at 8.00 p.m., makes the journey to California 

via The North- Western Line in less than three days. 

The route of the Limited is over the only double-track railway 

between Chicago and the Missouri River, through Omaha, Cheyenne 

and Ogden, down the Valley of the Sacramento to the Golden Gate, 

and via the San Joaquin Valley or over the beautiful Coast Line (where 

for a hundred miles the road lies along the shore of the shining Pacific) 

to Los Angeles. 

Two fast trains through to California leave Chicago 
via the Chicago & North-VVestern Railway daily. Sleep- 
ing car reservations and full information on request. 


212 Clark St. and Wells St. Station, Telephone Central 721 


Mrs. Jefferson was 43 ; Charles Burke only 17 : Mrs. Ingersoll 
about 24: Mrs. ^MacKenzie about 28: Mrs. Germon 17, and Mr. 
(iermon 23. William Warren, born in Philadelphia, November 
17, 1812, was 27 years of age. From here Mr. Warren went 
to Buffalo and then to Boston. He died at 2 Bullfinch Place, 
Boston, September 21, 18S8. The season at the Rialto closed 
on Saturday evening. November 2, 1839, with "The Devil's 
Ducat," a drama, followed by a nautical piece, "Tom Crin- 
gle's Log." And what became of the old Sauganash? On 

April 9, 1S40, the following adveriisenient appeared in Chi- 
cago's daily : 

" SAUGANASH HOTEL. This old establishment is now fitted up 
in elegant style, and has resumed its original and native name, with a 
thorough reformation of old habits and customs. JOHN MURPHY." 

But the results of the panic of 1837 were making themselves 
felt, and for seven years after 1839 there was no dramatic com- 
pany of special repute in the city. Mrs. J. G. Porter reopened 
the Chicago Theatre on March 31, 1842, and tried to give per- 
formances without a license, hoping to open in a burletta. 

KST.visMsii i:i) is: 


E N G I \ E E R S A \ I> 







" The Swiss Cottage." She was Chicago's first woman man- 
ager, and on April 4 she petitioned the Council for forgiveness 
and a license. She secured both, the price of the latter being 
$30, that of the former not being quoted. On Saturdaj', April 
(). she announced a benefit for herself. It was to be her last 
appearance before leaving for Buffalo. The ijerformance 
Ixgan with the burlesque " The Manager in Distress, or All in 
a Ouandary." certainly a most appropriate title. Mrs. Porter 
was the eldest daughter of >rr>^ Maw T ),iff 

- -^ 




^ ^^"^^H 


^' J^^^^^K 



On August 3<j. 1S42. Chicago had its first real opportunity to 

uidge of the dramatic qiialities of Dan ford Marble, who with 

-Mrs. Marble appeared at the Rialto in " The Forest Rose, or 

The American Farmer." Marble was Jonathan Ploughboy and 

Mrs. Sillsbe (late Mrs. Trowbridge) was Harriet. The opening 

l)lay of the brief engagement of three nights was supplemented 

with " Black-Eyed Susan," ^Irs. Sillsbe playing Susan, and Jlr. 

Marble, William. Business was poor at first, but as it improved, 

the engagement was several times e.xtended and fourteen 

]ierformances were given. For Marble's benefit on Monday, 


There Is But One Niagara 
There Is But One Road • . . 

Running directly by and in full view of the entire panorama of the 
cataract. It is the 

Michigan Central 

The Niagara Falls Route between 

Chicago, Detroit, Buffalo, 
New YorK, and Boston . . . 

Send three red stamps for Niagara Booklet, and ask about 
the new Niagara picture. 

City TicRet Office, 119 Street 

September 5, 1S42, the prize comedy, "The Yankee in Time," 
was given for tlie first time here, with Marble as Jacob Jew- 
sharp, a role in which James H. McVicker distinguished himselt 
in after years. Listen to Benjamin F". Taylor : 

"It was in that dirty old rat trap, the 'Rialto,' I think, that 1 saw 
Dan Marble for the first time. ' Black-Eyed Susan ' and Marble's admii-- 
able William melted the house, as if it had been something in a crucible. 
It was, in its way, the perfection and simplicity of nature. The audience 
was a little mixed. There were the fellows that in New York would 
have 'killed the Keiser,' the ' wake-me-up-when-Kirby-dies stripe.' 
There was a small handful of half-breeds, a sprinkling of lieutenants 
from the army, one or two worn-out paymasters.- The pit was full of 
sailors, with occasionally a wharf-rat ; but for fresh-water tars there 
was a wonderful effusion of salt water. Even the always conscious 
dress-circle fluttered with any number of white cambric mops, and 
when the play took the right turn at last, the 'gods' applauded and the 
spiders hovering in their webs, and the mice in the walls, were whist. 
Even the chaps that spent their time in the interludes in bawling ' boots ' 
and ' supe ' and eating peanuts, mopped out the corner of their eyes 
with their dirty knuckles, and had the theatrical manageinent furnished 
soap, as well as sorrow, some of them might have put a better face on the 
matter. I can see the centi'al figures of that dres.s-circle to-day. Hands 
that I think have .shriveled out of the white kids they wore that night. 
The blue dress coats and buff vests have been laid aside for other and 
stranger wear. Yonder, crowned with iron-gray Jacksonian hair, is the 
stately form of Colonel Kerchival. The man near him with large luminous 
eyes is the Hon. Giles Spring, owner of one of the finest judicial minds 
that ever graced the State. Beyond him is Doctor Maxwell, with a step 
as light as that of a wisp of a girl, for all of his two hundred and odd 
pounds of solid flesh. by are E. W. Tracy, George W. Meeker, 
and Doctor Stuart, and — but why keep on calling the dead men's roll? 
Some of the beauty as well as the manhood of the young city was there, 
and brightened up the dull old place like moonlight ; biit what matters 
it? The footlights are out, the players departed, and the air is full of 
dust withal. Down with the curtain." 

