Skip to main content

Full text of "Famous playhouses"

See other formats 


mink 


IB' 


K' 


VA'vV;ii/i.M;",, 


CAUiFCSRNlANA 


..  FP.ANCISCO  HISTORY  mm 


OOM 


♦792.079  ^n3^%  525362 


NOT  TO   BE  TAKEN   FROM   THE  LIBRARY 


FORM   3427 5M^I2-39 


Digitized  by  the  Internet  Archive 

in  2010  with  funding  from 

San  Francisco  Public  Library 


http://www.archive.org/details/sanfranciscothea194017sanf 


.#'' 


FAMOUS  PLAYHOUSES 


SAN 


FRANCISCO 

PART  III      t{\\Jjj 

THEATRE  RESEARCH    I^N^^ 
SERIES    VOL  XVII 


7\  .' 


feH> 


-T 


History  of  the  San  Francisco  Theatre,  Volume  XVII 
FAMOUS  PLAYHOUSES:   Part  3 


Compiled  by  Workers  of  the  Writers'  Program 
of  the  Work  Projects  Administration 
in  Northern  California 


Sponsored  by  the  City  and  Cov.nty  of  San  Francisco 

1942 


CALIFORNIA  BTATE  DEPARTMENT  OF  EDUCATION 

Official  sponsor  of  the  Northern 
California  Writers'  Project 


FEDERAL  WORKS  AGENCY 
John  M.  Carmody,  Admlnlatrator 

WORKS  PROJECTS  ADMINISTRATION 

HoT/ard  0.  Hunger,  Commissioner 
Plcrenie  Kerr,  Assistant  Commissioner 
William  R.  Law  sou,  Adminl^:.trator  for  Nopthern  California 


TABLE  OF  CONTENTS 


FAMOUS  PLAYHOUSES 
PART  III 
(1861-1906) 


PREFACE 

Chaptor  I 
Chapter  II 
Chapter  III 
Chapter  IV 
Chapter  V 
Chapter  VI 
Chapter  VII 
Chapter  VIII 
Chapter  IX 
Chapter  X 
Chapter  XI 
Chapter  XII 
Chapter  XIII 
Chapter  XIV 

BIBLIOGRAPHY 

INDEX 


UNION  HALL 

MOZART  HALL 

THE  PACIFIC  THEATRE 

THE  WINTER  GARDEN 

THE  ADELPHI 

METROPOLITAN  HALL  --  THEATRE  REPUBLIC 

THE  MARKET  STREET  THEATRE 

THE  WIGWAM 

THE  BIJOU  THEATRE 

FISCHER'S  THEATRE 

THE  MAJESTIC 

THE  CHUTES 

THE  GROVE  STREET  THEATRE 

MINOR  VARIETY  HOUSES 


PAGE 

1 

18 

27 

48 

57 

66 

99 

112 

132 

145 

154 

168 

192 

202 

219 

221 


Vrl 


ii    'X-JQ   ■..   ,. 


'•7    it:-??  ^c 


--1  r.^/r. 


P^.EFACE 

^7ith   thir,   volume,    seventeenth      in     the     Theatre     Research 
Series,  the    Northern  California  V/rlters'    Proprajn  continues  the 
work  berrun  by  Project   465-O3-0-2S6 ,    sponsored  by  the  City   and 
County  of  San  Francisco,   v/hich  prepared     the  .first   15  voluries 
in   the   series. 

The  present  volune  v;as  prepared  by  the  3an  Francisco 
unit  of  the  Writers'  Prorrari  under  the  ir^r.ediate  direction  of 
Lavrx-ence  IH^stavan,  Assistant  District  Supervisor,  and  under 
the  supervision  of  Fathorine  Justice,  District  Supervisor. 
The  research  nas  the  ^vorl:  of  Gretchen  Clark,  I'ichael  Kvepshev;, 
Dorothy  Phillips,  Slleanore  Staschen,  and  Jack  '7ilson.  The 
final  nanuscript  ^/as  ^An:>itten  by  Georp-e  Hanlin  and  Alan 
Karri  son. 


Walter  Hc'31roy,    State   Supervisor 
Forthern  Coli'o-nia  "Writers'    Prorr^an 


CHAPTER  I 
UNION  HALL 
(1063-  1898) 

In  the  sixties  the  neighborhood  of  Third  and  Howard 
Streets,  a  fashionable  residential  Area,  wae  "too  far  out  of 
town"  to  be  coiasidered  a  theatrical  district.  Nevertheless, 
Iftilon  Hall  was  located  in  this  nel^borhood.  Peter  Donahue's 
horsecar  company  was  responsible  not  only  for  the  location 
but  for  the  hall's  construction  above  a  car  bam  and  stables. 
According  to  the  Chronicle  of  March  22,  1895 ,• 

"The  structure  was  built  and  intended  for  the  pro- 
tection of  the  ninety  cars  of  the  Omnibus  Railroad  Com- 
pany •  •  •  A  double  purpoae  animated  the  projectors. 
Buil(Jlng  and  realty  speculation  occupied  the  public 
mind.  The  temptation  of  iii^h  rentals,  the  need  for  a 
first-class  hall  for  social  gatherings,  and  the  travel 
over  its  lines  induced  by  the  entertainment a  to  be  given 
there,  all  combined  to  make  the  speculation  a  good  one." 


In  such  circ\axn3tances  it  is  hardly  surprising  that  Union 
Hall  had  a  curious,  vmrivaled  reputation.  Its  pre- theatrical 
career  started  in  the  tradition  of  Tucker 's  Academy  and  Piatt's 
Kail,  openinr  to  the  pu^Dlic  April  30,  1853,  with  "a  promenade 
concert  and  ball"  given  by  the  Pennsylvania  Steam  Fire  Engine 
Company  Number  12,  at  which  the  Blanchis,  Mrs.  W.  G.  Lelghton, 
JoseiDhine  D'Ormy,  and  Sir^onor  Pellini  were  featured  in  vocal 
selections • 

ARCHIT:i:CTm^L  D.jSCRIPTION 
The  Bulletin  of  April  30,  1863,  came  out  with  a  descrip- 
tion of  the  interior  which  must  have  been  responsible  in  part 
for  the  "very  great  assemblage  that  was  present''  —  much  to 
the  advantage  of  the  Omnibus  Railroad  Company; 

"The  main  room  is  94  by  104  feet  in  area  and  30|- 
feet  from  floor  to  ceiling.  On  the  south  side  are  the 
orchestra  platform,  with  a  ladies'  toilette  room 
adjoining,  and  two  private  rooms  on  each  side  very 
tastefully  fitted  up  and  superior  in  comfort  and  accom- 
modation to  any  of  our  theatrical  boxes.  The  Corinth- 
ian columns  with  gilt  capitals  give  a  fine  effect  to 
the  stage  proper.  On  the  north  side  are  the  ladies' 
dressing  and  cloak  rooms;  the  gentlemen's  dressing  and 
hat  rooms,  and  a  large  refreshment  room  above,  with  a 
fine  gallery  comfortably  supplied  with  seats  for  the 
convenience  of  spectators.   The  dressing  rooms  are 


.-'ill 


-rr  .,-.: 


no    X 


3«     J"*. 


r-f 


3f^»1  4>0I  vd  J^e   el      w; 

CJ  -  ,■  ■  • 

IW  till' 

no    3rTiocv 

TQXOCf 

b  a  •  noma  X  etnas  ®'"-  ^  ^''^  7^-  -^ 

•••j. Tiff  p..:  ■■  T.IbL  ■     . 

bail.  J-i-^45j 

air  .Bcfosqe  lo     ©one' 


luxuriously  furnished  and  have  all  the  requisite  con- 
veniences. The  walls  and  ceiling  of  the  hall  are  pure 
white,  with  the  walaacot  and  platform  painted  in  imita- 
tion marble  of  veined  and  mottled  yellow,  very  pleasing 
to  the  eye •  The  seats  on  the  side  of  the  hall  are  cov- 
ered with  crimson  plush,  which  makes  a  fine  and  a^vee- 
able  contrast.'' 

The  follo\vin^  day,  after  attendin-^  the  inau^paral,  the 
Bulletin' s  correspondent  saw  fit  to  temper  )iis  report  with 
reproachful  criticism; 

"A  very  groat  assemblage  was  present,  to  seat  which 
during  the  concert  no  provision  was  made-  However,  after 
a  while,  most  of  the  ladles  found  chairs.  The  proprie- 
tors of  the  building  may  hereafter  thinl:  it  expedient 
to  construct  galleries  on  throe  sides  of  the  hall,  which 
would  give  seating  room  for  nearly  a  thousand  people. 
At  present  there  is  only  one  small  gallery,  at  the  north 
end  of  the  apartment,  which  is  not  capable  of  seating 
more  than  one  or  two  hvuidred  persons.  Owin^  in  some 
degree  to  the  i.-.\iaense  empty  floor,  the  solid  walls,  un- 
broken by  openings  of  ssiy  kind,  and  the  lon^  stretch  of 
level  ceiling,  with  only  here  and  there  a  skylight  window, 
the  music  rang  and  reverberated  through  the  hall  most 
unpleasantly*  The  cross  echoes  so  confused  the  or- 
chestral music  as  to  mal:e  it  a  little  better  than  a  dis- 
cordant noise.  There  ouglit  to  be  some  remedy  found  for 


this  acoustic  defr^ct  .  ,    • 

"It  v/as  a  strange  scene  to  loci:  down  from  tl\e  gal- 
lery upon  thp  brilliant  mass  of  dancers  on  the  floor  be- 
neath. Notwithstanding  the  spaciousness  of  the  hall, 
the  ntujiber  of  persons  present  was  so  groat  that  the 
dancers  were  limited  to  infinitesimal  spaces." 

FEST IVAI^  MD  DMC ING 
Iftiion  Hall's  name  reflected  the  strong  Northern  tientlment 
that  prevailed  in  San  Francisco  during  the  Civil  War.  Its  next 
series  of  festivals  was  given  by  several  thousand  school  chil*- 
dren  who  recited  pieces  anu  aang  songs  of  loyalty  to  the  Union 
cause*  This  was  followed,  as  in  the  case  of  T\;cL;er's  and 
Piatt's,  by  a  dreary  succession  of  concerts,  lectui-os,  and 
balls  interspersed  with  all-too-frequent  amateur  tlicatricals  • 
]h  1865  Professor  0.  A.  L\;int  established  a  dancin;'  academy 
in  the  hall,  and  d'^ voted  three  nights  a  week  "to  the  children 
of  ■'prominent  families."  But  it  must  be  ass\jmed,  in  view  of 
his  admission  in  the  Chronicle  of  March  22,  1896,  that  the  en- 
terprise was  not  profitable  despite  its  persistence: 

"'I  gave  up  possession  in  1874,'  the  Professor 
states,  'on  account  of  Union  Hall's  waning  popularity. 
Subsequently  other  dancing  masters  leased  the  hall,  but 
the  days  of  its  glory  had  passed  and  it  steadily  fell 
behind  the  procession,  -until  one  dancing  master  gave  a 
series  of  Sunday  night  entertainments  at  ton  cents 


■7fMi  -rrf 


admission  and  was  successful.  These  were  variety  per- 
formances and  opened  up  a  new  field  of  usefulness  to 
the  old  place. ' " 

ENTER  MOROSCO 
The  nameless  dancing  master  referred  toby  Professor  Lvmt, 
with  his  cheap  entertainments,  provided  the  opportunity  for  a 
theatrical  era  under  Walter  Morosco,  who  converted  Union  Hall 
into  a  variety  theatre  sometime  during  the  seventies;  but  al- 
though there  is  ample  evidence  that  Morosco' s  Amphitheatre  -- 
or  Morosco 's  Howard  Street  Theatre,  as  the  former  Union  Hall 
was  called  --  was  popular  for  nearly  a  decade,  almost  no  de- 
tails about  it  can  be  learned.  Apart  from  contributing  brief 
and  scattered  reviews,  the  press  appears  to  have  ignored  this 
house  until  provided  opportunities  for  news  coverage  independ- 
ent of  straight  theatrical  reporting.  Consequently,  its  rec- 
ord leaves  room  for  con jecture  about  specific  events  and  dates. 
Even  the  new  theatre's  opening  was  described  vaguely,  some  20 
years  after  its  actual  occu:'.''rcnce,  in  Morosco 's  cbiti^ary*  Said 
the  Examiner  cf  DRcember  27,  1901: 

"Walter  Morcsco  inJi^cod  his  friend  John  By^^Ties, 
proprietor  of  the  Broclrlyii  Hotel  Bar,  to  join  him  in  the 
vatideville  management  of  the  Union  Hall.  Byrnes  put  up 
the  money  and  Morosco  contributed  expenses.  The  v^.ude- 
vllle  show  failed  steadily  for 'bwo  months.  Then  Morosco 
hit  upon  the  idea  of  running  vaudeville  from  8  to  10  and 


melodrama  from  10  to  12  —  prices  ten  and  twenty  cents. 
The  double  bills  captured  South  of  Market,  especially 
the  melodramas.  Union  Hall  was  a  success  for  eight 
years ." 

A  playbill  dated  April  11,  1887,  is  evidence  that  Morosco 
scorned  newspaper  advertising  in  favor  of  his  own  methods,  for 
he  employed  one  Eugene  Hasv/ell  as  publicity  agent.  With  the 
assistance  of  Prank  Cole,  "advertiser,"  Haswell  published  and 
distributed  by  mail  a  sheet  called  the  Advance  Courier  which 
kept  patrons  informed  of  coming  attractions. 

Haswell' s  playbill  proves  illuminating  in  other  respects, 
listing  among  Morosco' s  dozen  employees  a  "head  barkeeper, 
steward  and  porters,"  The  melodramatic  offering,  Hazel  Kirke , 
was  elaborately  produced  in  four  acts  with  an  enormous  cast, 
most  of  whom  were  evidently  members  of  a  regular  stock  company, 
and  attracted  audiences  of  about  2,000  week  after  week. 
William  A.  Brady  played  the  leading  role,  Pittacus  Green,  and 
Lottie  Beaumont  was  Hazel  Kirke,  A  synopsis  of  the  four  acts 
leaves  no  doubt  regarding  the  fare  that  appealed  most  to  the 
crowds  "South  of  Market  Street," 

Act  I  --  Dunstan  Kirke ' s  Mill.   "I  cast  thee  lut  forever 

from  feyther's  love,   and  may  my  e^res  no  more 

behold  thee." 
Act  II  —  The  villa  at  Fairy  Grove.   ''I  go  to  cover  his 

infamy  with  nj   shariie ,   and  may  heaven  forgive 

you  all." 


i?  eo 


^  r 


^^nttfoiv"    o'T«w/    fT»Ar<"iiif  "^r"  ■*^0i8 


'*■»  bII  ^v    Af 


.J.ii'. 


Act  III  --  Kitchen  oi"  Blaclrbum  Mill.  "I  was  blind 
when  I  drovr;  he:"-  outj  and  now  when  I  could 
save  h<"-r,  I  caniiot  s^se  I   I  cannot  see  J" 

Act  IV  --  The  srne.  ''At  last,  Dvinstan,  the  iron  of  thy 
will  has  melted  in  the  fire  of  a  woman's  heart*" 

"Why,"  asked  Morosco  (in  print)  at  the  end  of  the  program, 
"can  we  produce  the  saino  plays  as  high-priced  theatres,  with 
new  scenery  and  mechanical  effects,  strong  company  and  all  ac- 
cessories each  week,  whon  the  price  of  admission  is  only  lOjz^? 
Answer  —  It  is  owing  to  the  great  seating  capacity  of  the 
house ." 

Ironically  enough,  althougli  Union  Hall  had  begun  as  a 
place  of  expensive  amusemeiits  designed  to  please  "polite  so- 
ciety," it  had  becOiie  the  atronghold  of  frankly  "impolite 
society,"  a  variety  theatre  of  the  "very  worst  sort,"  looked 
down  upon  by  moralists  rich  ra>l  poor.  Ihe  house  vindT  Morosco 's 
manage'nent,  howevr.r,  v/as  vtterly  de^nocratlc;  its  patrons  had  a 
voice  in  matters  pertaining  to  their  likes  and  dislikes,  and 
when  they  voted  in  favor  of  n-aoking  in  the  galleries  only, 
their  wishes  were  observed. 

DMOUNCED  AS  FIRETRAP 
On  Januai^  24,  1309,  just  after  the  fire  co^^.iissionershad 
inspected  the  building,  the  E^caminer  cajue  out  with  a  full  column 
of  judicious  comments  which  tended  to  show  by  Indirection  how 


.'  J   iijr.r: 


jriiJJtw  ^ifo  e 


8 


popular  this  theatre  was  and  how  unsuited  to  theatrical  uses. 
Both  the  Examiner  and  the  authorities  considered  it  a  fire trap t 

"Morosco's  is  one  of  the  largest  halls  used  as  a 
theatre  in  the  city.  It  is  situated  over  the  stables  of 
the  Howard-Street  carline,  and  is  but  poorly  adapted  to 
the  uses  to  which  it  is  now  applied,  being  raerely  a  vast 
rectangular  room  90  feet  in  width,  with  a  sta^e  at  the 
southern  end  and  a  deep  gallery  around  the  walls •  A 
variety  show  is  conducted  there  and  the  place  is  so  pop- 
ular that  almost  every  night  in  the  week  tho  house  is 
well  filled,  while  on  oat\irday  and  Svmday  evenini^s  it  is 
crowded  to  overflowing. 

"Sometime  ago  IIi^.  Morosco,  the  proprietor,  said  that 
the  house  v/ould  seat  2,700  persons,  but  yesterday  he  said 
2,000  in  roxmd  nvimbers.  As  there  are  only  two  exits  of 
an  aggregate  width  of  thirteen  feet,  it  is  obvious  that 
should  a  fire  break  out  when  the  theatre  was  crowded,  a 
frightful  loss  of  life  would  ensue.  The  necessity  of 
some  official  action  looking  to  the  lives  of  the  fre- 
quenters of  this  resort  is  apparent  .  •  • 

"After  surveying  the  interior  of  the  theatre  with 
grave  apprehension,  Mr.  Edwards,  one  of  the  Fire  Commis- 
sioners, remarked:  'I  think  this  is  the  worst  death- 
trap I  ever  saw.  Look  nt  that  narrow  flight  of  stairs 
leading  down  fro.ii  the  west  gallery.  It  is  almost  ir^jos- 
sible  to  walk  down  alono  without  falling. • 


.'-j-Ji^ 


lU         i.V 


.:i 


b. 


10    ': 


.-i   .".^••i: 


-J     a 


9 


"The  galleries  will  probably  seat  700  people  and 
there  are,  besides  this  three-foot  flight,  two  other 
staircases,  each  four  feet  six  inches  wide.  The  steps 
are  steep  and  winding',  and  a  frightened  crowd  would  be 
certain  to  tumble  over  each  other  in  the  haste  of  es- 
caping from  fire  and  smoke . 

"The  seats  and  framework  throughout  the  interior 
of  the  building  were  found  to  be  of  wood,  and  the  chairs 
on  the  main  floor  were  not  fastened  down  as  required  by 
law. 