■"Richard III "was first given Saturday, August 20, 1S42. 
with Mr. Ljme as Gloster, and "Othello" was introduced to 
Cliicago, September 14, 1842, in a unique way. There was. a 
tailor here who "had been told by his friends that he could 
act," and he applied to the management for an opportunity. 
There were not many tailors in Chicago then, and as he was 
the only one who could act — or thought he could — there was a 
certainty that all his colleagues, and at least a few of their 
customers, would be present if he played. Business had not 
been sufficiently good to resist the potency of a great noveltv, 
so the tailor was jiermittcd to prepare himself. It was arranged 

•'•..' <r 





Some of the finest theaters, residences, churches, clubs, hotels, 
and public buildings which are famed for their interior beauty are 
examples of the work of our Interior Decorating Section. 


Some of the most elaborately costumed companies on the Amer- 
ican Stage were equipped by our Costuming Section. 


tf) give Mrs. Powell a benefit and to allow the tailor to ajipear 
in the third act of " Othello." it being such an easy act to play, 
especially for a tailor. The tailor, who was billed as " a gentle- 
man of this city," did so well that in 1S4S at Rice's Chicago 
Theatre, he was allowed to play the character in its entirety. 
On another occasion, he played lago, and later he became an 
actor of good repute and was known as George Ryer. 

On Tuesday, September 27, 1S42, the Chapman Building, 
at the southeast corner of Randolph and Wells Streets, was 
opened as a theatre by William P. Hastings, with "The 
Golden Farmer." Tickets, 25 cents I The season was brief 
and unsuccessful. Then came "The Learned Pig" in 1S44. 
On November 21, 1844, ^ Museum began its legal existence 
in the Commercial Building, at 73 Lake Street. Its manager, 
Henry Fuller, boasted of an extensive variety of geology, 
mineralogy, conchology, ornithology, and promised that noth- 
ing should be introduced within its walls not "in strict accord- 
ance with propriety, morality, and religion." To give variety 
to the development of the drama in 1844, at the Old Chicago 
Theatre, Stephen A. Douglas had a fight one evening between 
the acts, with a lot of sailors, heelers, and canal laborers. The 
drama languished and the Rialto was again converted to its 
original purpose. The population had grown from 3,265, in 
1835, to 3,820, in 1836 ; to 4,179 in 1S37, and had fallen to 4,000 
in 183S. In 1839 it was increased by 200. In 1S44, when the 
population had reached S,(X)o, it was suggested by the Council 
that it was advisable to plank Lake Street between Dearborn 
and State Streets. Considering the city's drawbacks, youth, 
and isolation it was a matter of wonder that the place could 
boast of such a good theatrical beginning. They were brave 
men and women who first trod the boards of the Chicago stage, 
and the members of the Jefferson family especially deserve a 
statue for their honest and chaste efforts in behalf of the 
drama, when the city boasted of its 4,iX)o, but had no "400." 
Chicago had grown from 12,088, in 1845,. to 14,169, in 1846, and 
Thursday. June 30, 1846, Christy's Minstrels appeared for the 
first time at the City Saloon and two months later the North 



Archer Ave. and 23d Place 



and South Sides were connected by a new ferryboat plying 
between River and Rush Streets, and provided free by the 
proprietors of the Lake House. Howe & Mabie's Arena and 
United States Circus appeared August 21, 1846, for four 
evening and one afternoon performances. Among the riders 
was Matthew Buckley, who grew to be the oldest showman in 
the United States, dying at Delavan, Wisconsin, February 28. 
1S97, aged 97 years. In October, 1846, the old Rialto Building 
was again converted into a playhouse and called the National 
Theatre, opening with "The Golden Farmer" and "The 
Harlequinade." On November 9, 1846, it was formally re- 
opened with "Wenlock of Wenlock," with Reuben Marshael 
as Wenlock. The season concluded November 14th with F. D. 
Wilson as Othello. On Wednesday, December 23, 1846, the 
National Theatre became the People's Theatre. The opening 
bill was "The Hunchback," with Madame LaBurriss as Julia; 
F. D. Wilson as Master Walter ; Reuben Marshael as Clifford, 
and Samuel Edwin Brown as Fathom. The prices during this 
engagement were: Boxes, 50 cents; parquette, 31}4 cents; 
gallery, 25 cents. The performances began at 7. 15 o'clock. The 
theatre changed its name again to the National on Thursday, 
January 21, 1S47. The next evening " The Bandit Chief " was 
given, followed by "The Apostate" and " The Lottery Ticket," 
and at 2 o'clock on the morning of February i, 1847, fire broke 
out and the theatre and adjoining buildings went up in smoke. 
While the house was in a blaze a wag remarked that this was 
positively its last appearance "for the beneHt of the city," and 
another replied that he was rejoiced to see it " so well heated 
for the occasion. " But it should not have been an occasion for 
levity. The friend of the drama should have had a reverence 
for the old structure whose boards had been trodden by two 
Joseph Jeffersons, Charles Kemble Mason, Charles Burke, Dan 
Marble, and William Warren. 

Then came glad tidings! John B. Rice, destined to become 
one of Chicago's brightest ornaments, who was to be Mayor of 
Chicago in after days and the city's representative in Congress, 
came here from Buffalo and recognized the fact that the great 

"Speed, Safety 
and Comfort" 

Is the motto which has earned for TttE PENNSYLVflNlfl SfiORT LINES 
the leputation of being- The Standard Railway of America 

THE LIMITED Both start from Chicago— The Limited 

AND at 6.00 p. m., and luxury enjoyed by 

LUXURY passengers on this train at the same hour 





Leaves Chicago, daily, 6.00 p. m. 
Arrives New York . . 6.00 p. m. 

This train is 
composed of 
Pullman equif 
ment and con- 
sists of Library 
Smoking Ca 
ing Room Sleeping 
Car, and Compart 
ment Observ 
Car — a solid vesti 
bule train Ch 
New York. 


originated on 
the Pknnsvl- 
r.A.\iA Limukd: 
-ibrary Smok- 
ig Car, Barber 
Shop, Bath Rooms, 
Stock reports and 
latest market bul- 
letins, a Trained 
Waiting Maid, ever 
;ady to assist ladies 
aveling alone, large 
rlor in Observation 
Car (the rear having a 
recessed and protected 
platform) for sight 


Harbor and River Convention of 1S47 would bring thousands of 
people to the growing young eity of the plains, and that they 
would ask for entertainment. On May 5, 1S47, he entered into 
a contract for the construction of a building, to be used as a 
theatre on the south side of Randolph Street, and about kxj feet 
east of Dearborn, within the same square that afterward held 
Crosby's Opera House and on the very spot where the Unity 
Building now stands. And strange fact, this, the first actual 
theatre to be built in Chicago, stood directly opposite the spot 
where the Iroquois now stands. After fifty-six years of growth 
and pride and change, the new theati-e erected solely for theat- 
rical purposes stands across the street from the lot that har- 
bored the first structure erected in Chicago for strictly theatrical 
]nn-poses. John B. Rice, who was the father of Mrs. James B. 
Kimball, Mrs. James W. Odell, Mrs. William Smith, Mrs. (Jeorge 
L. Dunlap, and Mrs. Orson Smith, spent $4,000 on the theatre! 
Think of it, $4,000! But it was a large sum to expend on a 
theatre at a time when the telegraph reached no farther west 
than Ypsilanti, Michigan: just seven months before a telegraph 
line was opened between Chicago and Milwaukee, namely, on 
January 20. 1S4S; five years before the first railway ran into 
Chicago from the East over the Michigan Southern and North- 
ern Indiana tracks, and eleven years before the first screet ear 
ran on State Street! It is also something of a coincidence that 
this first train from the East was brought into the city by 
Thomas G. Davis, the father of Will J. Davis, of the Illinois 
and Iroquois Theatres. The theatre, built in less than fifty- 
four days, was an ordinary wooden structure of the period, two 
stories high, and excessively plain. Its interior was more 
ornate, and every part nf the house afforded a good view of 
the stage. The entire lower floor was devoted to the pit. The 
boxes were elegantly furnished — for those days — and were 
fitted up with carpets and settees. The little town was enthu- 
siastic over its new playhouse, which was opened Monday 
evening. June 2S. 1S47. Behold the opening bill: 





The Manager respectfully announces to the 
public that the above new and spacious establish- 
ment will be open for their reception THIS (Mon- 
day) evening, with a full company of experienced 
Artists, and an efficient Orchestra. 




MR. MARBLE wii.i. aiteak 


Previous to the performance, an opening Ad- 
dress, written by a gentleman of this city, will be 
delivered by Mr. Harris. 

Monday evening, June 28th, will be performed the 
Comedietta, entitled 


Or, Woman's Worth and Woman's Ways. 

Caroline Merton Mrs. Hunt 

Diana do 

Ugenia do 

Ellen do 

Beauchamp Mr. Mossop 

Mr. Merton Phillimore 

Tom Snaffle Meeker 

Susan _ Mrs. Price 

Landlady Mrs. Stevens 

Emigrant's Lament... Mr. Mossop 

To be followed by the Yankee Comedy of the 



Capt. Oakley Canoll 

Col. Gormsley, with song of Rorv O'More Mossop 

Mr. Waddle .' Phillimore 

Slap „ ...Meeker 

Amanda .Mrs. Price 

Highland Fling, Miss Homer 

The whole to conclude with the Farce of the 


Joseph, the Younj? Scamp MRS. HUNT 

Arthur Mr. Canoll 

Mildew Philliir.ore 

Gen'l Beauvoir Rice 

Mrs. Manly Mrs. Price 

Mrs. Swansdown Mrs. Stevens 

Eliza • Miss Homer 

Admission. Dress Circle, 50 cents ; Parquette, 
25 cts.; 2nd Tier of Boxes, for colored persons, 
25 cts. No female admitted unless accompanied 
by a gentleman. Doors open at ij past 7. Per- 
formance to commence at S o'clock precisely. 