.  "Going  back  towards  the  stage  the  inspectors  were 
surprised  to  find  that  instead  of  the  required  prosce- 
ni"um  walls  of  brick,  the  partition  separating  the  audi- 
torium from  the  back  part  of  the  theatre  was  nothing 
but  upright  boarding,  covered  on  the  outside  with  canvas 
and  wall  paper. 

"'Nothing  would  hvm  quicker  than  that,  '  said  archi- 
tect Laver.  'Put  a  match  to  that  and  it  would  go  up 
live  a  flash.' 

"Mr.  O'Connor  scanned  the  narrow  staircase  leading 
to  the  gallery  on  the  west  side  and  observed  that  the 
door  at  the  top  had  been  nailed  up.  Looking  about  at 
heaps  of  rubbish  and  other  inflammable  material,  he  re- 
marked:  'Just  as  I  said.   It  is  a  perfect  firetrap.' 

"The  stage  manager  called  Mr.  O'Connor's  attention 
to  the  fact  that  he  had  provided  some  hose  for  putting 


-Rft 


:)?  0&OB    yJ 


;'■  -4  rYCi  '■fr>  o"*" 


Dri£    JjQ 


-To-^r , 


'••irtc- 


10 


out  fire.  There  was  a  length  of  twenty-five  feet  under 
the  center  of  the  stage,  which  the  manager  said  'would 
throw  water  all  over  the  house.'  He  was  Informed  that 
even  if  the  theatre  was  in  good  shape,  the  hose  would  be 
who 1 ly  i nade  qua t e . 

"After  hunting  around  the  stage  for  some  time  for 
a  back  entrance,  Mr.  O'Connor  found  a  stairway  leading 
down  to  the  car  stables.  The  width  of  this  exit  was  two 
and  one-half  feet.  At  the  bottom  was  a  door  which  was 
found  to  be  open.  'That  door  is  always  open,'  called 
the  stage  manager  from  the  top  of  tlie  stairs. 

'•'Did  you  ever  see  this  door  unfastened  before?' 
asked  Mr.  Barryof  a  man  who  was  at  work  in  the  stables, 

"'No,  it's  always  fastened  from  this  side  with  a 
bolt;  how  did  you  got  in?'  was  the  reply. 

"This  stairv/ay  was  the  only  possible  mode  of  exit 
for  the  actors,  and  in  case  of  fire  in  the  front  part 
of  the  building,  the  players  would  be  cooped  up  effec- 
tively. 

"In  the  galleries  numerous  cigarette  butts  and 
cigar  stumps  lying  about  the  floor  told  the  inspectors 
smoking  was  allowed  during  the  performances,  A  match 
thrown  by  a  careless  smoker  against  the  wooden,  paper- 
covered  proscenium  would  bo  all  that  would  be  necessary 
to  set  the  building  on  fire. 


•.  pv; 


.  V  ^  I'f  'i ' 


11 


"The  inspectors  left  the  building  unanimously  of 
the  opinion  it  would  have  to  be  closed  up." 

PROS  AND  CONS  OP  PRESS  MD  PULPIT 
Despite  this  unanimous  opinion,  which  the  Examiner  seems 
to  have  shared  with  relish,  Morosco's  theatre  did  not  close* 
It  was  still  flourishing  in  1892  —  amid  a  barrage  of  criti- 
cism from  various  pulpits  --  with  such  melodramas  as  the  Pearl 
of  Savoy,  The  Hidden  Hand,  starring  Ben  and  Adeline  Cotton, 
and  varied  vaudeville  performances.  On  July  3  of  that  year 
the  Examiner  again  printed  a  lengthy  article  --  this  time  in 
defense  of  Morosco's  theatre: 

"The  recent  adverse  criticism  of  theatrical  matters 
in  this  city  by  the  public,  and  more  particularly  by 
the  pulpit,  in  which  a  very  prominent  and  very  popular 
amusement  resort  was  involved,  prompted  your  reporter  to 
thoroughly  investigate  the  matter,  particularly  regard- 
ing Morosco's  on  Howard  Street,  between  Third  and  Fourth. 
No  doubt  thousands  of  San  Francisco's  patrons  of  amuse- 
ments have  either  scoffed  or  ridiculed  the  mention  of 
attending  a  performance  at  this  family  resort  by  a  local 
divine,  and  through  this  source  no  doubt  emanated  this 
recent  caustic  comment.  The  fallacy  of  his  statements 
would  entirely  be  put  to  rout  by  the  attendance,  and  the 
minister  would  be  brought  to  realize  that  he  was  associ- 
ated with  the  bone  and  sinew  of  our  great  metropolis. 


^no 


a '  o :;  ?  o'^ 


':  t^-  ^«^T9■■ 


t;'    rrs JT  r.  rr  Jiii jG  ;?  p 


saw 


-xru  X? 


iiJC 


^:t      b'  r, '"  PTTOV     '^T;      !»R  ■*"''*  "^f 


f  -^  ■•<^n-t   ''^'■i   r./<9  ?  'i  ' 


K>-.'  !S  ■'■  i'- <■":  A  «4 '7 


rm" 


\;o^ 


>iT  *  17  r  f' 


fK>-i  r  -ri'vrf 


.i?*  ^.T*- 


a^ 


12 


From  prattling  babe  to  the  pater  faTilllas  of  the  house- 
hold, all  seemed  highly  pleased  with  the  pleasant  sur- 
roimdlngs*  And  well  t'ley  might,  as  there  is  a  commend- 
able absence  of  the  fumes  of  tobacco  and  the  presence 
of  liquors  in  the  audience.  Here  is  the  one  cheap- 
priced  theatre  In  San  Francisco  that  presents  creditable 
dramatic  and  comedy  productions,  and  lives  entirely  upon 
its  door  receipts.  How  excellent  dramatic  talent  can 
be  employed,  plays  rented  and  mounted  at  such  low  prices 
.has  always  been  an  enigna  to  the  writer,  and  doubtless 
is  so  to  the  general  public,  but  the  solution  is  the 
simplest  and  founded  on  t'.ie  principle  that  many  at  a  low 
price  are  the  equal  of  few  at  higher  prices. 

"The  first  time  t.-.e  writer  alighted  fr'om  the  Howard 
Street  car  and  ascendf^cl  the  stairs,  a  scene  was  present- 
ed that  gave  him  one  of  the  greatest  surr^rises  of  his 
life.  There  were  at  least  2,500  of  as  enthusiastic  and 
intelligent  people  as  can  be  seen  in  any  theatre  in  this 
coTontry.  A  look  over  the  audience  revealed  a  sea  of 
heads  and  faces  assembled  in  what  proves  to  be  the  larg- 
est theatre  in  the  city.  Here  was  found  a  representa- 
tive assemblage,  froi.i  laborer  to  the  thrifty  merchant, 
with  their  families,  viewing  with  evident  pleasure  what 
proved  to  be  a  draitiatic  production  of  sterling  merit, 
even  if  the  admission  prices  were  but  ten  and  twenty 
cents.   Nearly  all  the  past  successes  are  eventually 


^p.    .:f 


■A      -f 


R  nt  9^-i^fiii-^   b?>r<L'-sr; 


;'.'■ 


^061 


OXiB 


*n  ynfir-  ..'i'lfiit    •sl.-rif 


ridciu   Ji^iiw... 


oa   Bi 


J'lC     S6i  -■'' 


Jtt  rf    f.  ft  W»     •:!  .''  -  1  1 


rt  a   T  '^ 


tSJ. 


::fB9da 


o-t   «dvc«n 


■:J   ©ri; 


.  ^'£0  fItfOv 


ly  -^  c  r.:''f       -f  o  " 


13 


produced  here,  and  a  nvunber  of  the 'brightest  lights  of 
thedramatic  stage  gained  their  experience  at  this  house* 
"The  stage  scenery  was  grand  and  is  said  to  be  as 
good  as  any  In  the  best  theatres.  The  seating  capacity 
of  the  place  is  3,000,  and  the  ventilation  is  superb. 
It  is  nothing  like  the  sweat  boxes  that  one  gets  into 
now  and  then  without  going  very  far  from  town  for  the 
dignifying  privilege  of  nayin^:,  a  dollar  or  so»  Appear- 
ances except  when  thejr  become  too  gaudy,  are  still 
synonyms  of  respectability  to  many.  It  is  truly  first- 
class  in  every  respect,  with  the  exception  of  its  being 
ten  and  twenty  cents,  and  the  present  stock  company  is 
reputed  to  be  one  of  the  strongest  dramatic  organizations 
extant,  the  members  being  selected  for  his  or  her  versa- 
tility and  individual  merit.  Their  compensation  is 
gauged  by  their  talents.  The  performer  at  the  Baldwin 
or  California  today  may  be  a  member  of  Morosco's  stock 
company  tomorrow." 

EXIT  I'lORO^Cp 
Morosco  must  have  made  some  improvements  in  the  house  after 
the  fire  cominissloners  had  visited  it,  and  it  is  also  likely 
that  his  patrons  vot*^.d  against  smoking  and  drinking  during 
performances.  Until  he  opened  hi."?  Grand  Opera  House  on  March 
26,  1894,  a  bind:  distant  at  Third  and  Mission  Strepts,  Union 
Fall  continued  to  be  highly  successful  as  a  variety  house. 


-,<^i'-yR 


8/ 


.'5-:^: 


>V      -1' 


XttA 


©if  0.1 


'.';;5v 


iu    »     -i\.:      i;^/j;:'.      j,.!: 


14 


It  is  reasonable  to  assume  that  Morosco's  patronage  fol- 
lowed him,  for  the  most  part,  to  the  new  location.  But  Eugene 
Haswell,  his  erstwhile  publicity  agent,  did  not.  Instead,  he 
remained  at  the  old  stand  and  tried  to  manage  the  place  on 
his  own  as  the  Howard  Street  Theatre,  an  attempt  that  dis- 
mally failed  after  one  production,  O'Neill  the  Great,  which 
lasted  about  six  weeks. 

The  name  of  this  production  is  thought  to  have  been  a 
pseudonym  for  The  Great  O'Neill  which  was  then  entangled  in 
controversy  as  the  result  of  Haswell  staging  it  as  a  rival  to 
one  called  The  O'Neill;  or  that  of  William  Greer  Harrison, 
The  Prince  of  Ulster,  which  he  is  believed  to  have  pirated, 
pt  least  in  part,  from  the  Irish  original  advertised  by  Has- 
wej.1.  Therearter  IJnion  Hail  was  tenantiesa  for  nearly  two 
years. 

One  last  effort  to  revive  Union  Hall's  popularity  despite 
discouraging  competition  from  Morosco's  Grand  Opera  House  was 
made  by  George  P.  Clayton.  On  October  12,  1895,  this  manager 
reopened  the  hall  as  the  People's  Theatre,  with  Dion  Bouci- 
cault's  After  Dark»  Prices  were  still  10  and  20^.  Despite  a 
fresh  coat  of  paint  and  some  remodeling,  the  hall's  decline 
could  not  be  disguised.  Through  by  Daylight  followed  the  Bouci- 
cault  piece  on  October  20,  with  James  M.  Ward,  Margaret  Reid, 
Josie  Haines,  and  Charles  Edmonds  in  its  cast;  then  came  an 
Irish  play,  Shamus  O'Brien,  followed  by  The  Black  Flag,  which 
apparently  closed  the  house  to  all  further  theatrical  activity. 


wiJ3coi    '''Si^   ^: 


i  "iol 


i5iS  niTSn 


lij   aci  awe 


fi  "osd 


U     Sji 


^ifLioi 


?^:*    rr\ 


«'- 


trcc^'    T 


I    D.u:.  ;io 


'OB    fcn.fi-.iir,  ,-', 


:3i    Bf 


7  per 


Xu'    'iC . 


.IlO'v? 


e»:f.t  '■^''■'^rfjjxioy 


£ 


rri..v 


lO   0' 


^ff      eri't    .IP' 


4V.'.-5 


9flli">0  :^  ^ 


jijeW   .M  8  an: 

1    liA 


foftfl 


/fiO 


15 


By  March  .£2,  1896,  accordins  to  the  Ghi-'onlcle  of  that  date, 
the  hall  stood  "empty  and  tenantless"  again.  In  the  writer's 
opinion  there  seemed  no  hope  of  its  being  revived,  since  the 
cost  of  renovation  would  be  prohibitive  and  the  location  itself 
had  ceased  to  attract  the  public.   He  added: 

And  so  Union  Hall,  dedicated  to  the  cause  of  human 
liberty  and  the  preservation  of  Federal  Unity,  bids  fair 
to  pass  from  the  minds  of  men,  and  although  it  has  placed 
quite  as  important  a  part  in  California  history  «5n  Fancuil 
Hall  at  Boston  and  Independence  Hall  at  Philadelphia 
did  in  the  early  history  of  the  nation,  yet  unlike  them 
bids  fair  to  lose  its  Identity  and  to  bo  forgotten  in 
the  rush  and  bustle  of  Vifestern  life." 

A  FIERY  FINISH 
Whether  or  not  people  forgot  Union  Hall  during  its  last 
days,  they  certainly  remembered  its  vivid  end.  May  2,  1898  -- 
35  years  after  its  erection  --  when  it  caught  fire  and  was  com- 
pletely destroyed  by  one  of  the  "hottest  conflagrations  the 
city  has  soon  in  years,"  The  Chronicle  of  May  3  described  the 
scene  in  detail: 

"Historic  Union  Hall,  on  Howard  Street,  near  Third, 
went  up  in  flames  late  last  night,  furnishing  the  Fire 
Department  with  as  difficult  and  dangerous  a  task  as  has 
been  set  to  its  hands  in  a  long  time.  But  for  the   skill 


i- 1  '\  r-f  r'fi 


•■  1  atxTf.      ,  rtr' 


-il   Of..  .CiBH 


ioiq 


X6 


and  energy  of  Chief  Sullivan  and  his  men,  this  morning's 
story  would,  have  been  sorrowful  -celling  .  •  • 

"For  some  reason  not  explained  no  alarm  was  rxing 
until  the  fire  had  been  under  way  for  three-quarters  of 
an  hour,  or  possibly  longer,  and  by  the  time  the  depart- 
ment arrived  on  the  scene  the  big  structure  was  belching 
flames  a  hundred  feet  in  the  air.  People  residing  in 
Tehama  Street,  in  the  immediate  vicinity  of  the  hall, 
declared  that  the  building  was  burning  all  evening, and 
say  with  positiveness  that  a  bright  glow  was  visible 
through  the  Tehama  Street  windows  of  tl^e  building  an 
hour  before  any  alarm  was  sounded  •  •  • 

"Union  Hall  extended  thrpugh  from  Howard  to  Tehama 
Street,  and  the  interior  of  the  vast  auditorium,  from 
street  to  street  and  from  basement  to  roof,  was  a  seeth- 
ing mass  of  flames  when  the  firemen  tackled  their  jobs 
...  It  seemed  as  if  no  building  eastward  to  Third 
Str^-et  could  escape  the  general  confla.Tration.  The 
brick  walls  of  the  building,  and  the  excellent  work  of 
the  fire-fighters  kept  the  flames  from  spreading  dis- 
astrously .  .  • 

"At  11:45  p«m»  the  flames  were  under  control.   At 

midnight  the  fire  was  practically  extinguished.   The 

damage  from  the  fire  was  confined  almost  exclusively  to 

Union  Hall  and  its  contents.   A  large  number  of  old 

'bobtails'  and  some  old  two-horse  cars  of  the  defunct 


a-t-ti- 


©iJ.tB.^ 


mcr'^. 


.I  -  /<<  r>  ..      •*    •(..■^^■■ 


A  A.  J  i  J.  > 


?'^ '>■>■■  ^■'^tAlC^.. 


7  oct 


'f*^ '.%  ■ 


iJiW''''t;    e«ijw     ■  i.i.i,jt9     if.uj    "j-Ji,' 


.00     Si 


17 


Omnibus  Railroad  Coiapany  and  the  North  Beach  and  Mission 
Line  were  stored  in  the  building.  They  were  the  prop- 
erty of  the  Martcet  Street  Railv/ay  Company,  but  none  of 
them  was  worth  more  than  :i^l5.00  to  ;?30.00  .  •  •  The 
St.  David,  one  of  the  most  notorious  lodging-houses  in 
the  city  abuts  on  Tehp.ma  Street  and  that  part  of  it  was 
scorched  by  the  flames  .  •  • 

"Opi\Am  fiends,  rudely  awakened  from  their  dreams, 
ran  over  each  other  in  their  anxiety  to  escape,  and 
men  and  women  in  various  stages  of  scant  attire  crowd- 
ed into  the  hallways  .  .  •" 

The  rundown  condition  of  its  neigl^l^orhood,  thus  revealed, 
was  one  reason  Union  Hall  was  not  rebuilt. 


vx 


-ClO-'/fi 


ar 


'ji'i;Jti 


,•  f .-.',.  --^ 


^bfiife'=i>" 


,.1  r  •  .         ^ 


•  JLixiOO-i   iofi 


iS'ii   ©no  8AV/ 


18 


CK/.PTER  II 
MOZART  HALL 
(1868  -  1870) 

The  career  cl' Ilozart  Hall  was  short  j  but  its  confused  and 
curious  history  was  enlivened  by  flashes  of  notoriety.  Open- 
ing In  1868  as  a  music  hall,  it  housed  in  rapid  succession 
variety,  theatricals,  minstrels,  lectures,  concerts,  balls, 
and  benefits,  and  after  1870  subsided  into  obscurity.  There 
is  little  apparent  reason  for  its  lack  of  success.  It  was 
centrally  located  in  a  $50,000  building  on  the  north  side  of 
Post  Street  between  Kearny  and  Dupont  (nov/  Grant  Avenue) 
Streets,  was  equipped  with  a  stage,  and  seated  1500»  Judging 
by  the  following  description  in  the  Daily  Alta  California  of 
June  2,  1868,  it  offered  xonusual  possibilities: 

"Apel's  new  brick  building  is  now  nearly  finished 
and  already  partially  occupied.  It  has  a  frontage  of 
50  feet  on  Post  Street,  a  depth  of  137^  feet,  and  is 
three  stories  in  height,  with  a  full  basement.  There  is 
an  alley  along  the  western  side  of  the  building  rvmning 

tlirough  to  Sutter  Street,   and  another  in  the  rear,   so 
there  as  no  lack  ox" conveniences  for  entrances  and  exits. 


ftflfl 


nl 


:.LbO 


rui^h 


,  3ij.u;. 


.■tso*! 


^^ux 


19 


and  protection  against  fire.  The  second  and  third  sto- 
ries are  cut  up  into  three  halls,  the  Viiain  ono ,  an  as- 
sembly hall,  being  47^  by  94  feet  In  the  clear,  and  26 
feet  in  height,  intended  for  a  dancing  and  concert  room, 
and  the  others  of  smaller  size  for  the  use  of  several 
societies.  The  halls  are  under  rent  to  two  Germans  for 
5  years.  French  artists  are  now  engaged  in  decorating 
the  ceilings  and  walls  of  these  halls  in  fresco  in  an 
elaborate  and  tasteful  manner  and  fie  work  will  soorx  be 
finished." 

On  July  11,  1868,  the  Dally  Dramatic  Glironicle  announced 
its  opening; 

"Mozart  Hall  —  Poet  Street,  between  Kearny  and 
Dupont . 