TKI.KIMii .\i. 1! \KKl30N '64., 

Wm. Zankkr - - - - President 
o^'AR A. Reim, Secretary and Treasurer 

Zander- Reum 





The audience was large, representative, and t'a>.hionable. 
All the pioneers who had built the little city were there. Their 
wives and daughters, mothers, and sweethearts were there 
with them. They were all as happy as the genial manager, 
who was always cheerful, even in adversity. It was a new 
dawn for the little city, its sunrise of art, for it was then just 
ten years, three months, and twenty-four days old, with a 
population of but 15,000. The front of the house was not 
crowded with automobiles, or even with carriages, for pleasure 
vehicles were rare in those days and could not have been used 
had they been plentiful. The roads were not conducive to fast 
driving, and had wide gutters separating them from the side- 
walks, when the latter existed. None of the streets were paved, 
and the uneven, broken sidewalks with many steps were 
almost as bad as the middle of the roadway. Nor were the 
men in evening attire. They wore their swallow-tailed coats 
of blue cloth with brass buttons, and buff waistcoats. The 
audience was an inspiration to the players. Aviditors and 
actors were equally anxious to please each other. Those before 
the footlights seemed to say in their applause: " Followers of 
Shakesjieare's calling you are welcome! You are among friends' 
Give us from the bounty of your art and we will give you our 
applause. x\.nd when the play is done, we will smile upon you 
with our friendship in your new home. Remember alwaj> 
that we desire to see ' the players well bestowed.' " And the 
players, gladdened and inspired, spoke and acted with new 
spirit, as if they meant to say : " We appreciate j-our welcome 
and we are grateful. "We hope to be worthy of yo'ur approba- 
tion. Let us be friends." If the audience was an inspiration 
can less be said of the players? "Were not Mrs. Louisa Hunt, 
Dan Marble, and John B. Rice on the bill that glorious history- 
making evening in June ? And has Chicago not been faithful 
to the memories of inimital)le Mrs. Hunt, laughter-provoking 
Dan ^larble, and honest, noble John B. Rice? And you know, 
do you not, that Mrs. Louisa Hunt had been born Louisa Lane, 
that she was the brilliant comedienne who afterward mamed 

the comedian of the company, George Mossop. and win > after his 


Frank Parwtelee 


Established 1853 

Haihcad i^iUJ>en6er (and 

wo V ' 

^agf^age Transfer 

Office 132 East Adams Street 
Telephone Harrison 1914 





Theatrical Transfers a Specialty 

death, in 1S4S, became Mrs. John Drew, the greatest Mrs. Mala- 
prop Chicago ever knew? The opening address, written by 
G. W. Philliniore, a member of the company, and delivered by 
Edwin Harris, was in three parts — " To The Audience," " To 
The Boxes," and " To The Pit." No one accused Mr. PhilHmore 
of writing good poetry, but every one admitted that his heart 
was in the right ])lace. A popular member of this company 
was ilrs. Rice, who was born ^lary Ann Warren, a sister of 
William Warren and IMrs. Dan Marble. She made her debut as 
Helen in " The Hunchback," July 26, 1S47. She retired from the 
stage in 1S54. ^md died at Colorado Beach, California, March 23, 
1S93. Mr. Rice was a man whose word was as good as a bond. 
On one occasion the audience was offended at Bai'ney Williams, 
who did something on the stage offensive to the Irish people 
2:)resent. They refused to allow Williams to proceed \\:ith his 
lines, and then Mr. Rice appeared upon the scene, informed 
his patrons that if they allowed Mr. Williams to finish his per- 
formance and complete his engagement, he would give them 
his word of honor that Mr. Williams would never again be 
permitted to play at his theatre. The riot was quelled and 
Mr. Williams was never re-engaged. Among the men who 
came here to attend the Harbor and River Convention, and 
who patronized the playhouse, were Horace Greeley, who 
represented the .Wtc Vor/c Tribune ; Thurlow Weed, who 
wrote for the Xeiu York Evening Journal, and Abraham 
Lincoln, the last named being then thirty-eight years of age 
and in Chicago for the first time. One of the great attractions 
in those days was T. D. Rice, of '-Jim Crow" fame, who had 
dropped little Joseph Jefferson out of a bag when the latter, at 
the age of four, made his first appearance on the stage. Rice 
made his first appearance here on July 12, 1S47, as Ginger Blue, 
the Mummy, in " Mummy." The next night Jerry Merrifield, 
who became a popular comedian here, made his first appear- 
ance as Peter Spyke in " The Loan of. a Lover." At this time 
Mrs. Hunt was featured as a stock star, and having a fondness 
for male roles won much favor in them. On July 28, 1S47, she 
appeared as Claude Melnotte to the Pauline of Mrs. Rice. The 


most popular aclor seen here in those days was James E. 
Murdoek, wlio trod the boards of a Chicago stage for the first 
time on August 2. 1S47. The play was " Hamlet." Mrs. Hunt 
was the Ophelia ; Mrs. Rice, the Queen ; Mr. Harris, the Ghiist ; 
and Mr. Mossop, the Laertes. The next night Mr. Murdoek 
played Romeo to Mrs. Hunt's Juliet. Actors were versatile in 
those days. On September 11, 1S47. Mr. Ryer, the tailor, still 
an amateur, appeared as Hamlet, "by the advice of his 
friends." The enthusiasm was so great that one admirer threw 
him a purse of $25. The stage in Chicago has undergone many 
changes. The lamented Julia Dean, gifted, beautiful, and 
probably the most popular actress of her day, made her debut 
at Rice's on October 5, 1S47, as Julia in ••The Hunchback." 
"Her smile was a language of itself; joy and anguish, hope 
and fear ; love and scorn flitted across her young face with the 
grace of sunbeams and shadows." 

James Hubert McVicker made his first appearance in 
Chicago. Tuesday, May 2, 1S4S. Mr. McVicker, whose name 
was then spelt McVicar, made his debut as Mr. Smith in " My 
Neighbor's Wife." The relations between Mc^'icker and Rice 
were always of the most cordial character. During the first 
week in Jvine of i84S,an luiusual state of affairs exi-sted in 
Chicago. Five places of amusement were x)pen at one time; 
Ravmond & Waring's Menagerie was the place to see the 
elephant ; Winter's Diorama, the place to see "Jerusalem and 
the Court of Baljylon " ; Rice's Theatre, the place to see acting : 
Winchell's entertainment, the place to hear good singing ; and 
Tom Thumb was at the Court House, "the place to be 
kissed ", for a girl that had not been kissed by Tom Thumb 
felt like a spinster who had never had an offer of marriage. 
And all the notice that Edwin Fon'est received from the 
Ell e7iing Journal, after he had made his debut at Rice's on 
June S, 1S4S, was the following: "A crowded audience were 
delighted with Mr. Forrest's Othello at the theatre last 
evening. Mr. P'enno, as lago, was most superior, and Mrs. 
Hunt's Desdemona, charming. To-night Mr. Forrest appears 
again in the character of Hamlet." And an enterprising 

citizen who had I'clt called upon ta ask Mr. Forrest " how lie 
liked Chieago", received this answer from the actor who had 
climbed up and down our sidewalks, " How do I like Chicago? 

Why the whole place is set for ' Mazeppa.'" And so 

far as we know, the first actor to step out of the character and 
make a speech during or after a performance in Chicago was 
l^dwin Forrest, who spoke at the conclusion of his first engage- 
ment on Friday evening, June 23, 1S4S, after playing King 
Lear for the first time here. Then came " the noblest Roman 
of them all." Junius Brutus Booth made his first appearance 
on Friday, September 22, 1S4S, in " Richard III." On Sep- 
tember I, 1S48, Chicago had .^rown to 19,724 souls, and on 
November 25, 1S4S, the second season at Rice's elo.sed, Mrs. 
Mossop. formerly ^Irs. Hunt, distinguishing'herself by playing 
Alfred Evelyn in " Money," and I^ucretia Borgia. And still 
the city was without good sidewalks, roadways, or gas. July 
2S, 1S50, Mr. Rice began an experiment with grand opera, 
opening with " La Somnambula," the cast including Eliza 
Brienti, Miss Matthews, Mr. Manvers, and Mr. Dubreill. The 
theatre was destroj-ed by fire July 30, 1S50. Loss $4,000. On 
February 3, 1851, Mr. Rice opened his second theatre on the 
same spot, but the entrance had been transferred to IJearborn 
Street. The new building was of brick and cost Si i. 000. Mr. 
Rice made a notable improvement by abolishing the pit, 
because of its noisy occupants, and building a gallery at 
the top of the house, almost over the stage. The former pit 
was called the parquet and respectable people were then no 
longer afraid to see the play. The opening attractif)n at the 
new house was a triple bill: "Love in Humble Life," "The 
Captain of the Watch," and -'The Dumb Belle." Mr. and 
Mrs. G. H. Gilbert were members of the company, the now 
revered " Dear old Mrs. (Gilbert," being then a popular dancer. 
It was here that John Dillon, " recently graduated from a New 
York concert saloon," made his first local appearance. In 1S61, 
Rice's Chicago Theatre was converted into a business house. 
Meanwhile another theatre was opened. This was North's 
Amphitheatre, which stood on the south side of ^Fonroe Street, 

east of Wells Street. Its manager, Levi J. North, offered a 
unique entertainment, inasmuch as the drama was preceded 
by a cii'cus, the stage being built on wheels and run over the 
circus ring. It was afterward known as the National Theatre 
and existed until 1S64. 

Thursday evening, November 5, 1S57. McVicker's Theatre 
was opened. The stock company was large and representative 
and appeared in "The Honeymoon" and "'The Rough Dia- 
mond." H. A. Perry, who appeared as the Duke Aranza, was 
an admired actor of his day. Edwin Booth's first appearance 
was made here May 31, 1S5S, appearing in "A New Way to 
Pay Old Debts," followed by "Richelieu," John Howard 
Payne's "Brutus" and "Richard III." All the great actors 
of that period played at McVicker's, Edward A. Sothern mak- 
ing his debut in 1861, James H. Hackett, the great Falstaff of 
that day, in 1S65, and Mrs. Mary F. Scott-Siddons in 1869. 
The theatre was remodeled in 1864, and in 1S68 Joseph Jeffer- 
son produced " Rip Van Winkle" for the first time here. The 
theatre was rebuilt in 1S71, at a cost of $90,000, and re-opened 
with " Extremes" six weeks before the great fire of October 9, 
1871, when it was burned with the rest of Chicago. Again 
the theatre was rebuilt, and re-opened August 15, 1872, with 
Douglas Jerrold's "Time Works Wonders." In 18S5 the theatre 
was again remodeled. On August 26, 1890, during a run of 
" Shenandoah." it was again destroyed by fire. It rose from 
its ashes on March 31, 1892, Joseph Jeflferson, William J. 
Florence, Mrs. John Drew, Miss Viola Allen, and Frederick 
Paulding appearing in "The Rivals." After Mr. McVicker 
died on March 7, 1896, the theatre was conducted by Mrs. 
IMcVicker, who, on May i, 1898, leased it for a term of years 
to Jacob Litt, who, in 1902. purchased the entire property from 
Mrs. McVicker. It was something of a coincidence that Mrs. 
McVicker leased the theatre to Mr. Litt just fifty years minus 
a day after the date of her husband's professional debut in 
Chicago. The story of McVicker's Theatre would fill many a 
volume. All the great actors of the day appeared here for 