''Tlae  above  new  and  large  halljV/liich  has  been  erect- 
ed with  particular  regard  to  acoustics  and  the  comfort 
of  the  public,  is  nov/  comi^leted.  The  proprietors  flat- 
ter themselves  that  in  the  orootil^on  of  the  above  build- 
ing they  have  succeeded  in  completing  a  concert  hall 
which  cannot  be  equalled  by  any  in  this  city;  and  the 
fact  that  they  have  expended  over  ()7,000  in  fitting 
up  the  sarae ,  shows  that  they  liave  not  spared  any  expense. 
The  opening  v/ill  take  place  on  Sunday,  Jialy  12,1363, 
with  a  grand  concert  and  ball I  For  which  occasion 
Ki'aus  &  Allen's  Band  has  been  engaged.   Concert  to  com- 


n 


.L'    ■    S 


;.    '..^!X        J   yfl\li>.K>l 


;o      wi;^   : 


IB  p  J  r  srf  *»f (T 


-  '-•'  V,    '-* 


bt 


Vfr.vi   r.i. 


SiiJ 


20 


mence  at  8:00  o'clock.  Admission  50?.',  Including  lunch. 
The  hall  will  be  let  on  liberal  terms  for  concerts, 
balls,  etc.  A  bar  is  connected  with  the  above  hall,  at 
which  only  the  best  of  wines,  liquors  and  cigars  will 
be  kept.  Henry  Sc   George  Wass,  Proprietors." 

DRINKS,  SMOKES,  AND  TKE  CAN -CAN 
The  respectable  tone  of  the  above  advertisement  is  some- 
what marred  by  indication  that  the  Messrs,  Wass,  when  genteel 
entertainment  was  slow  In  appearing,  intended  to  put  Mozart 
Hall  to  less  respectable  uses.  In  1869  the  proprietors  af- 
fronted the  city's  moral  arbiters  by  renting  the  hall  to  a 
certain  "  Professor"  Young,  who  advertised  in  Figaro  and  the 
Daily  Dramatic  Review  of  March  10: 

"Can-Cani   All  who  have  not  seen  the  celebrated 
Can-Can  danced  as  it  should  be,  may  now  have  an  oppor- 
tunity of  seeing  It  as  originally  danced  at  the  famous 
Jardin  Mabille,  Paris,  by  attending  Prof,  Young's 
Fancy  Dress  and  Masquerade  Ball 
at 
Mozart  Hall,  Thursday  evening,  March  11th. 
"An  elegant  watch  will  be  presented  to  the  person 
holding  the  ticket  containing  the  lucl'cy  number.  No  re- 
port of  the  Ball  vrill  be  ^iven.   Doors  open  at  11:00 
o'clock;  dancing  to  commence  at  11:30  p.m.   Ladies  are 
requested  to  appear  masked. 

Tickets  $2.00" 


.8:MoDfloo     tot  zanst 


K 


-'^s.*:t'j3V':)a   .. 


•"  Oji    —ilk 


^TflSoM  Jtuq  oi  be 


e  rro  ■ 


;-t» .' uiiJj    xivsj-i.:- 


ocii   Js. 


.0      BB   :tl 


.  lo  x^lasJi 


-an  oM  :inoo  i9j(ol:f  ■ 

a'la    32J.XJ;:.:         v  .    ■.•  m^->:.:  ...• 

ai©3fo2T 


ai 


The  Mabllle  was  a  notorious  dance  hall  established  In 
1840.   It  was  there  that  Chloard  invented  the  can-oan. 

Mozart  Hall  definitely  was  classed:  It  housed  variety 
entertainment  and  its  lessee  advertised  in  Figaro.  Two  years 
later  public  opinion  on  me  lode on  entertainment  was  aired  In 
the  courts,  when  George  T.  Russell,  publisher  of  Figaro, 
brought  a  ^15,000  libel  suit  against  Charles  de  Young, et  al« , 
publishers  of  the  Chronicle*    (See  opening  of  next  chapter.) 

In  1869  Tom  Maguire  leased  the  Mozart  and  called  it  the 
Mozart  Minstrel  Hall.  He  opened  on  December  21  with  his  fa- 
mous San  Francisco  Minstrels,  and  offered  such  favorites  as 
Joe  Murphy,  Ben  Cotton,  W.  F.  Baker,  and  J.  Edwards.  After  a 
few  performances  the  hall  closed  for  alterations  until  Decem- 
ber 28.  The  reopening  was  made  notable  by  the  San  Francisco 
debut  of  W.  B.  Leavltt. 

MINSTRELS  FLOP 
With  such  a  formidable  company  on  the  boards,  it  appeared 
that  Maguire  had  lavmched  his  "permanent  home  of  minstrelsy"? 
but  such  was  not  the  case.   On  January  16,  1870,  Figaro  an- 
nounced: 

"The  excellent  minstrel  combination  which  includes 
such  names  as  Cotton,  Ashcroft,  Haynor,  Bamford,  and 
Leavitt,  have  appeared  in  a  round  of  thplr  best  acts 
during  the  week;  but  the  attendance  has  fallen  off  in 
spite  of  these  attractions  so  much  that  Mr.  Maguire  has 


xs 


((.*: 


-jil   exAi  ii  Xx4*ii  M 

••rf'ttr'' 


concluded  to  abandon  the  minstrel  enterprise,  Moz8,rt 
Hall  will  be  closed,  aa  a  regular  place  of  amusement, 
after  tonight,  and  the  lovers  of  the  le^^itiraate  burnt- 
cork  drajiia  will  find  no  place  in  the  city  where  their 
tastes  may  be  gratified.  This  evident  decline  in  the 
public  taste  for  minstrelsy  indicates,  possibly,  that 
vie  have  had  too  Great  a  surfeit  of  this  class  of  enter- 
tainments f cr  a  year  past,  and  tlie people  deir.and  a  change. 
"We  are  of  theopiiiion,  however,  that  a  first-class 
minstrel  hall,  v/ell  located,  can  be  mad.  to  pa,y  perma- 
nently in  this  city.  The  difficulty  vdth  Ilozart  Hall 
was  that  th:  seats  are  on  a  level  floor,  tuid  do  not  com- 
mand a  good  viey/  of  the  stage.  To  make  it  a  coraruodious 
place  for  these  e:<hibitio{js,  an  inclined  floor  would 
have  to  be  put  in,  and  this  Lr.  Maguire  did  not  feel 
himself  v/arranted  in  doing  without  a  lont^er  lease  than 
it  v/as  possible  to  obtain." 

What  Maguire  failed  to  do  no  one  else  apparently  tried, 
L:instrelsy  had  begun  to  wane,  as  Figaro  sug^^ests,  and  variety 
had  arrived  to  take  its  place.  Within  a  fe^f  years  melodeons 
similar  to  Eozart  Hall  were  springing  uo  in  every  corner  of 
the  city.  But  for  some  reason,  Mozart  Hall  reverted  to  its 
dual  role  of  half  music  hall,  half  melodeon. 

THZ  CHURCH  aTTaCKS 
For  the  next  few  months  tho  Hsll  offered  a  series  of  con- 
certs,  balls,   lectures,   and  aiuateur  minstrel  perforrnances. 


.tr. 


■.t-j   i>. 


-!iU; 


,.t   -rn 


23 


Then,  on  April  50,  1870,  Flftaro  proclaiiaed  a  benefit  for  the 
actress  Kate  Arinstronfi  "to  take  place  at  Mozart  Hall  on  Thurs- 
day eveninc,  Lay  5th."  Apparently  this  benefit  was  condenuied, 
for  Figaro  furiously  took  up  the  cudtjels  in  two  articles: 

"There  are  still  sweet  evangelicals  who  unctuously 
praise  the  Lord  v;ith  hallelujahs  and  metaphorical  harp- 
Inrs  for  'electiiig'  themselves  a^ 'chosen  vessels'   and 
damninr  all  the  rest  of  man]cind.   It  is  time  that  these, 
loathsome  vermin,  the  spavm  cf  a  theolo:jy  more  cruel  and 
dlscjusting  th£'.n  any  heathen  creed,   shou.ld  be  cogently 
rebulied,   A  poor  helpless  woi.ian  v/ith  a  needy  family 
cl^JTioring  for  bread  finds  that  she  can  earn  the  v/here- 
withal  to  supply  her  children  with  the  necessities  of 
life  by  the  innocent  use  of  talents  with  which  God  has 
endowed  her,   in  promoting  the  ai:iusement  of  the  public. 
She  is  a  Christian  v/oman  and  a  uiember  of  a  Christian 
church;  but  her  fellov;  Christia.ns  of  tho  'Tabernacle'  do 
not  recognizv.'   '  ar.iuoeinents'  as  auion^  the  necessities  of 
human  nature.  They  regard  this  world  •a  vale  of  tears,' 
and  whosoever  tries  to  make  it  a  pleasant   sojourning 
place  is  an  e.riissary  of  the  devil. 

"Accordin:;.  to  their  creed,  misery  is  promotive  of 
piety,  and  chserfulness  and  mirth  are  grievous  offenses 
in  the  Qic,ht  of  G-od.  We  must  pull  long  faces,  we  must 
fast  end.   torment  ourselves,   and  go  about  this  pleasant 


s.i.t   ^ 


:cf      o'-- 


Sbij< 


>^:  ■>    r,  Ti.--.,  f^    '^n'^ 


-c 


jbiLS   ecifiL^J 


i.    /iij.jit.. 


jai^ia 


3&osr. 

.j\.r'.      iiOldW     ri 


w   -*-  .V        w 


jn8lB<:t 


orf 


to   '•ti 


.!ODii({) 


Ci&KiB 


Ti'-: 


iOiHB   es    'bo 


^o    S' 


24 


w»rld  with  mortified  countenances, if  we  would  be  in  fa- 
vor with  the  Almighty,.  Art  and  literature,  and  the  dra- 
ma, and  whatever  tends  to  adorn  and  sv;eeten  life  and  re- 
fine o\ir  tastes  must  be  tabooed.  Mugic,  \inless  In  the 
shape  tf  nasal  psalmody,  is  an  abomination  unto  the  Lord, 
Clerical  mountebanks  may  get  off  irreverent  jokes  in 
their  religious  raelodeons,  but  the  genius  of  a  Shake- 
speare, or  the  talent  of  a  Bouclcault,  is  profane.  If 
the  evangelicals  are  satisfied  with  poor  acting  and  stale 
wittlQlsms  within  the  bare  walls  of  a  church,  why  should 
they  rail  at  thoroughly  artistic  acting,  and  nimble  wit 
at   the   theatre? 

"it  is  hard  to  say  why  they  should;  but  the  fact 
is  they  do.  And  so  the  poor  woman  who  in  her  humble  way 
does  precisely  the  same  thing  at  the  theatre  that  the 
ordained  Pharisee  does  In  the  pulpit,  winning  by  his  , 
third -rate  performance  the  applause  and  laughter  of  an 
uncritical  audience,  is  'cut  off  from  the  communion  of 
the  suffering  saints  and  has  the  "Right  Hand  of  Fellow- 
ship' withdrawn  from  her  by  the  canting  Pharisees  of  the 
'Tabernacle, • 

"If  this  is  'religion,'  it  la  high  time  that  it 
should  be  abolished,  and  room  made  for  culture,  enlight- 
enment,   and   humanltarianlsm," 

THE   STAGE  DEFENDS 
The   second   of  the   two  articles,  while  not  lose   caustic   in 


09    &i 


^'-  <3V/ 


25 


tone,  is  quite  specific  as  to  Kate  Armstrong's  offense.  It 
labors  to  defend  the  lady's  probity  by  again  vehemently  dis- 
creditinfi  the  church: 

"Horrible  Catastrophei  The  Haiid  a'  Fellovrship  with- 
drawn —  '^oman  G-iven  Over  to  Satan]  21sev/here  ve  have 
referred  to  the  poor  lady  who  was  exqorai.iunlcated  from 
an  evaii;ijelical  church  for  playinr;  in  a  theatre.  She 
vid.s  poor,  had  others  to  support;  didn't  like  to  starve; 
couldn't  be  tempted  to  sin;  couldn't  £;et  anything  else 
to  do,  and  therefore  v/ent  to  the  Uieatre  and  played  a 
harmless  little  part,  fbr  v/hich  she  received  ^^0  a  week. 

"The  brethren  vere  scandalized  and  horrified.  They 
were  afflicted  in  soul.  They  labored  with  her;  they 
prayed  for  her;  they  admonished  her  repeatedly;  they 
held  numerous  holy  suuifles;  but,  we  rej^ret  to  say,  they 
never  fetched  her  any  money  to  feed  the  sv/eet  little 
helpless  ones  who  importuned  her  for  bread.  At  length 
the  dejected  brethren  met  in  sorrowful  conclave,  and 
after  a  pious  conflict  in  prayer,  handed  the  comtuma- 
cioua  sister  over  to  the  tender  mercies  of  the  Devil, 

"01  G-lorious  and  heroic  Christian  v?oman  and  true 
motheri  How  the  sympathies  of  fifty  thousand  men  and 
women  will  gather  round  your  humble  tenement,  and  hov; 
their  hot  Glanoee  of  .ionterapt  and  scorn  will  oonvergg 
upon  and  blister  into  the  sleek-oiled  fronts  of  your 


:>r 


^T 


Y/>  ^■I'J 


G   no. 


.  O  «L**i» 


iioa 


.t^nl-trfO 


26 


illiberal,  sniveliac,  liypoci'itical,   iiiliuman,  unchris- 
tiaii  like  persecutors." 

The  program  for  this  benefit  was  Benjajnin  Webster's  One 
Touch  of  Nature,  in  which  Kate  AjpstronG  appeared  Lithe  lead- 
ing role,  and  a  farce.  The  Irish  Attorney. 

Hozart  Hall  housed  subsequent  entertainments,  benefits, 
masquerades,  ai.iateurish  end  sonietiueG  rowdy  variety,  but  its 
brief  life  passed  into  obscurity.  Its  ultii.iate  fate  Is  un- 
knoy/n;  it  simply  disappeared  from  the  records  like  so  many  of 
its  kind. 


27 


CHAPTER  III 

THE  PACIFIC  THEATRE 

(1858  -  1872) 

Lawsuits  against  melodeons,  as  cited  in  the  preceding 
chapter,  were  not  vuicojiAon  in  the  sixties  and  seventies .  The 
following  testimony  froiii  the  notable  case  of  Fi;aro  versus 
the  Chronicle,  reported  by  the  Bulletin  of  January  24,  1872, 
is  an  introduction  to  the  Pacific  Theatre  and  to  the  period 
in  which  it  existed: 

"L.  P.  Ward  was  recalled,  and  testified  to  having 
attended  the  perfor.aances  at  the  New  Pacific  Theatre 
and  the  Bella  Union,  in  1869  orBVO,  both  of  wliich  were 
advertised  in  Figaro  at  that  time.  The  performances 
were  of  a  very  lewd  and  immoral  character. 

"Mr.  Campbell  then,  with  a  view  of  proving  that 
the  Figaro  was  a  'smut  machine'  and  immoral  publication 
as  charged  in  the  article  said  to  be  libelous,  offered 
in  evidence  a  nuinber  of  copies  of  the  Figaro  containing 
the  advertisements  of  Professor  Jolonson's  parties;  also 
the  article  attacking  the  Grand  Jury  for  a  portion  of 


3^~ 


r  u»  ^  O^ 


(av^ 


.•|r    nTP-:;^      rt^    Sr 


ftir 


*)s  idllo      tS-i-  •  ^y'  oJ  .;;'Ji.ato   3loi«' 


a.^ 


>■»  trf'rS . 


lO    /I 


28 


their  report  filed  in  November,  1869,  in  which  the  me- 
lodeon  houses  were  condemned"  also  several  numbers  con- 
taining articles  abusive  of  the  Chronicle  and  its  pro- 
prietors • 

"Officer  Jclm  Ellis  testified  that  he  v/as  detailed 
by  the  chief  of  police  to  visit  the  Pacific  Melodeon 
during  the  month  of  September;  that  he  made  daily  re- 
ports as  to  the  character  and  attendance.  He  testified 
at  length  as  to  the  character  of  the  performance  given 
there,  describing  the  indecencies  of  the  can-can  dance 
and  the  exliibition  gen-;rally." 

The  Pacific  Tnefitre  -.vas  thus  clascsified  with  the  Bella 
Union  shortly  after  its  opnning  perf or'nanco  .  Undeniably  bawdy, 
they  were  popular  in  th'  li;^  appr^pl,  despite  pnlnit  fulminators, 
grand  juries,  and  prlioo  officers.  So  they  continued  to  be 
\antil  they  were  termnated  —  not  by  religio-legal  preosure, 
but  by  the  subsidence  of  pu.blic  Interest,  or  its  diversion 
into  a  more  refined  channel  of  amusement  —  vaudeville. 

The  Bella  Union  was  archetype  of  them  all.  It  survived 
longer,  took  the  lion ' s  slrnre  of  blame,  praise,  and  box-office 
receipts,  and  died  more  reluctantly.  Nevertheless,  during  its 
relatively  brief  career,  the  Pacific  Theatre  equalled  it  in 
notoriety  and  rmi  it  a  close  race  in  the  bid  for  audiences . 

ALJ.A3  CGIvlIC^liE  MO  GLOBE 
The  naiiie  H.  l..   Pla./o  is  already  fa.ailiar  to   readers  of 


-en  x^'-i^^' 


F£ 


,  iijvinct 


-+    f' 


-i^r.'-'i    V 


>© 


Lfi 


Sfi 


tii   J-i 


29 


these  volumes  as  the  builder  and  owner  of  Piatt's  Hall.  Hav- 
ing  once  nrofited  fro'n  a  theatrical  venture  of  sorts,  Piatt, 
With  the  financial  assistance  of  James  Brooks,  former  propri- 
etor of  the  Golden  Era,  erected  in  1868  the  four- story  build- 
ing at  Pacific  and  Kearny  Streets  variously  known  as  the  The- 
atre Comique,  Pacific  Melodecn,  Pacific  Theatre,  New  Pacific 
Theatre,  and  finally  as  the  Globe  Theatre.  Since  three  of 
these  titles  were  conferred  —  usually  with  a  corresponding 
change  in  physical  decorations  —  within  four  months  of  the 
building's  completion, it  appears  that  this  rather  presuraptous 
little  playhouse  had  the  capacity,  like  all  nelodeons,  to 
alter  its  guise  as  readily  as  its  variety  programs. 

TIGATia;  MP  HOTSL 

Like  most  playhouses,  the  Pacific  shared  its  building 
with  other  establishments;  stores  abutted  on  it  from  both  Pa- 
cific and  Kearny  Streets,  and  its  two  entrances  were  flanked 
by  display  windows.  The  upper  stories  housed  a  hotel  of  some 
200  rooms;  but  it  is  unlikely  that  the  roomers  slept  very 
soundly  with  a  variety  perforinance  in  full  swing  directly  be- 
low them.  From  the  roof  floated  a  house  flag  bearing  the  name 
"PACIFIC,  ■•  applying  to  both  theatre  and  hotel. 

Despite  all  this,  the  new  theatre  was  quite  elegant  and 
commodious,  in  keeping  with  the  latest  in  architectural  ad- 
vancement. Figaro  of  November  28,  1858,  described  it  thus; 

"The  New  Pacific  Theatre,   at  the  corner  of  Kearny 


/Cf    TTI 


s 

R 

QJl. 

:j-o 

u 

"i 

w- 

to 

e 

a 


ian 


(VOtt 


I  nl 


n^t^TV      yI /.?;.'_": 


'^-r_^^       .r: 


BJ8    T' 


oO  odd   lo  I jrf© 


T 


IlfiV      CiJ.       i^ 


.^   3yau;/io 


■frt    ^':•^'         "^:^-;r'rr  fr;    'if^rtf 


»-•  AJ       w  ^  i*i^^       Ova      'A\jf\*j-'i 


b-. 


<9tad9i^ 


,-,    .;-♦  >i- 


n   8  90^ 


ow3 


-^TOv      iqsle   ai5mo  —..^^^  .■.','r^r>.,^-   nnc 

©rf;f  dilv  ■  j|  fll      ft 


^   ^J  1^4.-'. 


-A,:-     ivt^V:    cv'?" 


30 


and  Pacific,  is  now  ready  fcr  occupancy  by  any  :,ianager 
who  wishes  a  neatly  fitted  up  and  corn'.iodious  place  of 
amusement  at  a  noderatt,  rent.  Its  size  is  42  x  70  feet; 
its  stage  is  35  x  42;  it  lias  seating  roon  for  800  peo- 
ple. The  drop'curtain  war-?  naintcd  by  an  Italian  artist 
of  the  name  of  Arragona,  who  painted  the  fine  drop  at 
present  in  use  at  Maguire's  Opera  House.  The  subject 
is  an  Italian  landscape.  The  theatre  has  two  entrances 
—  one  on  Kearny  and  one  on  Pacific  Street  --  and  has 
six  means  of  exit  in  case  of  emergency.  It  is  venti- 
lated throughout  on  the  newest  principle  — --ventilators 
running  through  the  sides,  rear  wall  and  ceiling.  The 
proscenium  ia  decorated  in  white  and  gold,  with  silver 
chandeliers.  Pull  sets  of  scenery  and  duplicates  have 
been  painted.  Hydrants  are  fixed  in  the  property  room, 
and  300  feet  of  hcso  are  provided.  We  hope  before  long 
to  see  this  w^ll-arraiige.:;  little  theatre  ocourued  by 
some  company  which  will  establish  there  a  popular  class 
of  ariuseTient ." 

Fiparo  's  hone  wa^  abor.t  to  be  fulfilled  on  December  5, 
1858,  when  the  Dail^  DrajiTatJ.c  Review  announced; 

"The  Martinetti  Troupe  will  open  the  Pacific  The- 
atre for  the  holiday  seanon  with  a  series  of  grand  pan- 
tomime and  ballet  divertissements." 


til 


31 


TIE  THEATRE  COMIQUE 

The  Martinettis  were  a  family  of  versatile  acrobats  and 
comedians  from  Paris  who  were  already  well  known  and  liked  in 
San  Francisco.  There  had  always  been  a  ready  market  for  the 
sort  of  entertainment  they  offered  —  burlesque  ballet  and 
hvunorous  sketches  done  somewhat  in  the  tradition  of  the  Co- 
media  dell I  Arte;  and  they  had  reason  to  anticipate  a  long 
stay  at  the  Pacific  Theatre,  which  they  had  leased  and  renamed 
the  Theatre  Coaiiqixe.  But  despite  an  auspicious  opening  en 
Christmas  Eve,  the  Martinettis  ran  their  show  only  one  week 
before  announcing  its  termination  "to  enable  the  management 
to  cemnlete  certain  liaorovenents  in  the  arrangement  of  seats." 

Apparently  the  plans  for  this  theatre  had  been  based  on 
Piatt's  experience  with  the  music  hall,  for  the  Dail_y  Dramatic 
Review  of  December  5,  ISSO,  reveals  what  was  wrong  with  the 
original  seating  plan: 

"The  auditorii;un  consists  of  a  parquette,  dress  cir- 
cle, and  four  prosceniwa  boxes,  and  will  accomiuodate 
comfortably  an  audienc-i  of  800.  The  dress  circle  seats 
are  all  stationery,  wll;li  cushioned  bottoms  and  backs, 
while  those  in  the  parqiif.  tto  are  mrvoble  and  will  fold 
up,  sinilar  to  those  in  Piatt's  Hall." 

Sin--,.':  the  Martinettis  ba?.  no  intention  of  crnvni'tinf^  the 
place  into  e  bpllroo-i  at  any  time,  the  movable  chairs  nroved 
an  uncoinfortable  nuisance  and  a  hazard  in  case  of  fii-e.   It 


n 


32 


required  about  two  weeks  to  Install  stationary  seats  more  in 
keeping  with  theatrical  requirements,  and  the  Pacific  reopened 
in  mid-January  with  a  flare  of  annoion cements  and  a  large  French 
audience  on  hand  to  inau^xxrate  the  new  season* 

The  troupe's  career  was  lanientably  brief,  considering 
its  reputation,  its  conscious  use  of  the  Comedia  dell'  Arte 
technique,  its  ability  to  iiiinrovise  and  perform  miracles  of 
fairy  tale  within  a  strictly  pantomimic  framework  which,  with 
ballet  and  trapeze  acts,  delighted  the  sophisticated  at  the 
Metropolitan  Theatre  later  in  1869.  But  at  the  Theatre  Com- 
ique  the  Martinettis  failed  to  entrench  themselves.  Paul  as 
Harlequin,  Julien  as  the  Clown,  Philippe  as  Pantaloon,  Madame 
Desiree  as  Coliirabine  —  all  in  roles  with  which  they  long  had 
been  Identified  —  somehow  could  not  fill  the  house  consist- 
ently and  make  it  pay.  Dccouber  receipts  were  almost  s?2,000 
for  a  few  performances j  Januai-y  brouglit  only  f988.  By  Febru- 
ary 23,  1869,  the  Martinettis  were  through;  the  Theatre  Com- 
ique  as  such  passed  out  of  existence.  Pi^^aro  rf  that  date 
gave  one  reason  in  the  iVllowing  brisk  notice: 

"The  Martinettis  cr^ncluded  their  season  of  ;^anto- 
mime  and  ballet  last  Saturday  evening,  althoiigh  no  an- 
nouncement was  made  of  such  a  determination.  E::cellent 
as  have  been  the  entertainments  of f ered  by  this  talented 
troupe,  they  could  scarcely  have  been  expected  to  suc- 
ceed while  presenting  their  old  repertoire  of  pieces. 


£J— J       J&.   iA'.J^.^i'i. 


■5    oi 


Qv.( 


•;z3    nu 


33 


which  have  been  seen  so  often  by  our  amusement -goers* 
The  enterprising  proprietors,  Messrs.  Piatt  and  Brooks, 
will  scarcely  permit  this  neat  little  theatre  to  remain 
long  closed*" 

THE  PACIFIC  mLODEON 

However  the  proprietors  felt  about  allowing  the  theatre 
to  remain  closed,  under  the  terms  of  the  lease  it  was  impera- 
tive that  the  Martinettis  dispose  of  their  obligation.  Messrs. 
Piatt  and  Brooks  apparently  had  nothing  to  do  with  the  trans- 
action by  which  Joseph  Kcster  acquired  the  Pacific  Theatre 
some  days  later,  buying  at  n  discount  from  the  Martinettis 
their  unex»3irftd  lease.  The  theatre's  name  was  changed  to  the 
Pacific  Melodeon  and  J.  II.  McCabe  became  its  manager. 

Under  McCabe 's  management  the  house  in  no  real  sense  al- 
tered its  character;  it  simply  became  a  forthrigjht  arena  of 
variety  which  evolved  directly  out  of  the  minstrel  shows.  The 
Pacific  Theatre  company  was  built  around  a  nucleus  of  black- 
face performers  who  were  among  the  most  versatile  and  accom- 
plished of  the  period.  Charley  Rhodes,  banjoist  and  ballad- 
1st,  who  wrote  "The  Days  of  »49,"  Harry  Spriggs,  Jimmy  Carton, 
Charley  Storms  —  all  first-rate -minstrel  comedians  and  musi- 
cians —  fonned  with  the  then-famous  gymnasts,  Painter  and 
Durand,  the  headliner-s  la  iucCabe's  cOi.ijany  which  opened  March 
8,  18S9,  to  a  "confortably  filled"  house. 

Variety  itself,   and  not  the  individual  melodeons,   pro- 
voked the  moral  stricture  of  nineteenth  century  crusaders  and 


Xiiu.MSi   o:3    d'. 


jXX    '. 


-A 


■T'f 


-r ...      ■■,  r  . 


AAi/    -I 


Lido   n-i'Mi-t 


en 


-j.n    r 
eriT  . 


ff    r'.'^'.Xj'or'    -'.!' 


fr     -.« 


<tSJO    \. 


..;j'id:i:    xj; 


■  I,/    (^  r>  ™     ^  I  ?^  c 


I  •,.->#>  •  ,'j  T 


'•XW»J. 


rf  ■r\  !  ,iV  Prff  ' 


-"■i-f  r '  •(•  :r r.  '-s     ,  ''^  Cm 


34 


refonners.  As  their  programs  show,  all  melodeons  —  includ- 
ing the  notorious  Bella  Union  --  followed  a  pattern  as  stere- 
otyped as  that  of  the  minstrelsy  that  preceded  it  or  the  va\ide- 
ville  that  followed.  The  entertainment  was  sensational:  but 
it  was  no  more  "indecent"  than  the  ""burlesques"  sometimes  per- 
foiroed  at  the  California  Theatre  and  Maguire's  Opera  House. 
A  minstrel  first  part,  followed  by  an  olio,  or  interlude, 
and  concluding  with  a  burlesque,  burletta,  or  extravaganza, 
comprised  the  fra-iewrrk  rf  variety.  Because  it  was  a  t^rur  de 
force  including  too  many  irreconciloble  theatrical  forms  with- 
in a  single  program  it  becair;  so  diverse  that  —  under  pres- 
sure of  desperate  competitive  innovations  --it  became  unman- 
ageable. Its  alleged  indecencies  were  chiefly  those  of  the 
olio,  an  interlude  of  songs,  dances,  and  humorous  skits.  Cer- 
tainly no  one  found  fault  with  the  minstrelsy  or  with  the 
purely  theatrical  conclusion* 

MC  CASE  »S  MAZEPPA 
When  McCabe  began  to  direct  the  destinies  of  the  Pacific 
Theatre  it  became  a  typical  melodeon  overnight.  Less  than  a 
month  after  the  opening  he  staged  Mazerpa,  that  three-act  melo- 
drama which  Adah  Isaacs  Lienken  had  inti-CKluced  and  rendered 
instantly  popular  in  1G33  at  Ilaguire's  Opera  House.  The  young 
actress  who  took  Menken's  rrle  on  this  occasion  was  lillla  La 
Rue,  unknown  outside  the  melodeon  circuit  perha-ns,  but  within 
it  a  snpctacular  favorite.  /■Ilia  and  her  trained  horse.  Re- 
veille, provided  thrills  for  the  audience  night  after  night 


.V  :f .-fn;r-if p 


-xaq 


Btii 


,..-.  T-  ,-> 


35 


—  notwithstanding  the  fact  that  Mazeppa  was  by  then  a  piece 
whose  breathless  sequences  had  been  exploited  many  times. 

McCabe  himself,  a  veteran  actor  who  had  been  on  the  Coast 
since  1849;  Lizzie  Worrell,  of  the  famous  Worrell  Sisters, 
who  had  been  associated  with  almost  every  melodeon  in  San  Fran- 
cisco; and  many  otb.ers  in  the  regular  company  also  had  parts 
in  Mazeppa,  besides  drinn-  their  own  particular  turns  in  the 
miscellany  which  preceded  it.  But  the  guest  star,  with  her 
remarkable  horse,  stole  the  show. 

On  May  1,  1869,  after  Mazeppa  had  run  some  weeks,  McCabe 
was  obliged  to  extend  the  engagement  still  another  week.  This 
same  program  also  offered  a  loose  agglomeration  of  songs,  dan- 
ces, Jokes,  and  acrobatic  feats  that  formed  in  themselves  a 
kind  of  vaudeville  repertoire;  and  then,  to  conclude  the  bill, 
"the  original  Parisian  Can-Can."  In  keeping  with  the  pace  of 
variety  one  sensation  rapidly  succeeded  another  and  McCabe 
even  resorted  to  a  oxrcuc  trick  in  order  to  attract  the  crowds. 
The  gymnast  William  Painter,  in  addition  to  his  regular  stage 
appearance,  gave  a  spectacular  exhibition  in  front  of  the  the- 
atre before  the  evening  oerformance  began  —  walking  a  tight- 
rope stretched  across  Kearny  Street  from  tbe  roofs  of  opposite 
buildings,  50  feet  above  the  ground.  This  act  was  presented 
gratis  for  the  benefit  of  patrons,  potential  patrons,  and  for 
some  who  would  never  set  foot  in  the  Pacific  Theatre;  it  was 
repeated  so  frequently  that  it  became  a  kind  of  prologue  to 
the  show  proper.   It  ap^oears  to  have  paid  well  as  a  publicity 


.  e  .1  3f)c 


ax  ri'  'W 


.m 

OX.  J  '.! 


©;tleoqqo  ">' 


36 


stunt,  for  during  the  month  of  August,  1869,  the  gate  receipts 
mounted  above  'HjOOO. 

'^.   "BLACK  CROOK"  CRAZE 
Another  indication  of  McCabe's  successful  management  was 
Figaro's  announcement  on  January  17,  1870: 

"The  Black  Crook,  extravagantly  produced  on  Satur- 
day evening,  will  be  repeated  tonight*  Prom  beginning 
to  end  it  is  reolcte  with  jollity #  We  notice  a  change 
in  the  stage  rjiana^Cn-ient .  Mr.  Jolin  Woodard,  a  gentleman 
of  experience,  assuii/ s  control  in  place  of  our  friend 
MoCabe,  who,  we  hear,  goes  eastward  for  new  talent  for 
the  house.  The  -iro^ramnie  is  made  up  as  usual  of  songs 
and  dances,  th(^  nowost  and  the  best." 

The  Black  Crook,  like  Mazepp^a,  had  gone  throu^  the  stilt- 
ed motions  of  a  craze  in  1867,  had  been  burlesqued  and  rebur- 
lesqued,  played  to  death  and  then  shelved.  McCabe's  produc- 
tion followed  its  resurrection  by  Tom  Magulre  at  the  Opera 
House.  But  whereas  the  Black  Crook  was  a  principal  attraction 
at  Maguire'a,  The  Pacific  relegated  it  to  the  end  of  the  bill, 
after  a  minstrel  first  part  and  the  olio.  It  lasted  only  a 
few  days,  giving  place  to  a  new  extravaganza  called  The  Per- 
sis,  or  Come  and  See  Pt. 

The  Persis,  containin£  many  puns,  spicy  song  hits,  and 
innuendoes,  was  really  the  first  a  series  of  original  inno- 
vations institutP.d  by  manager  John  Woodard  during  McCabe's 


ScW 


za  T 


J£  «>' 


A    ^■ 


ug-.-J'-i 


'>rf:f    •^ ' 


-ui   ^Tf;t 


'>"5i=n,'5' 


37 


absence.  It  marked  the  beginning  of  a  different  era,  heralded 
the  appearance  of  such  notable  additions  to  the  company  as 
Ned  Buckley  --  later  a  nolodeon  proprietor  and  manager  of 
other  houses  —  the  minstrel  Lew  Parker,  and  those  darlings 
of  variety,  Ida  Wallace,  Ida  May,  and  Maggie  Brewer.  The 
startling  scenic  effects  and  slapstick  comedy,  the  demons, 
fairies,  fiends,  and  monsters  who  peopled  the  extravaganza 
were  endowed  with  a  brief,  bright  life  which,  like  Tinsel- 
glitter,  Queen  of  Persis,  soon  passed  fro'ii  the  stage  of  the 
Pacific  Theatre  into  oblivion.  Near  the  end  of  January,  Ned 
Buckley  dropped  out  of  the  cast  and  his  position  as  "bones" 
was  taken  by  Lew  Rattler. 

THti:  SHOq-FLY  CM-CAN 

The  sensational  Shoo-pi^  Can-£an  burletta,  which  suc- 
ceeded The  Persis,  becarae  so  popular  that  it  ran  for  months, 
first  as  a  separate  entity;  later,  it  was  incorporated  into 
an  extravaganza  titled  Found  Ashore,  or  The  Shop-Fly  Can-Can 
on  the  Farallones* 

On  February  15,  1C70,  Figaro  remarked; 

"Found  Asjiqre ,  or  the  Shoo -Fly  Can-Can  en  the  Faral- 
lones,  is  a  canital  rib-tickler.  Abounding  in  local 
hits  and  allusions  and  being  brim-full  of  general  fun, 
it  will  hold  the  boards  for  a  goodly  season.  Tonight 
Miss  Fanny  Heme,  a  beautiful  and  talented  comedienne. 
Late  of  Tony  Pastor's  Opera  House  (N .  Y.),   will  make 


3-v 


.L>.. 


y: 


38 


her  first  appearance  •  Among  the  new  attractirns  are 
The  Jubilee,  by  Rattler  and  crmnany,  Dtiuble  Eschelle, 
by  Painter  and  Du.vand,  and  a  variety  of  songs  and  bal- 
lads in  the  first  part." 

Because  it  thus  featured  the  can-can  in  a  more  elaborate 
form  than  the  dance  itself  had  ever  achieved  in  previous  per- 
formances, the  Pacific  Theatre  now  acquired  a  solid  reputa- 
tion for  lov/-life  and  remained  thenceforth,  from  a  moral  point 
of  view,  among  the  most  offensive  of  the  despised  melodeons* 
Nevertheless,  such  a  policy  continued  to  find  ample  public 
response.  The  house  was  packed  night  after  night  and  the 
Shoo-Fly  Can -Can  was  vcclferously  applauded,  as  was  each  so- 
called  change  in  pro^raia  which  occurred  weekly  without  dis- 
placing the  chief  attraction. 

Woodard  apparently  knew  the  sinfrvtlar  fimction  of  variety 
and,  like  Maguire,  ■possessed  the  unusual  ability  of  anticipat- 
ing the  public's  dosirfis  in  advance  of  current  trends.  Where- 
as McCabe  had  been  content  with  Imitations,  Wcodard  deemed  It 
wiser  to  install  Momus  in  the  temple  and  give  this  god  of 
mocking  ridicule  a  free  hand*  Although  retaining  the  can-can, 
or  variations  thereof,  long  after  its  first  flush  of  popular- 
ity, he  reduced  it  to  a  routine  of  the  olio,  and  featured  bur- 
lesques, skits  or  faroeo  written  around  contemporary  subjects. 
Abounding  in  local  allusions,  perfectly  timed,  and  suited  to 
the  idiosyncrasies  of  the  actors  who  played  in  them,  they  were 


sr 


.^i^O- 


.  CJI  -  ■ 


■'V  fiff  r<  'iir:  ji  +  »> 


■  v»!  A    t  - 


»'l 


39 


turned  out  by  their  tinknown  authors  with  machine-like  skill 
as  they  were  needed.  Some  of  the  titles,  are  Indicative  of 
their  timeliness  r  Women '  g  R- ij.'it3>  or  The  ISmperor's  Dream  of 
the;  Naked  Truth;  The  Drunkard ' s  Daupfiter;  The  Oakland  Trio, 
or  The  Ratcatcher's  Dau.ojliter .  In  April,  1G70,  when  the  Over- 
land Circus  was  olayiiig;  in  San  Pranciscc  pxid  starring  the  Ris- 
arelli  Brothers,  Wrodard  presented  a  sketch  called  The  Under- 
land  Circus,  "by  the  Rlse-er-Early  Brothers." 