a period of fortv vears, most of the great names of the dramatic 


and musical professions having brightened the history of this 
house. Not only the famous stars, but many of the best known 
stock actors won favor here, for during the greater portion of 
Mr. McVicker's career the great stars were supported by the 
stock company of the house. And on many occasions the in- 
imitable Mr. McVicker would himself appear either at the head 
of his own company or in the support of eminent stars like 
Charlotte Cushman or Edwin Booth. His most memorable per- 
formances were those of Mr. Simpson to the Mrs. Simpson of 
Charlotte Cushman in "Simpson & Co.'," and of the First 
Grave Digger in " Hamlet," Dogberry in " Much Ado About 
Nothing," Bottom in •' Midsummer's Night," and Launcelot 
Gobbo in "The Merchant of Venice," when Edwin Booth was 
the star. These iive roles were distinctively his own. Mr. 
McVicker was a comedian and a manager in the true sense 
of the word, and as a citizen of Chicago he was so popular 
and so public-spirited that his memory will never be dimmed 
by time. 

Still another famous playhouse was Colonel Wood's Museum 
at iii-ii- Randolph Street, which was opened with a number of 
curiosities August 17, 1863, and in November, 1S63, converted 
into a playhouse, when "The Bohemian Girl" was given by 
the Holman Opera Companj-. " The Lady of Lyons " was 
the first play given, and for some time eminent players of 
this day, such as Frank E. Aiken, McKee Rankin, William 
J. LeMoyne, and Owen Fawcett, were admired members of 
the stock company, which was so popular that before the fire, 
when long runs were unknown, "The Ticket of Leave Man" 
was played consecutively for six weeks. 

And all Chicago remembers Crosbj^'s Opera House, which 
stood on the north side of Washington Street, between Dear- 
born and State Streets, and opened with " II Trovatore," 
April 26, 1S65, at a cost of $500,000, by J. Grau's Italian 
Opera Company. Miss Clara Louise Kellogg, now Mrs. Carl 
Strakosch, was a member of the company. Here the great 
spectacular plaj-s of the day, "The Black Crook," "The White 
Fawn," and " The Field of the Cloth of Gold" were given, as 

well as all the great operas ami German ilramas, for here 
Fanny Janauschek and Marie Seebach played the tragedies of 
Schiller and Goethe. And on this stage the citizens of Chicago 
presented a silver wreath to Madame Janauschek, Dr. Ernst 
Schmidt being the spokesman of the occasion. And now the 
great tragedian is practically dying in want. Like the other 
playhouses, Crosby's Opera House, which was to be re-dedi- 
cated by the Theodore Thomas Orchestra, Marie Krcbs, 
pianist, and Bernhard Listemann, violinist, on Monday, Octo- 
ber 9, 1S71, was burned to the ground that morning, the 
orchestra reaching Twenty-second Sti'eet on its way from the 
East. At the time it was said that Theodore Thomas differed 
from Nero inasmuch as he roamed away while his fiddles were 

No less than three theatres wxTf named after Frank E. 
Aiken, Chicago's popular leading man of that day. For a 
time Wood's Museum was known as Aiken's Theatre, after 
Col. J. H. Wood retired. Another Aiken's Theatre was built 
on the east side of Deai'born Street, one block south of the 
spot where Rice's Chicago Theatre had stood.- It was opened 
January, 1S69, by a stock company playing ■• Cyril's Success." 
In August, 1S69, it was transformed into the Dearborn Theatre 
and occupied b}' Emerson. Allen & Manning's Minstrels and 
other attractions, such as Charles Wyndham in the Robertson 
comedies. Still another Aiken's Theatre was ei-ected at the 
northwest corner of Wabash Avenue and Congress Street, and 
opened October 7, 1S72, by the Theodore Thomas Orchestra. 
Here Anton Rubinstein and Wienawski gave their meriiorable 
concerts. Here Lawrence Barrett produced "Julius Caesar," 
and while playing Cassius stepped out of the role to speak Marc 
Antony's oration. Frank Lawler being the Marc Antony, 'fhe 
theatre was burned in the second Chicago fire of July i^, 1S74. 
Meanwhile other places of amusement were opened. They 
included Bryan Hall, at 87 and 89 Clark Street, built in i860 
for concerts; the first Academy bt" Music, at 124 Washington 
Street, opened December i. 1S63, and devoted to Arling- 
ton, Kellv, Leon & Donnikers Minstrels, and later to' English 


A. H. Andrews Co 

174-176 Wabash Avenue 

Seated tHis "IROQUOIS" THeatre 

Xarcicet /IRanutacturcrs of: 

(0prra au^ abratrr ^ratinri. (0fitrr a^^ iUauk 5FiiniUurr 

(Cburrlj an^ ^rluml iFunittiirr. ^trrl fflirr (Cljairs 

aablra an^ ^tiuUs 


Iroquois, Chicago. MCVICKERS', Chicago, AUDITORIUM, Chicac 
Powers', Chicago; GaRRICK, Chicago. METROPOLITAN. New Yor» 

Chicago Opera House. Chicago. St. Charles, new ohlean^ 

DALVS, New Yohk; ACADEMY, New York. LYCEUM, Memphi! 

Toronto, toromto Prospect, ci-evei-and Academy, buffalo 

opera by the late Sher Campbell and the present William 
Castle ; the tirst Olympic Theatre, at the northwest corner of 
Clark and Jlonroe Streets, opened Jiih- 15, 1S6S, by Arlington's 
Minstrels, and the Globe Theatre on Dcsplaines Street, between 
.Madison and Washington Streets, opened November 21, 1S70. 
by a stock company playing " The Rivals." The last named 
was the only theatre that escaped the fire. 