PACIFIC  CHAyG:ar.  hahds 

So  well  Indeed  did  Woodard  direct  the  destiny  of  his  me- 
lodeon  that  he  retained  the  post  of  stage-manager  even  after 
this  notice  appeared  in  Pi£ai20  of  April  25,  1870: 

"Pacific  Theatre  —  This  cozy  little  dramatic  re- 
sort has  undergone  a  change  of  proprietorship.  Mr. 
Charles  H.  Piatt,  the  efficient  business  manager,  and 
Mr.  Jaaes  Millnr,  late  of  the  old  Bowery  Theatj^e,  New 
York,  and  formerly  associate  manager  of  Covent  Garden, 
London,  have  become  the  joint  proprietors  rf  the  estab- 
lishment. These  gentlejnen  are  enterprising  and  experi- 
enced in  the  dra^natic  business  and  success  will  undoubt- 
edly perch  upon  their  banners." 

But  Fip:aro'3  prediction  was  wrong,  for  from  the  time  of 
its  appearance  the  Pacific  Theatre  began  its  slow  decline. 
All  manner  of  tricks  and  sensations  were  triedj  outside  talent 
was  employed  on  a  scale  hitherto  xmprecedented;   the  coinpany 


40 


was  better  than  it  ever  had  been.  On  May  7  ''good  houses 
nightly"  were  reporter! j  yet  the  box-office  receipts  for  the 
month  dropped  belrvv  $2,000.  Alice  leed  from  Australia,  the 
bright  star  of  the  '-lO'nent,  played  fci''  seven  weeks  in  a  series 
of  burlesque  hits  callP:d  The  Fays-  TrJ.n£  to  the  Moon,  The 
Streets  of  San  Francisco,  Three  Past  'Tornen,  Kathleen,  or  the 
Pride  of  Kllroujge,  The  Robber's  Wife,  and  finally  'gie  McFarland- 
Rlchardson  Case*  On  May  26,  1870,  Figaro  stated: 

"The  M^ParJ.eiJid- Richards  on  Case  continues  t0  be  ex- 
citing and  its  Interest  will  last  for  a  goodly  season 
yet.  The  Four  Lovers  ^  piece  inserted  in  the  first 
part,  as  was  freo_uen-':ly  done  to  make  a  "double  feature^ 
introduced  the  fun  last  night.  Miss  Alice  Leed  was  very 
attractive  as  Ponona,  and  Miss  Atlanti,  a  new  acqulsl« 
tion,  made  a  very  favorable  impression  as  Estelle.  The 
olio  was  very  (cpoC,     The  aemre   bill  tonight.'' 

The  next  day,  howevf-;i',  brought  no  show.  In  place  of  the 
usual  advertise-'«.ent,  Fign\'o  carried  the  following  brief  notice' 

"Pacific  Ther.tre  —  This  theatre  has  been  closed 
for  repairs.  Due  notice  will  be  given  of  Its  re-opening*" 

The  end  had  not  yet  come .  The  Pacific  did  reopen  some 
two  weeks  later  —  at  reduced  admission  prices  and  with  the 
engagement  of.  Jlollan  Effendi,  "the  Nubian  Wonder,  formerly  in 
the  services  of  the  Khedive  of  Egypt."   Replacing  the  clever 


ei  '0     sac    ■  'I 

*  -  ;■* 


•J"  ^^  ■■"  -•    -(       ^-•- 


6  ..;i   ei.'  ■ 


lo  ©V  erf;* 


41 


mlnstrelmen  who  had  been  wielding  bones  and  tojnbourine ,  were 
now  two  lady  perfmnnrs,  Nellie  Vining  and  Cherry  Belle.  Lew 
Rattler  and  Ned  Harrigan  and  a  galaxy  of  other  favorites  were 
lamentably  absent  from  the  programj  Jimmy  Murphy,  excellent 
and  versatile  though  he  was,  covild  not  fill  the  shoes  of  so 
many.  Hence,  if  the  review  in  Figaro  of  Jvne  13,  1870,  can 
be  credited,  Hollan  Effendi  gave  practically  a  one-man  show, 
which  was  chiefly  a  gymnastic  exhibition: 

"The  Pacific  Theatre  was  crowded  on  Saturday  nl^t, 
when  it  was  re-opened  after  being  re-fitted  and  re- 
decorated, and  having  many  improvements  made  in  it.  The 
first  partm  which  Cherry  Belle  swang  /sic/  the  tambour- 
ine and  Nellie  Vinini^  rattled  the  bones,  was  good  through- 
out —  choruses,  sonars  (comic  and  sentimental)  and  a 
lively  walk-around,  all  were  well  received.  Cherry 
Belle's  banjo  eccentricities  were  capital* 

"The  great  star  of  the  evening,  however,  was  Hollan 
Effendi  •  .  »  The  oerformances  of  this  accomplished 
balancer  and  gyinnast  on  the  slack  wire,  with  one  hand 
tossed  up  two  small  balls  and  with  a  stick  in  the  other 
kept  a  felt  hat  revolving  in  the  air. 

"Hollan  Effendi  is  a  big  card  for  any  house,  and 
the  Khedive  was  a  fool  if  he  willingly  let  him  leave 
his  dominions  .  .  •  Nellie  Vining  appeared  as  a  rival 
of  Lingar^  in  the  song  'Par  Excellence. '  George  Pearce 
quite  gained  the  hearts  of  the  audience  by  si^iging  some 


;'?      j»-'t.- 


.-I  ^«•,  .-1' 


0«    Jo    B90rfR       »  8 


bmi 


3    3lX®Q 


q  rt  0  f ; 


42 


very  pointed  anti-Chinese  ballads,  accompanying  himself 
on  the  banjo;  and  Jimmy  Murphy  performed  a  ji  g  In  capi- 
tal style.  The  performance  crncluded  with  the  'Shadow 
Pantomime.'  The  same  bill  was  played  last  night  to  the 
delight  of  a  numerous  audience  and  will  be  repeated  to- 
night. Great  novelties  are  in  preparation,  and  still 
more  talent  will  be  engaged." 

BRITISH  BLONDi:  IVAR 
The  "BritJ.sh  Blonde  War"  originated  at  Niblo's  Garden, 
New  York,  early  in  June,  1870,  when  leading  comedian  Harry 
Bec^'ett  and  oth'^rs  in  the  Lydia  Thompson  British  Blonde  Com- 
pany seceded  from  that  group  and,  with  several  popular  stars 
from  the  Lisa  Weber  Burlesqtie  Troupe,  organized  a  rival  com- 
pany billed  as  the  British  Blondes.  The  original  blondes  had 
been  engaged  to  open  at  the  California  Theatre  in  July,  after 
concluding  their  Eastern  engagements.  But  when  manager  Hender- 
son of  Lydia 's  company  learned  that  the  renegades  had  raced 
across  the  continent  and  were  to  open  at  Maguire 's  Opera  House 
before  the  end  of  June,  he  attempted  to  cancel  his  engagement 
at  the  California.  At  this  point  John  Woodard  stepped  into 
the  fray,  apparently  making  Henderson  an  offer  to  appear  at 
the  Pacific  Theatre.  Said  Figaro  on  June  13,  1870: 

"Pacific  Theatre  --  It  is  whlsr^ered  among  those 
behind  the  scenes  in  theatrical  matters,  that  a  troupe 
of  British  Blondes  has  been  engaged  for  this  theatre 


V 


43 


which  will  far  eclipse  that  at  an.  opposition  eat^blish-- 
ment.  We  shall  see  what  we  shall  see." 

—  and  again  on  Jime  20: 

"Pacific  Theatre  —  The  groat  'Original  British 
Blondes  '  will  make  their  first  appearance  at  this  house 
tomorrow,  in  a  list  of  their  specialties.  Tonight  the 
usual  varieties  by  tiie  crmpany,  to  conclude  with  'Going 
to  the  Ball.'" 

But  the  blondes  did  not  materialize,  and _Figaro  announced: 

"Pacific  Theatre  --  .  .  .  We  are  informed  by  the 
management  that  in  consequence  of  the  machinations  of 
Sherry  Corbyn  and  the  California  Theatre  capitalists, 
the  original  British  Blondes  will  not  make  their  appear- 
ance xintil  Wednesday  night,  when  they  will  positively 
give  their  first  entertain,  lent  and  triumph  over  all  ri- 
vals. Another  troupe  is  announced  to  appear  at  the 
California  Theatre  on  the  same  night*  but  as  Mr*  Toots 
says  'It's  of  no  consequence.'" 

This  was  an  ingenioxiS;  if  untruthful,  interpretation  of 
the  facts.  Sherx'y  Crrbyn,  lia quire's  manaj^er,  had  nothing  to 
dr  with  the  matter,  and  tho  "California  Theatre  capitalists" 
haO.  warfare  enough  an  their  hands  com'-ieting  with  I.iaguire  with- 
out bothering  with  such  snail  fry  as  the  manager  of  the  Pacif- 
ic.  They  did  not  release  Henderson  from  his  agreement,  and 


ill*  ,  .■^^■r;. 


44 


the  Lydia  Thompson  British  Blondes  duly  appeared  at  the  Cali- 
fornia. 

Woodard,  having  no  choice  in  the  matter,  engaged  a  number 
of  variety  performers  he  called  "the  only  trur  and  original 
British  Blondes,"  and  thene  Impostors  opened  at  tht;  Pacific 
on  June  22>  1870,  in  the  hv.rlesque,  Allfontina,  or  the  Blonde 
Crocodile »  The  finale  tr  this  typical  meloder^n  e;-)isf"de  was 
amusingly  reported  by  Figarr,  June  23; 

"Pacific  Theatre  —  After  a  capital  first  part  and 
variety  performance  last  niglit,  manager  Woodard  appeared 
before  the  curtain  to  explain  the  many  troubles  which 
had  beset  him  during  his  endeavors  to  engage  for  the 
Pacific  Theatre  the  only  'true  and  or>iginal  British 
Blondes.'  The  audience  quite  sympathized  with  him  and 
enjoyed  the  peep  behind  the  scenes  afterwards  afforded 
them.  The  Blondes,  with  their  beaxitiful  golden  locks 
streaming  down  below  their  waists,  all  looked  charming, 
and  were  greeted  with  mucli  applause.  The  piece  which 
serves  to  introduce  thc-.m.  to  the  pxibllc,  and  the  fui-my 
'fehearsal  which  f  r  r^iis  the  prologue  tr^  it,  caused  much 
amusement.  The  tableaux  an^l  dances  which  werr  arranged 
by  Cherry  Belle,  were  e.^crllently  well  performed,  and 
would  do  credit  to  an3'-  stage.  It  will  not  be  ton  much 
to  say  that  the  best  edition  of  the  French  can-can,  full 


T  &bodfl 
XdettBV   '!  > 

■  ■•1    oxfT 


Z'A'.'O.  *  lii(^,;i:.r 

jf  ri.f.    ^.-^'l" .^.flvv                 w^X^xf  r'/^'^j                   "tR 

■^;  3Vtoe 

rfo;rr 


■:p„'.    "J 


45 


of  grace  and  fun,   but  no  vulgarity,   ever  seen  in  this 
city,  was  presented  last  night  at  the  Pacific  Theatre. 

"Altogether  the  performance  was  one  of  superior 
character.  The  Blondes  looked  lovely,  the  crocodile  was 
perfect,  the  transformed  blonde  boy  /^a  ineiubor  of  the 
company  who  had  dyod  his  hair/  was  very  funny,  and  all 
present  were  satisfied  that  those  who  misn  seeing  the 
Pacific  Theatre  British  Blondes  cannot  be  compensated 
for  the  pleasure  they  have  lost  by  the  satisfaction  they 
have  experienced  In  witnessing  the  performances  of  the 
rival  troupes.  The  Blondes  will  appear  again  tonight 
and  until  further  notice." 

STRUGGiLE  TO  SURVIVE 
Woodard  made  further  bids  to  keep  the  floundering  Pa- 
cific Theatre  afloat  when  he  engaged  Lew  Rattler  and  Johnny 
de  Angelis,  two  of  the  runnicist  blackface  comedians  then  in 
California,  and  otherwise  strengthened  his  company  by  the  ad- 
dition of  many  of  the  favorites  previously  seen  on  its  boards. 
There  were  several  weeks  of  uproarious  success's  by  the  Brit- 
ish Blondes;  School  for  Sc^'O'lal  ran  concurrently  v/ith  Allfon- 
tlna  for  a  while;  tliere  followed  "a  lavish  ex-:ienditure  of 
money  in  re-engaging  the  British  Blondes''  when  their  engage- 
ment terminated  July  2,  1870,   and  an  extended  run  of  a  few 


r*    r 


,-f 


'Yr:_?-'Tr.."r/Pi  "JTt    nrf-1    f^.n.iv      ■■r:r''"rrr^'^  ■':''■'     :^ri:f      ■■.'-.•'■I  n-in.-f  fA" 
:  .J    i  : 

to      '''lit J  7     dp. .?:v?.r  J?"     /v                                       rir*??  ?>  t^I    arri^ 

we'i  jH  lo  ran;  bebno:ix3  eta  hrtA              L   »S  Y-f^'                                    '-' 


48 


more  nights.  But  the  house  could  not  "be  saved. 

THE  GaLOB]J:  GOES  OUT 
During  the  latter  half  of  1870  the  Pacific  Theatre's 
bills  degenerated  in  quality  and  the  innovations  in  quantity, 
at  last  giving  way  to  such  obvious  tricks  as  female  amateur 
wrestling  matches.  On  December  13  the  last  advertisement  ap- 
peared. The  Pacific  Theatre  was  no  more.  In  1871,  after  be- 
ing closed  nearly  a  year,  it  had  a  brief  revival  as  the  Globe 
Theatre  \jnder  Charles  Vincent,  who  managed  to  keep  it  open  a 
little  over  two  months  before  its  final  collapse.  The  btiild- 
ing  survived  until  the  follrwing  year  and  was  heard  from  once 
more  in  Figaro,  which  on  January  1,  1872,  wrote  the  melodeon's 
epitanh: 

"Globe  Theatre  —  A  New  Year's  Calico  Ball  will 
come  off  at  this  theatre  tonight.  The  whole  body  of  the 
theatre  has  been  covered  with  a  new  floor  for  the  occa- 
sion." 

The  New  Year's  Calico  Ball  did  not  "come  off":   the  musi- 
cians failed  to  appear.  So  the  Pacific,  which  had  lived  gay- 

ly  and  boisterously,  passed  its  last  days  in  sorry  desolation 
and  was  probably  razed  sometime  in  1872  to  allow  for  the  widen- 
ing and  extension  of  Montgomery  Street.  (No  mention  of  it  is 
given  in  the  city  directory  of  1875.)  PifiSLrq  as  early  as 
April  2,  1870,  had  forecaat  such  an  end: 


ior*.  bluno 


f  <-,- 


•1  ■-Ctr.';../r    '-. '■    rnrirtpv 


i.;.--.iv.;;     aja  r 


rvVf,  •:..',     ^, 


ov    f /)  .; 


liJtt 


-    .-t'l-r, 


•'^iT    ai( 


•.  ^^■^'^A^   ;^  rr     ,  f  ;%• 


rfcf    «>*0'IV'  i    ^X    r 


,'  eidfi^rfT 


IV-f      f.-     ;\,-^       '-. 


Si'.-;  'to 


:-•      R't/jeY 


^1    100  i     3    Xl.-! 


serf  ?• 


'irfXs  or; 


,^fj«T    vJcTp 


47 


"Montgomery  Avenue  --  The  completion  of  this  great 
improvement  will  prodtice  a  notable  change  in  the  theat- 
rical aspect  of  the  city.  It  will  obliterate  from  the 
map  four  of  our  places  of  public  arauseraent  —  the  Metro- 
politan, Maguire's,  the  Pacific,  and  the  Jackson  Street 
Circus  Lot.  This  will  necessitate  the  erection  of  new 
theatres  in  more  central  localities." 


•  11 


:"*&  rr 


?n'o 


Vv    a  J. 


?-  -*  ^V  kj« 


U 'J  ■-■■!« 


48 


ckaftj:r  IV 

THZ  V/INTZR  GARDEN 
(1372-1633) 

"Some  time  ago  several  Gentlemen,  leadin^^  members 
of  the  Horticultural  Society  of  California,  purchased 
the  large  skating  pavilion  on  Stockton  near  Post,   and 

have  since  then  been  reconstructing  and  ezilarging  it  ao 
that  It  will  afford  room  for  six  or  seven  thousand  peo- 
ple. The  new  building  will  beknovni  as  the  Horticultural 
Pavilion,  ajid  here  vdll  be  given  the  fruit  and  flower 
exhibition  of  the  Society.  The  interior  is  being  modeled 
after  the  style  of  the  VJinter  Gardens  in  Berlin,  Hanover, 
and  Paris.  Thirty-two  pillars  finished  vrith  rustic  work 
support  the  gallery  around  v/hich  are  to  be  arranged  300 
gas  burners  vdth  colored  globes.  The  stage  represents 
a  castle  resting  on  a  rock  v/ork  and  lione-of  v;hich  will 
be  a  prismatic  water-fall.  The  floor  of  the  hall  will 
be  laid  out  as  a  model  garden,  showing  tl^e  Geraan,  French 
and  Eiiolish  style  of  arranging  pleasure  gardens.  This 
beautiful  V/inter  Gp.rden,  which,  it  is  intended,  shall- 
surpass  anything  in  the  United  Statee,  will  be  opened 
to  the  public  on  or  about  August  22. " 


-•:r..  :t  rr-v  -ol'   ."roci   Vio>"*.b   X.Cxt   ■: 


gJ:- 


,!*■^^/4*»jf,  J     Ciiie      i^X    <3J. 


49 


Fi £3-1^0 y  on  July  27,  1672,  thus  heralded  the  establishment 
of  Horticultural  Kail,  later  knov/n  as  the  Winter  Garden,  Its 
dlstlHGuishing  feature,  as  the  guests  discovered  on  August  21, 
1872,  vrhen  tte  doors  v/ere  throv/n  open  for  a  prevlev/  of  the  in- 
terior, was  the  daz7.1ing  array  of  more  than  3,000  Gas  jets, 
many  of  them  clustered  in  a  huge,  central  chandelier  shaped 
like  a  palm  tree.  Also  colorfully  displayed  were  several  thou- 
sand plants  and  flowers,  v/hose  donors  v/ere  competing  for  en 
Aggregate  of  s?2,000  in  prizes  offered  by  the  Horticultural 
bociety. 