After the great fire the walls of the old Postofifice at Dear- 
born and Monroe Streets were utilized as the framework of a 
theatre that was opened January 11, 1S75. with a burlesque 
under Leonard Grover's management. J. H. Haverly recon- 
structed it in 1S7S. and called it Haverly's Theatre, opening it 
with the Colville Folly Company in " The Babes in the Woods." 
It was used as a theatre until iSSo, when it was demolished. 
It was here, on Aj^ril i, 1S75, that Will J. Davis, who had been 
associated with W. W. Cole of Grover & Cole, first came into 
view professionally, as J. H. Haverl\'"s trusted lieutenant, yiv. 
Davis growing to be the dean among local managers. During 
1S77 and 1S78, Mr. Davis was not associated with this house, 
l)ut he returned in 1S79, '^»f^ every faithful Chicagoan is grate- 
ful to him for his share of the prosperity of this house that 
first introduced us to such distinct and lasting successes as the 
Chicago Church Choir Company, Her Majesty's Italian Opera 
Company, the Carlcton Opera Companv. and the Chicagcj 

A great and good man to whom Chicago is indebted for 
much was the late Richard M. Hooley. familiarly and rever- 
ently called "Uncle Dick Mooley. " Mr. Hooley came here 
from Brooklyn in 1S70, and transff)rmed Bryan Hall into a 
handsome theatre called Hooley's Opera House. It was opened 
Jaraiary 2, 1871, by Hooley's Minstrels, and when it was 
destroyed in the great fire Mrs. F. W. Lander ( Jean Daven- 
port ) was to appear in an English version of Giacometti's 
■' Elizabeth." For a while Mr. Hooley had a stock company 
in conjunction with Frank E. Aiken, with Mr. Aiken as lead- 
ing man, the first play being " The Two Thorns." After the 
fire the theatre was rebuilt, and after being called the Coliseum 

and Hamlin's Theatre, was remodeled in iSSo, and called the 
Grand Opera House, and leased to John A. Hamlin. It 
was opened September, iS8o, bj' Hoey & Hardy in "A 
Child of the State." Mr. Will J. Davis was acting manager 
of the Grand Opera House at this time and remained thei-e 
two years, giving the house its legitimate start. After the 
great fire Mr. Hooley built Hooley's Theatre on Randolph 
Street, east of La Salle, and opened it October 17, 1872, 
with the Abbott- Kiralfy Company. In 1876 and 1877 it was 
known as Haverh-'s, and then restored to Mr. Hooley and 
his partner, Simon Quinlan. Later Mr. Hooley became its 
exclusive manager and remained so until his death in Sep- 
tember, 1893. Here for some years Mr. Hooley had an excep- 
tional stock company that included at different times such well- 
known players as James O'Neill, William H. Crane, Harry 
Murdock, John Webster, John Dillon, George Rj-er, George 
Giddens, Nate Salsbury, Louise Hawthorne, Minnie Doyle, 
Nellie McHenry, Sidney Cowell, Susan Denin, and last, but not 
least, the famous Mrs. Clara Fisher Maeder. May i, 1898, the 
theatre passed from the control of the Hooley estate into the 
hands of Harry J. Powers, who had been associated with the 
house since October 15, 1877, when the attraction was Jarrett & 
Palmer's " Sardanapalus," and who gave it the name of Powers' 
Theatre, although the favorite name of " The Parlor Home of 
Comedy " still clings to it. A£ter a complete reconstruction 
based on designs by Benjamin H. Marshal, who afterward 
became the architect of the Illinois and Iroquois theatres, it was 
opened as Powers' Theatre, August 2^, 1S9S, with Eflie Shannon 
and Herbert Kelcey in Ch^de Fitch's, " The Moth and the 
Flame." For thirty-one years this plaj'house has made theatri- 
cal history. Most of the eminent players and singers of the 
generation have appeared upon its boards, and here many of 
our younger actors have made their local debuts as stars. Here , 
since Mr. Powers first became connected with the house, we 
have seen Lawrence Barrett, Clara Morris, Robson and Crane, 
Fanny Janauschek, Fanny Davenport, Helena Modjeska. 
K. A . Sothern , John T. Raymond, John McCullough , Nat C. Good- 

win, Emma Abbott, Clara Louise Kellogg, George S. Knight, 
Lotta, E. H. Sothern, Mrs. Scott-Siddons, Maggie Mitchell, 
Genevieve Ward, Roland Reed, Minnie Maddern, Annie Pixley, 
Henry E. Dixey, Rosina Yokes, Mr. and Mrs. Kendall, Mar- 
garet Mather, E. S. Willard, Eleonora Duse. Ada Rehan, Olga 
Nethersole, William Gillette, John Hare, John Drew, Sol Smith 
Russell, Julia Arthur, Julia Marlowe, Maude Adams, Sir Henry 
Irving, Ellen Terry, and a host of others, many of whom 
have passed into the Great Hereafter. No wonder then that 
to old and young this playhouse, which has ever maintained 
the highest standard, is indeed a " Home." 