The  public  opening  occurred  the  next  day,  v/hen  Schmidt's 
and  Schlott's  orchestras  combined  to  give  a.  band  concert.  For 
the  next  nine  years  Horticultural  Hall  served  the  utilitarian 
purpose  of  a  garden,  concert  hall,  skating  rink,  and  circus 
arena.  Shovmaji  Yankee  Robinson*  was  respoiisible  for  its  lat- 
ter function  when  he  installed  his  own  circus,  October  7, ■ 187^ 
advertising  the  3,000  gas  Jets  and  renaming  the  place  Grand 
Grotto  Temple.   Tv/o  days  later  Figaro  remarkedf 

"The  Horticultural  Hall  on  Stockton  Street,  near 
Post,  nov/  turned  into  a  circus  temple,  presented  a 
brilliant  appearance  last  night,  liglited  vdth  thousands 
of  variegated  lejnps  and  every  seat   filled.   In  fact 


See  Vol,  II  of  this  Series, 


vaa 


.';  'fot  t.f) 


tVJ  n  ( 


■1  n-s' 


I    Jo    •'•".'(•tp 


-i'loriv' 


JWJ  ttj 


gjClX 


•jC 


eu>; 


•  see 


50 

there  were  hardly  seats  enough  to  accommodate  the  crowd. 
Tonight  two-hundred  additional  chairs  will  be  placed  in 
the  dollar  portion  of  the  house." 

Robinson's  circus  was  popular  for  a  time,  but  people  soon 
grew  nostalgic  for  the  old  circus  lot  on  Jackson  Street,  where 
animals  performed  in  the  traditional  environment  of  the  "big 
top,"  with  sod  and  sawdust  underfoot  and  canvas  billowing 
above.  Robinson  abandoned  the  pavilion  to  L.  M.  Henry,  who  on 
November  12  converted  it  into  a  skating  rink,  A  rink  it  re- 
mained, with  interludes  of  light-infantry  drills,  socials, 
dances,  lectures,  concerts,  and  periods  of  idleness,  vuatil 
1881. 

On  March  14,  1881,  the  hall,  remodeled  on  the  style  of 
the  Tivoli,  opened  as  the  Winter  Garden  tmder  F,  F,  Morse  and 
J,  A.  Meade,  who  made  of  it  a  light-opera  ho\;se  and  beer 
garden  v/hose  modest  admission  price  of  25  cents  included  a  re- 
freshment ticket.  According  to  the  Examiner  of  March  15,  1881: 

"This  nov;  place  of  amusement  opened  its  doors  last 
night  under  most  favorable  auspices.  The  house  was  good 
and  the  performance.  The  Chimes  of  Norm.andy,  achieved  a 
success.  The  hall  has  been  newly  painted  and  the  stage 
altered  so  as  to  accommodate  the  largo  company." 

In  the  cast  for  the  Chimes  of  Normandy  were  Fannie  Mar- 
ston,  Louise  Lester,  James  A.  Meade,  Louis  Nathal,Erank  Rora- 


.3h 


IOC.    slqo' 


n  r  ... 


.J  srtt 


ji. 


,.I88£ 


.•i  ca'j? 


51 


back,  and  George  Harris.  Although  the  opening  was  auspicious, 
later  performances  of  Gilbert  and  Sullivan's  Pirates  of  Pen^ 
zance  and  Offenbach's  La  Fille  du  Tambour  Major  were  disap- 
pointing to  the  management.  On  April  18,  Stahl  and  Mack  ac- 
quired the  V/inter  Garden,  went  to  much  expense  installing  a 
new  stage,  new  scenery,  new  frescoes  and  a  new  coat  of  paint 
throughout;  the  new  proprietors  named  M,  A.  Kennedy  their 
stage-manager,  and  began  an  uninterrupted  series  of  light  and 
comic  operas  that  pan  well  into  1883. 

For  their  opening,  Stahl  and  Mack  offered  the  nautical 
opera  Billee  Taylor,  or  The  Reward  of  Virtue,  with  Harry  Gates 
playing  the  title  part  and  Hallie  Moore  the  role  of  Phoebe, 
This  opera  packed  the  house  for  three  weeks,  "Billee  Taylor 
is  all  the  rage,"  said  the  Post  on  May  23.  "It  is  a  worse 
furore  than  Pinafore, ' if  3uch  a  thing  can  be  imagined," 

STANDING  ROOM  ONLY 


Tom  Casselli,  a  first-rate  comedian  and  singer,  came  to 
the  boards  in  June  in  the  extravagant  La  Mascotte,  which  had 
an  even  longer  run  than  its  predecessor,  continuing  to  draw 
large  audiences  until  July  10,  On  the  eve  of  the  final  per- 
formance the  Post  reported: 

^'Today  and  tomorrow  will  be  the  last  opportunity 
lovers,  brothers,  mothers,  and  others  will  have  of 
seeing  La  Mascotte,  as  on  Monday  Boccaccio  will  be  pro- 
duced in  grand  style.    Under  clever  management  of  that 


Y ,  ;  (,V 


i'    • 


iow  r 


:^Tin:t?. 


52 


artist  and  gentleman,  M.  A.  Kennedy,  the  place  has  pros- 
pered far  beyond  the  moat  sanguine  hopes  of  the  propri- 
etors, and  it  will  continue  to  do  so  as  long  as  they 
have  such  a  good  company  together  as  the  one  engaged 
at  present,  an  excellent  orchestra,  and  a  man  who  under- 
stands the  business  so  well  as  Mr.  Kennedy.  The  chorus 
will  bbe  enlarged,  also  the  orchestra,  and  Bell  has 
painted  new  scenery,  and  altogether  we  are  promised  a 
pleasant  surprise  in  the  care  and  attention  bestowed  on 
a  proper  representation  of  Boccaccio  which  will  posi- 
tively be  produced  on  Monday,  the  11th." 

Manager  M.  A.  Kenedy,  on  July  18,  during  the  run  of  Boc- 
caccio, advertised  in  the  Post:  "Sunday  night  I  A  scene  un- 
precedented! At  7  o'clock  people  turned  away I  Seating  capac- 
ity of  house  2,5001  Number  of  tickets  sold  3,0001"  Such  meth- 
ods seldom  left  any  standing  room  at  the  5i/inter  Garden  after 
7:30  p.m. 

Mounted  cheaply,  played  with  a  dash  of  slapstick  reckless- 
ness, Jonah  in  the  Whale  (the  work  of  a  local  musician  named 
Hoffman),  La  Fille  du  Tambour  Major,  La  Grande  Duchesse,  and 
a  curious  operatic  adaptation  of  the  Black  Crook,  following 
cno  after  another  at  the  Winter  Garden,  continued  to  fill  the 
place  "to  its  rafters"  and  finally,  on  October  22,  1881,  called 
forth  t-iis  bit  cf  mild  criticism  from  the  Post; 

"The  management  have  very  wisely  placed  entirely 


•  :; 


53 


new  scenery  on  the  stage,  and  it  is  time  they  did  so, 
for  one  Gets  tired  seeing  the  black  and  nhite  carpet  and 
Jaded  parlor  scene,  v/^hich  hs.s  been  used  so  maiiy  times 
before.  The  chorus  has  been  considerably  augnented,  but 
they  sadly  need  traininG,  as  they  stand  on  the  stage 
like  vfooden  figures." 

Just  before  this  v/as  vrritten,  an  excavation  of  l4  feet 
had  been  made  under  tie  state  for  the  installation  of  "machlnf^ 
ery,«  the  stage  had  been  rebuilt,  and  the  popular  comedian  Ed- 
vajcd  Barret  had  been  ma.de  stage-mejiager.  Doubtless  the  pro- 
prietors considered  themselves  extravacejit  i'l  spendinc^  so  much 
money  on  improvei.'.ents  —  since  the  house  would  hold  no  more 
than  its  oriGinal  3,000  capacity  —  eiid  six  weeks  were  spent 
in  rehearsing  and  preparin^>  the  Black  Crook,  while  an  opera 
which  had  outlasted  its  popularity  v^as  retained  on  the  bills, 
nevertheless  there  was  no  falling  off  in  attendance,  even 
thouGh  the  gallery  gods  were  heard  more  than  once  to  groan. 

SECOND-RATS  TIVOLI 
The  prograjns  improved  in  1832,  v/ith  Pinafore.  Donizetti's 

The  Love  Potion.  The  Bohemian  Girl,  ^^^  H^  Diavolo  making 
bright  spots  in  an  otherwise  tarnished  repertory  of  musical 
Junk  —  much  of  it  contrived  on  the  premises.  But  the  Winter 
Garden  remained  a  second-rate  imitation  of  the  Tivoli  during 
its  entire  career.  It  never  once  rose  to  first  rank,  even 
v;ith  its  production  of  lolanthe.  then  G-iloert  ejid  Sullivan's 


roa 


} ...  1-"^  :ir\      o  -f  f  . 


iJoxriw      ^oK&oa   loXijaq  x;o.b6f. 
.3nor>  nsecf  ssr(  «^frc<>rio  «rf' 


.:i9  0''Ctjt'Xvr    8J3V 


.'..'. '  V*j  1.    J^    U  .'    :i.vi        iji^.j        ^ 


3  lit   ;J"ii.j;3SV.<3id7cr;»   Bsvl98f;i9riu   .iiats-bianoo  e-: 


9 'I  Of- 


^  /-.  '^      M  r  r  rp,f » 


«  a  rf.-i  n 


^i^•^      c.-,f.  fp 


^'-ujoia  oJ-  eono  okiii  s'iok     jj-iBed  eis;.  3  \:'i"H .  jorfo 


.Oir. 


r  r  f 


d  '  J.UU"J 


osvf  ..•-:. .J.  o.-.^rr-onc 


Oi-JT 


.fp.itr.i.'r'  'to   '"xo.tT^cf*'  'lerf^J'o  r^s    ■1.':   b^ovh      ."trfrjiiTd 


54 


latest  vfork.   On  January  27,  the  occasion  of  Iole-.ithe'  s  San 
Francisco  premiere,  the  Post  came  ovit  with  a  direct  criticifln: 

"The  Winter  Garden  —  Gilbert  aiid  Sulliveai's  comic 
aesthetic  opera  lolanthe,  their  latest  composition,  v/as 
produced  at  this  house  last  nonday  niglit  for  the  first 
time  in  San  Francxsco,  'Jith  one  or  two  exceptions  tta9 
opera  vss  very  poorly  cast,  and  ii  some  Instajices  equaBy 
poorly  rendered.  The  work  throuGhout  showed  lack  of 
sufficient  reheexsal  and  v/ant  of  proper  manageuent;  and 
the  chorus,  especially  the  female  portion,  v/aa  almost 
wretched  at  times.  Ilr.  Urbeii  as  Lord  ChaJicellor  does 
his  best  vdth  the  character,  which  does  not  at  all  suit 
him.  Arthur  Sullivaii  has  never  been  very  partial  to 
tenors,  as  he  considers  then  'sticks'  on  the  stacks,  and 
that  accounts  for  the  tame  ;.msic  Given  to  the  character 
of  2arl  Tolleller,  impersonated  tSMvir.  Horaback,  of  which 
character  he  has  not  the  sli2,htest  conception  ..." 

The  critic  went  on  to  point  out  other  glaring  inconsisten- 
cies, then  suivjnarized  \7ith  a  laconic  statement  v/hich  neatly 
damned  the  entire  performance:   "The  orchestra  is  very  good." 

L/iST  SCZIIE  —  A  FIRS 
lolanthe,   which  should  have  made  the  fortunes  of  Stahl 
ajnd  Mack,  proved  to  be  their  downfall.   Attendances  fell  off 
niGht  by  niGlit  and  ultimately  forced  the  theatre  to  close, 


■:z.'i  ■j    J ; 


:i'i    ^ii 


ffcT/W 


a-  31-. 


O  ^.'3 


-owooia 


isqo 


;iA~£';      t!^"  ■'T'jlf      "s    '.        i' Uif-"'       '     ""'.p-       JC.""^' 


»iii>>   LOy.     •,/^AjUi&. 


oJ  a.9 


ii***         S.^*'- 


j'tgc.     C'^':'' 


j   '^rJ^ 


i    10 


-o4:;o  JrlcT' 


on  T  r 


r,^.lry 


£)eii'ioi 


35 


since  there  was  no  money  with  which  to  pay  the  actors'  sala- 
ries. On  February  10,  attempting  to  remedy  this  situation,  the 
company  reopened  under  its  own  manaGenent  in  the  burlesque  or 
"play"  Musketeers.  "It  is  devoutly  to  be  hoped,"  said  the  Post 
that  sa:ae  day,  "that  the  public  v/ill  remember  the  past  efforts 
of  this  clever  company  to  amuse,  and  will  reclprooate  aocord- 
in(jly, «  But  the  public  either  did  not  remember,  or  reuembered 
too  well;  the  venture  v/as  only  a  mild  success, 

A  month  or  so  later  the  Winter  Garden's  legal  owners  man- 
aged to  Get  enough  money  together  to  reopen  the  house  on  its 
former  basis,  offering  instead  of  opera  a  succession  of  dra- 
matic outbursts  such  as  Flip  Van  Winkle,  Saratoga.  The  Victims. 
The  Persecuted  Dutchman.  Svi-eetheext .  Toodles.  The  Chimney  Cor- 
ner, and  A  Kiss  in  the  Dark.  They  threvr  in  with  these  a  few 
musical  numbers  and  specialty  acts.  Tie  Winter  Garden  v/as  veil 
on  the  vray  tobecoraino  a  melodeon  when  It  caught  fire  on  August 
4,  1833,  and  burned  to  the  ground.  The  last  notice  concerning 
it  appeared  in  the  Call  on  the  follovring  day: 

"T71nter  Garden  —  Uothing  additional  has  b©«n 
learned  as  to  the  cause  of  yesterday  morning's  fire,  in 
which  a  large  number  of  buildings,  including  the  Winter 
Garden,  Red  Men's  Hall,  Druid's  Hall  and  the  Verein 
Eintract  building  vere  entirely  burned.  TJie  blaze 
shooting  up  in  the  rear  of  the  Winter  Garden  v/as  discov- 
ered by  police  officers  Corrigan,  Flynn  and  Merrlfield. 


.^e' 
'-J& 


srJ^ 


iw     rlv 


.j-y._l.iuO 


-I 


>1     & 


in  bib  1 


1£^f.i,V^   31^ 


9Xf.+ 


«.' 


5«i.+pr' f    **("■■'"' "^ '"tr     .  p,  trs  .'i'f   Tf 


■,^iQ'liJo>i:J^   0. 


&nuQvk  no 


r   ■ .  rf' 


r- 


?,   ai&' 


•  )l9.'n 


rio  IX*; 


iftn 


"V C"'  ij  i 


itoni 


8B    i': 


v-^rr    ? 


li    ft  '  ij  iii' 


OT       i 


^     ■-  e  i:^  'T     « 


■  yXi'iOj    r 


56 


A  general  alaJTii  v;as  turned  in  and  the  v/hole  departn.ent 
was  engased  in  flghtint  the  hottest  fire  Sen  Francisco 
has  seen  for  years.  The  Winter  Garden  building  vas  a 
large  bam-like  structure  end.  ov/ing  to  the  material  used 
in  its  construction  it  soon  succumbed.  It  required  200 
policemen  to  keep  back  the  enoraous  crov/d  that  had  con- 
gregated on  every  side. " 


j'Tia   v' roc's r  i*.forf"     ■^rl^'   *^<'^   rri  b9mir1>  ?=•"  .m.^./a   J.^teai^r   •*^- 


57 


CHAPTER  V 
THE  ADELPHI 
(1877-1891) 

The  Adelphi  was  unlike  its  two  predecessors  of  the  same 
name.  Adelphls  I  and  II  had  been  razed  by  fire  almost  20 
years  before  1877,  when  Messrs*  Cogill  and  Cooper  christened 
their  new  melodeon  The  Adelphi  and  opened  it  as  a  variety 
house.  Both  the  earlier  Adelphis,  though  ostensibly  theatres 
devoted  to  the  drama,  were  raelodeons  of  a  sort  during  most  of 
their  brief  careers:  Adelphi  II,  a  forthright  melodeon,  had 
made  frequent  sorties  into  the  field  of  melodrama,  and  all 
three  were,  in  the  newspaper  parlance  of  that  time,  "tiny 
bijou  theatres." 

Located  on  the  south  side  of  California  Street,  two  doors 
west  of  Kearny,  the  Adelphi  shared  its  elegant  new  quarters 
with  a  carriage  "repository"  which  occupied  the  ground  floor  . 
Messrs.  Cogill  and  Cooper,  variety  performers  of  considerable 
reputation,  entrusted  the  theatre's  management  to  John  Woodard, 
former  stage-manager  of  the  Pacific  Theatre.  Just  before  the 
opening,  Figaro  on  April  18,  1877,  proclaimed: 


V  10 

(leex-vvBx) 

».,-<=,,+.. ojrrp  wan  dnage'''^  -■•**•   Mtaric      •■-',> r-r-  ,  .;maa3  lo  ;teew 

elcfeieibianoo  lo  en  y;-*ff tt3.v   ^^iQq:  J5  IIl:?.oO  .st.^. 

'.Lenlfifo  JI  linrrA  no  o- 


58 


"The  opening  announcement  of  Cogill  and  Cooper's 
new  theatre  appears  in  oxir  columns.  The  opening  night 
is  fixed  for  Saturday,  April  28th.  John  Woodard,  the 
stage-manager,  will  be  on  the  premises  daily,  from  11 
to  1  o'clock,  for  the  purpose  of  receiving  proposals 
from  talent  of  acknowledged  ability  in  the  variety  and 
dramatic  lines  who  may  wish  an  engagement.  Twenty  young 
ladies  from  the  stock  and  ballet  are  wanted." 

FOURTEEN  GIRLS  AND  THIRTEEN  MEN 
By  April  24,  according  to  this  same  journal,   a  "variety 
and  vaudeville  company  numbering  fourteen  ladies  and  thirteen 
gentlemen"  had  been  engaged*  The  Examiner  of  April  26  declared: 

"This  city  promises  to  rival  New  York  in  the  com- 
parative number  of  buildings  devoted  to  the  drama.  On 
Saturday  evening  next  the  Adelphi,  which  has  been  re- 
cently erected  on  California  Street,  above  Kearny,  will 
be  opened  to  the  public,  after  an  expenditure  of  nearly 
$20,000.  The  auditorium  is  divided  into  an  orchestra, 
parquette  and  circle,  separated  into  nine  boxes  and  two 
large  divisions  for  stalls.  There  are  four  proscenium 
or  stage  boxes.  The  entire  seating  capacity  is  for 
about  650  persons ,  The  upholstery  is  in  blue  cloth, 
leather  and  hangings.  Elegant  lace  cxirtains  and  a 
heavy  blue  damask  cloth  are  used  in  the  boxes.  The 
painting  is  white  throughout,   set  off  with  gold  leaf 


r  >.pi— 


.>foolo'b  I     o:f 


,.,*.('!''f^   fir's  di*  'b^rr""'^   'jo 
il3   .ii.   Ji;  'V-i  •;p''^'3■ 


5e 


gilding.  The  papering  la  blue,  figured,  and  is  very 
pleasant  and  tasteful  In  design.  The  general  effect  of 
the  interior  of  the  auditorium  Is  at  once  cool,  rich 
and  pleasant.  The  stalls  are  a  new  feature  In  theatres 
In  this  city.  They  are  at  either  end  of  the  circle,  and 
will  accomir.odate  sixty  persons.  The  floor  Is  well  sup- 
ported. The  proprietors  claim  that  special  attention 
has  been  paid  to  providing  means  of  egress  in  case  of  a 
panic.  The  main  stairway  la  eight  feet  wide.  At  the 
left  side  of  the  stage  there  is  a  doorway  leading  into 
an  alleyway  that  opens  directly  upon  Pine  Street,  The 
company  numbers  f o\irteen  females  and  thirteen  males 
who  have  been  engaged  for  their  specialties  in  the  va- 
riety business," 

The  opening  itself  was  impressive  by  all  variety  stand- 
ards, and  Figaro  of  May  1,  1877,  in  reviewing  the  performance 
spread  Itself  in  an  effort  to  be  helpful: 

"The  new  theatre  on  California  Street,  above  Kear- 
iiy*  opened  to  an  Immense  audience  on  Sat\irday  night 
with  a  variety  and  vaudeville  company  .  ,  .  vmder  the 
management  of  its  lessees  and  proprietors,  Messrs, 
Cogill,  Cooper  &  Csmpany,  The  programme  introduced  to 
us  Miss  Nellie  Le  Claire,  Miss  Emma  Heath,  Mr,  Alex  Le 
Claire,  Mr.  Fred  Levantine,  Mr,  Lewis  Clapp,  who  made 
their  first  appearance  here  --  besides  many  popular 


iXSM 


-~a 


uaeiqe 


:s     a 


erf.-t     T; 


~>V.      fovWS 


f   ,:^• 


'i-^ 


60 


performers  in  the  specialty  and  variety  lines*  The  per- 
fornances  were  lnaug\irated  by  Jennie  Johnson  reading  an 
opening  address.  After  which  the  'Star  Spangled  Ban- 
ner' was  sving  by  the  whole  company.  This  was  followed 
by  the  regular  first  part,  which  was  particularly  good. 
Cogill  and  Cooper  opened  the  interlude  in  their  new  and 
original  sketch  'Susan  Simpson's  Sister,'  The  popular- 
ity of  the  young  leasees  was  shown  by  the  hearty  cheers 
which  greeted  their  appearance  on  their  ovm  sttgc* 
After  this  every  act  was  encored  and  the  old  favorites 
were  warmly  received.  Miss  Kellie  Le  Claire  and  Mr, 
Alex  Le  Claire  made  their  first  appearances,  respective- 
ly, in  the  leading  roles  of  the  three*act  drama  entitled 
The  Web  of  Crime  and  proved  themselves  to  be  competent 
performers.  They  will  doubtless  become  great  favorites. 
Miss  Jennie  Johnson,  H,  R.  Archer,  George  Foster,  George 
P.  Moore,  Billy  Warner  and  others  in  the  cast  acquitted 
themselves  well.  The  smoothness  with  which  the  drama 
was  acted  showed  that  it  had  been  well  rehearsed  under 
Stage  Manager  Woodard's  competent  care,  and  augured  most 
favorably  for  the  prospective  efficiency  of  the  stage 
department  of  this  theatre.  The  Adelphi  is  a  neat, 
comfortable  theatre,  moat  strongly  constructed  —  as  was 
well  proven  by  the  immense  audience  of  Satvirday  and 
Svmday  nights  —  with  a  large  and  will  appointed  stage 
for  a  theatre  of  its  class. 


'i  r.i 


act 


^IrfP       .  rnr,. 


bn»  .. 


.'iiaeno   ^j' 


n  Q  ."*  i:  'tor:' 


4  ^j-^orbO' 


ed^ 


•'1  lie 


<:c 


'10 


JX 


;C-     a  J      B3Vj.t 


S£ii; 


I'ifOrr.v    D. 


',..C'r> 


^n©±5.' 


at  -.^x-. 


61 


"No  pains  or  expense  have  been  spared  on  the  part 
of  the  management  to  have  everything  in  ship-shape  and 
perfect  order.  The  theatre  is  hands cnely  fitted  up, 
brilliantly  lighted  and  most  abiondantly  ventilated. 
The  Adelphi  opens  most  auspiciously  and  with  these  ad- 
vantages this  new  theatre  —  with  tact  and  energy  in 
the  management  --  cannot  fail  to  become  a  very  popular 
place  of  amusement.  The  opening  bill  will  be  repeated 
until  further  notice," 

BURLESQUE  AND  REALISM 

Trips  to  the  Moon,  a  burlesque  that  Woodard  had  tried 
out  at  the  Pacific  Theatre  with  considerable  success  some 
years  earlier,  succeeded  The  Web  of  Crime  when  the  bill  was 
changed  on  May  4,  1877,  "The  hits  at  prominent  men  and  no- 
table events,"  said  Figaro  on  May  7,  "are  good  and  duly  ap- 
preciated by  the  audience,"  During  the  next  several  weeks 
Woodard  repeated  in  succession  many  other  bvirleaques  which 
had  convulsed  audienbes  at  the  little  melodeon  on  Pacific 
Street  and  all  of  them,   apparently,  still  elicited  laughter. 

But  with  each  burlesque  there  was  generally  a  realistic 
"play,"  such  as  Tom  Bell,  The  Highwayman  of  California,  which 
not  only  gave  the  cast  an  opportunity  to  display  its  range 
of  "heavy"  acting,  but  allowed  the  mechanics  to  create  im- 
pressive s'-enes  and  stage  effects.  This  form  of  sensation- 
alism -*  although  Inevitably  bolstered  by  the  usual  variety 


•      ^  f';  .;.      ■.->>  i;.',"  >    '         '«''■'...       ..V     .     ,  t.       ;.-.-,  W.i     ■  >     ..  ..^■^  .   ,.J-.t   „ 'j'Jr  ••  tr     '.V 


i>^. 


t-"-\ 


j.;/-j     .•..;;       i,j.':         .    '        ""    "■       :'  '.'■         '         '^  ' '^O^  "-i?  **'    ■V?-;.  ;:V       ■^•j   r  ^i 


/•-v.       ...  -    ,  )'       -..;•     If.-       ^.t:.' 


..  rt   • 


■  ■     > 


62 


feats  and  circus  tricks  —  was  emphasized  at  the  Adelphi,  and 
gave  this  melodeon  a  dramatic  air  few  others  of  its  time  could 
equal . 

The  actor  James  M,  Ward  joined  the  company  in  June  for  a 
limited  engagement  in  J.  J.  McCloskey'a  Through  by  Daylight . 
According  to  an  advertisement  in  Figaro  on  June  8,  1877,  this 
"sensational  drama''  had  "the  city  street  car  accident,  the 
concert  cellar  saloon.  Horse-shoe  Point,  exterior  of  the  Old 
Bowery  Saloon,  the  single  rope  descent  (villany  defeated)  and 
new  scenery,  new  carpentry  and  new  property"  —  all  realisti- 
cally movmted  on  the  Adelphi'a  small  stage. 

Until  Buckley  leased  the  house  in  August,  the  Adelphi 
produced  a  deluge  of  melodrama,  Cogill  and  Cooper,  intention- 
ally or  not,  actually  v;ere  operating  a  stock  theatre,  with 
variety  thrown  in  for  an  "opener,"  Even  before  Ward's  en- 
gagement ended,  comedian  Sid  C,  Prance  was  Imported  (probably 
from  New  York),  and  appeared  July  16,  1877,  in  a  piece  of  his 
own  invention.  Marked  for  Life .  The  event  marked  anew  regime 
felt  the  Adelphi  which  overshadowed  all  previous  melodramatic 
realism,  mechanical,  histrionic  and  theatric.  Figaro,  the 
only  journal  which  gave  the  melodeon  any  publicity,  predKsted 
that,  since  here  at  last  v;as  the  kind  of  show  people  wanted 
to  witness,  they  would  come  In  droves  and  crowd  the  house  not- 
withstanding the  hard  times. 


ban 


I       5r     «■•    :i^-Ti 


.^■mV    /'         ***mJv'C-'w«-'       s>.4' "■'■*       ^ 


irii- 


fji  flp  ^e^fi;; 


lorr 


t*  -■  s*  i»^ .-  >- 


.ir*ri'r  --"^  ■        \r  T rt 


&f: 


63 


The  public  did  come  In  the  predicted  "droves";  for  what 
hitherto  had  been  considered  the  ultimate  in  exciting  spec- 
tacles (such  as  streetcar  crashes  and  thrilling  episodes  in  a 
rock  quarry  amid  imminent  and  manifold  dangers),  were  tame  in 
the  light  of  what  Sid  C,  Prance's  facile  pen  provided. 

Figaro  reported  on  July  21,  1877: 

"The  Adelphy  has  distinguished  Itself  this  week  by 
producing  a  really  thrilling  scene  in  Sid  C.  France's 
play  of  Marked  for  Life.  It  represents  a  railroad  train 
passing  through  a  forest  on  fire.  The  illusion  is  com- 
plete; even  the  ties  seem  on  fire.  It  is  seldom  that 
an  effect  is  better  put  ofi  the  stage. ^ 

Some  idea  of  the  length,  scope,  and  essential  natvire  of 
Marked  for  Life  —  which  was  not  only  typical  of  the  Adelphi, 
but  in  the  first  two  respects  characteristic  of  all  variety 
performances  --  is  indicated  by  the  program  published  in  Figaro 
en  July  16,  1877: 

ADELPHI  THEATRE 
j607  California  St.,  above  Kearny. 
Cogill,  Cooper  &  Co.,  Proprietors  and  Buslnefis  Managers 
John  Woodard,  Stage  Manager; 
Hubert  Schrelner,  Leader  of  Orchestra, 
A.  Burnett,  Machinist.      J.  L.  Franklin,  Treasurer, 

This  evening,  July  16th. 


:tf!trfw 


rtt   8C 


^:aiIlt:i'J   oca 


n- 


lie   a  a  £foi': 


'  R  ■^'T    ■  ^ 


?■         A  r<i  Ai  i>(  |»        ^  r  > 


.-xiJ':.    c    i.Tr:3i;';j'iU5'i. 


•5  Til 


r'c  bios    B.J    cfl         .  O":!' 


t^rf^    r»«t*(«      •  i\  (■ft  rq 


i.f 


I."       -J. 


Ci' 


•■nep-?o    ."..n-- 


^•'•'•o-"'*4     •-■•^ 


:vVbx    ^c 


,-•■,«>. 


«. .  - 


■^*fj.:-.3;r„    r::.:; 


airiT 


64 


First  appearance  in  California  of  the 

Great  American  Comedian 

Mr.  Sid  C.  Prancel 

In   the   powerful   and    sensational   drama    entitled 

MARKED   FOR   LIFE 

James  M.  Ward,      the  popular  actor,      appears  nightly- 


Part   First 
Bones,    Billy  Warner  Tambourine,    John  Foster 

Interlocutor,    H.   R.   Archer 

Introductory  Overture      Full   Band 

Bell  Brandon    . H.   R.   Archer 

Mother-in-Law      John  Foster 

When   the  Moon  With  Glory  Brightens    .    .    ,  John  M.   Davis 

Monkey's  Wedding    .....  Billy  Warner 

Finale   Quickstep    Company 

Interlude 

Boh  Ridley    George  F.  Moore 

And  his  Granny Ed.  Glover 

Active  Girl   Miss  Kitty  Henderson 


Grand  production  for  the  first  time  in  California  of  the 

most  powerful,  interesting  and  thrilling  romance  ever  written, 

entitled : 
« 


65 


MARKED  FOR  LIFE 

Skid,  a  darky  true  as  steel Mr.  Sid  C.  France 

Jack  Tatters,  poet,  author  and  actor   .  .  Mr.  J.  M.  Ward 

Jack  Blake,  captain  of  a  gang  of  outlaws  Prank  Cleaves 

Joe  Penwick,  his  companion  and  dupe  .  .  ,  Frank  Lavarnie 

Willis  Hawkins,  a  young  Southern  planter  H»  R.  Archer 

Hiram  Whitby,  a  banker)] 

I   ........  Ed.  Glover 

Doctor  Holt  on         )j 

Sheriff  John  Dillon 

Crawling  Snake )i  /(George  F.  Moore 


Fire  Cloud    ))Piute  Indians  /(Henry  Welston 

Barking  Wolf  J,)  V^John  Poster 

Sing  Poo \ John  C .  Leach 

Jimmy  Tatters  George  Morton 

Engineer   Henry  Woods 

Watkins D.  C.  Simpson 

Officer John  M.  Davis 

Dora  Whitby Miss  Jennie  Johnson 

Mrs.  Jack  Tatters Miss  Emma  Heath 

Mrs.  Susan  Jane  Skid Billie  Warner 

Nellie  Tatters   Mollie  Desmond 

Fannie  Anderson  Hellena  Serrano 

Mrs.  Sing  Foo Kitty  Jones 


.00    sld    , 

in'B'U-H 

ncrJCoH 
noma  mlo  •>f'.',rf.r^ 


I  f      "^  r.  /fl 


•xectBo'5  rnlo:.;,  w      ^^"'^ 

doAeJ 
nod' 

i 

3  .eiM 
bnocteea   -'  •  *"  ^-'frr^-.TT 


&lr 


BBrtOtf  OO*? 


66 


Olio 

Gems  of  Music Mis  a  Helen  Greyaon 

John  Dillon,  in  his  original  Irish  Gems. 


An  original  sketch  written  by 
GEORGE  P.  MOORE 
Wonders  of  the  Age 
Kitty  Henderson  and  Geo.  F,  Moore 


Miss  Carrie  Lavarnie  in  her  original  character  songs 


To  Conclude  v/ith  the  laughable  sketch  of 
SAME  AS  LAST  SEASON 
Characters  by  Billie  Warner,  John  Dillon, 
John  Poster  and  John  C.  Leach, 

At  the  end  of  a  riotous  two-week  run,  Sid  C.  Prance's 
second  opus.  In  the  Web,  was  produced  with  a  similar  response 
that  packed  the  house  every  night.  But  on  August  6,  Figaro 
announced : 

"We  understand  the  popular  manager  Ned  Buckley  has 
purchased  the  Adelphi,  Mr,  Buckley  is  one  of  the  best 
known  men  in  the  city,  and  he  has  the  enviable  reputa- 
tion that  everything  he  has  taken  hold  of  haa  been  a 
auccesfl.  We  do  not  doubt  that  his  new  ventvire  will  be 
the  same," 


-1'  •'    f 


f.. :) ."t ^ TTT   r!''''  re    r;* 


io'j;.- 


e-  J  ctBi/S-t'A  no   d^x;Q       .^ri^in  Y'leve   es;;orf  ©rlct  bejJoflq  ctsrfi 


67 


Concurrent  with  this  notice  another  appeared,  stating 
that  Sid  C.  France  would  present  during  the  fifth  and  last 
week  of  his  engagement  a  melodrama  called  Dead^  t^o  the  World , 

France  remained  for  still  another  week  in  what  was  de- 
clared to  be  his  greatest  hit  of  all:  Home  from  Sea,  or  A 
Living  Lie,  In  which  he  played  the  part  of  a  United  States 
naval  officer  and  was  ably  supported  by  the  versatile  stock 
company  which  still  included  actor  J.  M.  Ward  and  stage  mana- 
ger John  Wood ard  .  However,  v;hen  France,  Ward,  and  the  Messrs. 
Cogill  and  Cooper  all  disappeared  from  the  boards  simultane- 
ously about  mid-August,  melodrama  likewise  vanished  from  the 
Adelphi  for  a  while. 

NED  BUCKLEY  TAKES  OVER 
When  Ned  Buckley  took  over  the  Adelphi  in  1877  he  was 
already  an  established  melodeon  proprietor.  One  of  his  houses, 
at  Kearny  and  Pine  Streets,  which  he  had  managed  jointly  with 
Bill  Skeantlebury,  had  passed  into  the  hands  of  Bookings  and 
Peters.  The  other,  at  Sacramento  and  Kearny  Streets,  was 
known  variously  as  Ned  Buckley's  Theatre,  Buckley's  Varieties, 
and  Buckley's  New  Varieties*  Here  Buckley  was  appearing  with 
a  strong  minstrel  and  variety  troupe;  and  after  acquiring  the 
Adelphi,  it  is  probable  that  he  shifted  performers  from  one 
house  to  the  other  as  occasion  demanded.  At  any  rate,  new 
names  were  introduced  at  the  Adelphi  after  the  middle  of  Au- 
gust; and  in  general,  the  tone  of  the  performances  became  more 


-s^i ii  cixtfiiiiB   BC'A«»o'.i    ftiw   :noi'i  b&'isteqqBQxb     lis  leqooO  fcns   XXi,'. 

aw 

..EOUH  am 


'^'^''  -...ki^'.-.,  '-'    "■■■-'    -■-'  y-       -^©x,)  ajjc,    >.yL    i-£5';' 

n^eiiqoiq  noeboisir:  beriBtlds-tae  rtc.  Ybsftila 
ff-^tw  yt;  ^«*r!Oft»«T  fr^ri  ent  rf,•^lrfw   iO'*«<f»i;J8  erjJ^*?   baa  Yn»f 

.BfttctetisV  «*v:e''>r,'5f(i?    ,«>i5.''^rf1'  s'v.9r?<r>f.f9   bsW  so  ^ -'^ 8 f/o  ' ••  ^ v  .?fvocT>f 

-uft.  ■'  erfj  iQdifl  IrlqlsbA     orfi  ;ta  beo0bo'x:tnJt   oiew  eo  ■ 

fi^>  -rjQcf  oeonamio-  j   ©rid    ^Xsto 


68 


facetious  and  their  structures  more  scanty  than  at  any  time 
since  the  theatre's  beginning. 

Female  minstrels  Joined  the  minstrel  men  (who  did  the 
most  vigorous  turns),  and  presented  a  medley  of  tricks  in 
their  brief  heyday  on  the  stage.  Such  local  bvirlesques,  ex- 
travaganzas, burlettas,  and  skits  as  Happy  Uncle  John,  Law 
and  Justice,  Walking  for  Pat  Cake,  Scenes  on  Tar  Flat,  OJMal- 
ley's  Troubles,  and  The  Mulcahy  Twins  held  audiences  so  en- 
thralled for  the  next  five  or  six  months  that  they  soon  for- 
got the  departed  glories  of  Sid  C.  Prance. 

DEBUT  OP  HA RRIGAN  AND  HART 
In  September,  1877,  John  Woodard  was  replaced  as  stage* 
manager  of  the  Adelphi  by  George  C.  Thompson,  a  less  colorful 
figure  among  the  legion  of  variety  heroes;  and  Harrigan  and 
Hart,  later  to  become  a  nationally  famous  vaudeville  team, 
made  their  debut  in  the  sketch  Walking  for  Pat  Cake.  In  the 
same  month  the  Clodoche  Troupe  of  "Parisian  Can-Can  Dancers" 
was  brought  out  from  Niblo's  Garden  in  New  York  and  featured 
with  the  already-popular  gymnasts,  Pauline  and  George  Luproil, 
who,  although  not  as  titillating  as  the  Clodoche  ensemble, 
were  equally  sensational. 