John B. Carson built a theatre on Monroe Street, between 
Dearborn and Clark, and called it Haverly's. It was opened 
Monday, September 12, 1881, by Robson and Crane with 
"Twelfth Night." It was managed bj^ J. H. Haverlj' and 
afterward by C. H. McConnell, during whose i-egime Mr. 
Will J. Davis was his acting manager. On the last night of the 
second engagement of Henry Irving and Ellen Terry, Satur- 
day, January 31, 1885, Ellen Terry christened the house the 
Columbia Theatre. In 1889 Mr. Carson offered his house out 
of hand to Mr. Will J. Davis, who associated himself with Mr. 
Al Hayman, then of San Francisco in a ten year lease of the 
theatre, and on Friday afternoon, March 30, 1900, during an en- 
gagement of the Rogers Brothers, it was destroyed by fire. 

Other theatres built from time to time were : 

Myers' Opera House, on Monroe Street, between State and 
Dearborn Streets ; Samuel Myers, manager ; opened Septem- 
ber 23, 1872. 

The Standard, afterward the Bijou, at the corner of Jackson 
and Halsted Streets ; built by a Mr. Townsend of this city, 
opened by Fay Templeton in "Girofle-Girofla" December 31,1883. 

Chicago Opera House, at the corner of Washington and 
Clark Streets ; opened by John W. Norton & Co. , with David 
Henderson as manager, August 18, 1885, with Thomas W. 
Keene in "Richard III." 

The new Chicago Theatre, now the Olympic Theatre, 
on Clark Street, between Lake and Randolph : opened by 

James H. McVicker in August, 1S75, with "Apple Blossoms.* 
Called the Olympic, in May, 1SS5. 

Hopkins' Theatre, on State Street near Harrison, was opened 
!)y Robert (iraham in "Wanted a Partner," October i, 1SS4. 

The Windsor Theatre, later the Lincoln, on North Clark- 
Street, near Division, was opened September 16, 1SS6. 

The Haymarket Theatre on West Madison Street, near 
Halsted, was dedicated by Thomas Keene in "Richard HI" 
December 24, 1SS7, under the management of Mr. Will J. 
Davis. Thomas W. Keene had the distinction of opening two 
Chicago playhouses with the same play. 

Baker's Theatre, afterward Havlin's. and now the Colum- 
bus, was opened with "The Pearl of Pekin " November 6, 
iSSS, and leased to J. H. Havlin May 27. 1SS9. ^ 

The Clark Street Theatre, on North Clark and ^Michigan 
Sti-eets ; opened by H. R. Jacobs, with " Said Pasha," October 
27, 1SS9. 

The Alhambra, on State and Nineteenth Streets, was opened 
by the Emma Juch Grand English Opera Company in " Faust." 
.September i, 1S90. 

The Schiller' Theatre, later the Dearborn and now the 
Garrick, was opened in September, 1S92, with four weeks of 
German comedy, and dedicated to the English drama with 
" Ciloriana," October 17, 1S92. 

The Great Northern Theatre, A. M. Palmer, manager, was 
opened bj^ Henry Miller in "Heartsease," November 9, 1S96. 

The Auditorium was dedicated by President Harrison and 
Adelina Patti, ^londay, December 9. 1SS9. Gounod's " Romeo 
and Juliet " was given the next night with Mrne. Patti as Juliet. 

The vStudebaker, on Michigan Boulevard, between Van Buren 
and Congress Streets, was opened with a concert September 29. 
1S9S, and was first used as an opera house .by the Castle Square 
Company in •' Faust," Monday, Api'il 3, 1S99. 

The opening of the Illinois Theatre, on Jackson Boulevai-d. 

Monday evening, October 15, 1900, with Julia Marlowe in Clyde 

Fitch's "Barbara Frietchie " marked a new era< inasmuch as 

it was the first time in the history of Chicago that a playhouse 


was cfjnstructed and employed solely for theatrical purposes. 
There are several older houses in New York, Philadeli)hia, and 
Savannah. Ga. , that are similarly built and used, but they art- 
the important exceptions to an almost unanimous rule. It 
was built by the Haymau c^- Davis Co.. with .Mr. Will J. Davis 
as manager. While it was being built all sorts of names were 
suggested, ]Mr. Davis making a plea for a name that would be 
symbolical of the city's history. Finally Charles Frohnian 
said : " Whv not call it the Illinois.^" And Illinois it became, 
and worthilv so, as something of a rebuke to the naming of 
theatres either after individuals or in imitation of some English 
name to which its birth and career are wholly foreign. And so. 
to-day, the Illinois Theatre, after a career of a little over three 
years, typifies all that is most beautiful and good in the modern 
theatre. Like the first playhouse Chicago ever had, its name 
is Indian. It is also noteworthy that the architect of the Illinois 
is ])rob£iblv the ycnmgest man who ever designed a theatre, for 
Benjamin H. Marshall was barely twenty-six .years of age when 
the Illinois became a reality. 

When the new playhouse that is now being dedicated was 
first planned, Mr. Will J. Davis was ready with a name for it, 
a name that would be a tribute to the first inhabitants of this 
continent. Mr. Davis' devotion to the history of the Indians 
has been constant, and he was deeply impressed by the fact 
that in early days they were led by the Iroquois, composed of 
the Five Nations, afterward the Six Nations, for the Senecas, 
iMohawks, Onondagas, Oneidas. and Cayugas were, in 17 ty. 
joined by the Tuscaroras. So this theatre, designed to be a 
leader, was named the Iroquois. And it is interesting to note 
that it was on the anniversary of the nation's birth that Mr. 
Marshall prepared the first designs for the new house, namely, 
on July 4, 1902. Our first inhabitants can not be forgotten, 
when, in our search for wholesome amusement and instruc- 
tion, we remember that our first and latest playhouses were 
called respectively Sauganash and Irf)quois. 



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