CAN-CAN  CONPONEP 

Such  were  the  attractions  of  mixed  vaudeville  and  min- 
strelsy that  packed  this  little  theatre  night  after  night. 
Certainly  not  brilliant  by  any  reckoning,   they  fitted  the 


erfct  bib  orfw)     rrea  le"  iW  bf^aiot      ^iv'i^e>■iiui  &l.- 

nt   s>(»l'i;t  Cbora  a      fca:tiieB9iq   b"  .;      ^    ., ■■    •ct  hue 

•^B   Y.e;^:  ^  •erfdnom  x.ffc    to   &v/ <.     oxsn  diU"  lol   Laxi c 

-  ^oriiS'r^   .0  birS  lo   Ba.lioXg  be.t'xsqpb  ©rfit 

bfis  ij/33li«xflH  bnfi      i«oo'iarf  vcJfviiBV  lo  noIaPa:     9di  snomfi  eii;: 

.T  :•'-•■{      ^>  r  "?  ^<-:: '•,:•';•:-   ■"'  i  •  ' '  i^.r."!  ,T^n.^«>>rf  orf  rr^^  • 

.'laa  aaO-naO  nalBlis'l''   Ic  tT  eriooboIO     exli  rfi^rofft  : 

an  s«i.t3lXJ:rfl;t     aa  ttoii  risi/orlilfi 

-rtir.i   f..v^.  eXX-  /  bsrlni  ;  JofticTv-te   &di  ©lev/  rfowS 


69 


theatrical  mode  and  temperament  of  the  day.  It  is  surprising 
to  find  no  mention  in  the  newspapers  of  moral  condemnation 
directed  against  Ned  Buckley  for  his  programs .  Apparently 
this  perennially  popular  melodeon  man  produced  his  version  of 
the  anathematized  "naughty"  dance  from  Paris  —  using  authen- 
tic Parisian  performers  which  should  have  made  the  trans- 
gression most  serious  indeed  •*-  without  the  least  criticism. 
For  two  months  the  notorious  can-can  remained  a  major 
spectacle;  variations  ran  through  the  Clodoche  Troupe's  entire 
repertory  of  dances,  songs,  ballet,  and  musical  extravaganzas 
with  such  suggestive  titles  as  Parisian  Lif_e,  or  Scenes  in 
PqtIs  (displaying  sixteen  "beautiful  young  ladies  In  solos, 
pas  de  deux");  The  Challenge  Dance  and  The  Seraglio,  or  Palace 
of  Pleasure.  Toward  the  end  of  October,  as  if  to  gild  the 
already  gilt-burdened  lily,  "Miss  Cecily  St.  Cyr,  late  of  the 
original  Black  Crook  Company  of  New  Ydrk"  was  added  to  the 
Adelphi  troupe.  According  to  Figaro  the  "unveiling"  of  all  this 
lush  femininity  was  sufficient  in  itself  to  reward  a  man  for 
attending  the  Adelphi,  On  November  5,  1877,  after  Buckley  had 
engaged  the  minstrels  Moreland  and  Hart  (who  had  just  con- 
cluded an  engagement  at  Emerson's  Standard  Theatre  on  Bush 
Street),  the  same  Journal  stated: 

"Manager  Ned  Buckley  is  proving  himself  to  be  the 
right  man  in  the  right  place  since  he  took  charge  of 
this  theatre  /the  Adelphi/.  The  business  tact  and 
energy  he  has  shown  In  his  management  has  placed  the 


ff  1 


•iV   i'i',i^'Vv,U  ViU 


jiiuM      v'/i  :.! 


'itj;.  ^' 


f=}tl:f:ie 


■j,f;  i     iucj' 


.^     6VBjfi  bXj/oxi 


•T:^e    t. 


)« 


iiiei   olr* 


I'r'.;       J,!-; 


b  to  rto^i 


brtp  ^.'>ipO[ 


xxreb   p^ 


•»  I 


-,~;.tt 


sew   ifdinirLi'TiBA 


aexjc.    ~,-' 


xORianti.     3: 
:  bac;i3:ts 


•rir.t/8 


-f:? 


iiUii; 


70 


bvi3ine33  of  the  theatre  entirely  on  a  new  basis.  Full 
houses  and  well  pleased  audiences  are  the  order  of 
things  now.  "With  such  artists  as  Rickey  and  McCarthy, 
John  Hart,  A,  C,  Moreland,  Cecily  St,  Cyr,  and  the 
Renolda  Brothers  in  their  acts  and  specialties,  sup- 
ported by  a  well  organized  atock  company,  the  perform- 
ances cannot  fall  to  please  the  public.  The  new  bill 
for  this  week  Includes,  besides  a  capital  Male  and 
Female  minstrel  first  part,  thirteen  character  acts, 
specialty  acts,  farces,  etc.  ..." 

But  Buckley's  success  was  not  entirely  dependent  on  his 
galaxy  of  star  performers.  The  Pacific  Theatre  had  had  just 
such  an  array  of  talent,  as  had  the  Bella  Union  and  various 
other  houses  before,  during,  and  after  the  Adelphi's  time; 
and  most  variety  actors  played  interchangeably  at  all  of  the 
melodeons  which  flourished  and  disappeared  during  the  period 
from  1861  to  1906,  Buckley's  personality  and  managerial 
abilities  were  the  real  drawing  cards j  and  on  the  last  night 
of  November  he  was  tendered  a  huge  benefit  at  which  "so  many 
volunteers  offered  their  services  that  the  only  difficulty 
was  how  to  get  them  on  the  programme." 

To  climax  the  year  1877  the  Adelphl  offered  a  special 
holiday  piece  written  by  J,  C.  Arnold  and  extravagantly  en- 
titled Santa  Claus,  or  The  War  of  the  Passions  —  Revenge, 
Hate,  Jealousy,  Gold  and  Crime .  Opening  on  Christmas  Eve, 
this  piece  proved  such  a  tremendous  hit  that  it  was  held  over 


.•  ?f 


?,  J5   e :. 


*'.:+t»^ 


TT>^--  ^  r-  -^  ; 


»    /in..'. 


f-  ■  '  '  I"' 


'13    J     i*i 


.|^»     f^ 


"  '  \9X^  J„ 


r-'ta-^- 


i:-xc>3 


Lfsto 


■  O  .V  i  , 


.•;^'f7:  -^-A^-. 


iaeqO 


71 


well  into  January.   Figaro  annovmced  on  December  24,  1877: 

"Manager  Buckley  has  made  every  effort  in  the  pro- 
duction of  this  piece  to  present  a  characteristic  holi- 
day piece,  with  effective  scenery,  rich  costumes  and 
beautiful  marches;  and  has  even  introduced  a  pantomime 
to  add  to  its  attractions.  The  piece  has  been  long  in 
preparation,  and  abovinds  in  beautiful  scenery,  fairy 
transformation,  elfin  marches  and  pantomime  revels. 
The  usual  male  and  female  minstrel  first  part  and  a 
variety  olio  will  precede  the  spectacle." 

MELODRAMA  AND  FARCE  RETURN 
With  the  new  year  it  became  evident  that  melodrama  and 
farce  wer«  to  be  restored  to  the  boards  and  scheduled  as  after* 
pieces^  The  first  of  these  performances  given  about  mid- 
January,  The  Ticket  of  J^eave  Man,  which  had  been  a  vehicle  for 
Lotta  Crabtree  a  decade  earlier.  In  Lotta's  former  role  ap- 
peared actress  Marie  Zoel,  who  failed  to  make  a  name  for  her- 
self as  Sam  Wllloughby  --  or  any  other  character  --  except 
briefly  at  the  Adelphi.  Then  came,  successively  K'ongrip, 
The  Halfbreed,  a  frontier  melodrama,  from  the  pen  of  Frank 
Lavarnie  (who  at  the  last  minute  changed  its  title  to  Strong- 
hart,  the  Trapper);  Crime,  or  Foiled  at  Last;  The  Bower  of 
Beauty;  Circassian  Slaves,  or  The  Turkish  Harem;  a  nautical 
drama.  The  Fatal  Ship;   and  many  others  of  similar  tone,  most 


Ax  A      a ' 


-\  ■  3fr;5 


F,     EC     f;-' 


itBOC. 


72 


of  them  written  by  Lavarnie,  who  soon  proved  himself  a  play- 
smith  second  to  none  in  the  variety  business. 

Lavarnie  became  increasingly  important  during  1878,  and 
correspondingly  busy.  In  addition  to  appearing  each  night  in 
one  or  more  specialities  and  taking  the  familier  role  of  hero 
in  his  various  mysteries,  melodramas,  and  musical  sketches, 
he  v;as  made  stage-manager  of  the  Adelphi  in  February  and  from 
then  on  had  a  responsible  part  in  directing  its  destiny.  His 
stage-managing  was  no  small  job,  considering  the  innovations 
of  that  year  and  the  regular  changes  of  bill.  There  were 
wrestling  matches  —  one  of  them  lasting  an  entire  week,  and 
keeping  the  audience  in  suspense  regarding  the  final  outcome; 
anii.ial  actaj  child  stars;  Saturday  matinees  for  children;  and 
(later)  Thur«iday  matinees  for  professionals  of  the  theatre, 
Lavarnie  seej.:s  to  have  been  equal  to  the  manifold  duties  of 
planning,  acting,  creating,  and  directing,  for  his  popularity 
grew  and  his  pieces  gained  in  power;  they  had,  as  Figaro  said, 
"the  thrills  of  ten  dime  novels  packed  into  one  drama." 

Ned  Buckley,  of  course,  had  not  been  idle  behind  the 
scenes.  Much  of  the  ingeniousness  of  the  Adelphi 's  program 
emanated  directly  from  him,  and  he  helped  Lavarnie  plan  the 
atpge  effects,  superintended  the  engaging  of  new  talent,  and 
at  the  same  time  managed  his  other  melodeon  on  Kearny  Street. 
In  March,  however,  having  disposed  of  Ned  Buckley's  Theatre, 
he  took  a  inore  active  and  personal  interest  in  the  Adelphi, 
appearing  there  as  Bones  on  the  night  of  March  18.   He  also 


T.rb 


Ir!-.!?.rtn 

?:•,-:? 

■ae*^'-;. 

BtH 

r:r.olj::-r 

nn/j-  0 

bi'iB    ,;':?.'->-.v 

'ti    ^t*:;. 


••iau:i: 


» t»  'TiCP' 


?  «!W 


■.ortf  .th;/c   sr{:t  ■'. 


Itc    r 


-i^C- 


ICl    8  30": 


8  9  ^C. 


aodQ    jcaT   uSa.      ^Sti' 


A^  rfTPV  R  T 


'315i 


Unfi      J. 


,rf   3,-(   P- 


;e   2UJ    u 


=>.X   HO 


b?'/i 


.^oc 


73 


sang  some  of  his  favorite  numbers,  conducted  a  burlesque 
"Monster  Concert"  at  the  end  of  the  show,  and  in  general  de- 
lighted the  fans  with  his  "grotesque  comicalities,"  Opposite 
Buckley,  George  T,  Moore  wielded  the  tambourine.  Even  with- 
out Lavarnie ' s  sketch.  Wealth  and  Poverty,  his  performance 
would  have  brought  down  the  house.  Buckley  was  a  lion  among 
minstrels  of  top  rank  and  San  Franciscans  long  had  idolized 
him. 

Though  the  can-can  was  by  no  means  finished  at  the 
Adelphi,  it  was  temporarily  shunted  into  the  background  by 
Buckley's  personal  appearance  with  the  company,  by  a  lavish 
production  of  the  Black  Crook  in  April,  and  by  a  succession 
of  various  fercule  minstrel  troupes.  Chief  among  the  last  were 
Marie  D'Est's  Red  Stocking-Blue  Garter  Blondes  and  Mile .  Inez' 
Pretty  Blondes  in  Blue  and  Jolly  Combination.  Of  the  former, 
Figaro  of  April  30,  1878,  said: 

"Mile.  D'Est's  Red  Stocking  Minstrels  mt-de  their 
first  appearance  in  this  city  at  the  Adelphi  last  eve- 
nin.'i;.  The  house  was  overcrowded  in  every  part.  The 
end  men  were  crisp  and  clever,  and  have  brought  with 
them  new  jokes.  Miss  Mabel  Pearl  and  Miss  Lou  Sanford 
contributed  two  pretty  songs  in  the  first  part  and  ap- 
peared in  specialty  acts  in  the  interlude,  all  of  which 
were  doubly  encored.  Max  Walhala  did  an  excellent  gym- 
nastic act.   Press  Eldridge  gave  his  song  and  sayings 


y.r    nr.J    v^e>^M    tjr;. 


74 


and  was  called  out  three  times.  Pettlt  and  White  ap- 
peared in  a  new  song  and  dance  specialty  that  brought 
great  applause.  El  Nino  Eddie  performed  almost  in- 
credible feats  on  the  tight-rope  with  and  without  a 
balance  pole.  The  giving  Pictures,  the  farces,  and  the 
afterpiece  were  all  well  received.  The  Red  Stockings 
will  prove  a  very  attractive  card  for  Manager  Buckley 
there  can  be  no  doubt," 

They  were  indeed  an  "attractive  card"  •-  especially 
when  they  introduced  a  variation  of  the  can-can  into  their 
routine.  The  troupe  which  succeeded  them  towards  the  middle 
of  the  year  —  the  Pretty  Blondes  in  Blue  and  Jolly  Combina- 
tion —  did  the  same  thing;  and  because  some  originality 
seemed  to  be  expected  of  them,  they  performed  a  skit  in  con- 
J\inction  with  the  dance  numbers  called  The  Naughty  Blondes , 
That,  and  the  reappearance  of  Cogill  and  Cooper,  the  debut 
of  Jeff  de  Angelis,  and  the  production  of  Lavarnie's  latest 
masterpiece.  Dark  Clouds,  or  The  Shadow  of  Qui It ,  highlighted 
the  summer  season  and  went  far  toward  proving  that  Figaro's 
predictions  in  regard  to  this  melodeon  were  not,  as  was  usually 
the  case,  overstated. 

BUCKLEY  KNOWS  HIS  BUSINESS 
Buckley,  indeed,   left  no  stone  unturned  in  his  efforts 
to  conduct  the  Adelphi  on  a  basis  of  strong  popular  appeal. 


'leu     iiii' 


*»voTa   j 


,j;v-»-,o.r.  .'■   to 


:i;a    f'-^;? 


V. 


75 


He  admitted  ladles  free  to  his  Thursday  matinees  for  pro- 
fessionals; he  distributed  prizes  frequently  at  his  evening 
performances,  and  ran  the  whole  gamut  of  variety  in  making 
up  his  bills  .  He  even  foraged  into  the  field  of  the  so-called 
"legitimate"  theatre,  presenting  on  September  2,  1878,  John 
F,  Sear's  Magnolia,  a  play  about  the  pre-war  South.  Figaro, 
pleased  by  this  dignified  innovation,  commented  next  day: 
"V/e  are  glad  to  see  that  the  management  of  the  Adelphi  have 
determined  to  do  all  they  can  to  elevate  the  Variety  Stage 
of  San  Francisco  to  the  same  proud  position  it  held  in  the 
Atlantic  States," 

Buckley  then  tried  his  own  hand  at  playwriting,  pro- 
ducing Zamiel  in  January  of  1879.  But  always,  despite  these 
gestures  to  please  a  more  fastidious  taste,  the  basic  ele- 
ments of  variety  were  retained:  the  minstrel  and  the  g3nnna3t, 
the  Irish  comedian  and  the  hoofer,  the  statuesque  ballet  and 
the  rowdy  can-can,  Buckley  was  an  astute  melodeon  man  as 
well  as  the  people's  idol. 

Zamiel,  though  it  ran  for  three  weeks  and  richly  re- 
warded its  author  in  money  and  plaudits,  gave  way  to  a  piece 
called  Sinbad,  the  Sailor,  This  was  followed  by  a  deluge  of 
sensationalism,  some  new,  some  repetitious.  Said  Figaro  on 
January  20,  1879,  after  announcing  the  Adelphi  as  "the  only 
legitimate  variety  house  in  California": 

"Tonight  Manager  Ned  Buckley  will  reproduce  his 
great  $50,000  Hindoo  Mystery,   which  in  the  past  has 


"Oi'j  sjxil  Q:i      oe»7.i 


i  ;,•-'/>. .Y.---    ^  toq 


■W-'^T'  .■^ffOt'^R 


^6U 


J  3   ot 

ee.    '  ,  jiJiiBu  ill 


(..lifi     uOwLa./30 


i    8J8W 


oi  '^sw 


0:>tO£. 


Ylric  8B  IrfqJ 


OE;rnrf  t^'qI-'^t   "^f 


76 


baffled  the  most  expert .  Prank  Lavarnie  has  written  a 
new  poetic  sketch  for  its  introduction  which  will  be 
given  for  the  first  time.  The  program  v/ill  open  with  a 
first  part  composed  of  a  full  semi-circle  of  lovely 
blondes.  The  interlude  is  brimful  of  good  acts  by  the 
excellent  company  with  which  the  management  have  sur- 
ro\inded  themselves,  and  the  performance  will  terminate 
with  a  funny  farce  called  Broken  In,  in  which  Jeff  de 
Angells  will  personate  one  of  those  comic  Dutchmen  for 
which  he  has  become  so  popular." 

And  again  on  January  30,  1879: 

"Adelphi  Theatre  —  The  new  delusion  dance  by  Jeff 
de  Angelis  is  worthy  of  special  mention.  He  comes  on 
the  stage  and  actually  appears  to  dance  a  jig  on  his 
hands  —  head  downward,  with  feet  in  the  air.  The  de- 
lusion is  the  invention  of  Ned  Buckley,  and  is  ingen- 
ious enough  to  be  patented," 

Whether  Buckley  took  the  hint  or  not,  he  was  obviously 
too  busy  hatching  similar  wonders  for  the  Adelphi  patrons  to 
bother  with  patenting  a  simple  arrangement  of  mirrors. 

Next  in  order  was  a  prize  fight  betv/een  Jack  Hallinan, 
who  had  recently  won  a  bout  at  Virginia  City,  and  the  local 
middlev/eight  champion,  Mike  Donovan.  "A  very  spirited,  if 
friendly  affair,"  In  which  no  victor  was  declared,  the  pugi- 
listic exhibition  shared  a  week's  billing  with  the  "great 


77 


Bamford"  and  his  gymnastic  apecialtiea,  and  with  a  revival 
of  Mazeppa ,  Cecily  St,  Cyr  played  the  title  role  on  this  oc- 
casion, aided  by  the  trained  horse.  Wonder. 

Then  came  the  Etzeltine  Sisters  in  their  Indian  Club 
act  and  double  clog  dance;  Lottie  Elliot  skipping  her  rope  of 
fire;  Harry  Le  Clair,  the  female  impersonator;  and  fiAally, 
on  February  10,  1879,  the  Victoria  Loftus  British  Blondes, 
an  Australian  troupe  which  began  a  smashing  17  weeks  engage- 
ment with  the  extravaganza  Atalanta,  or  The  Female  Athlete . 
These  sensations  were  temporarily  overshadowed  when  the  ferry- 
boat Alameda,  on  February  19,  collided  with  the  ferryboat 
El  Capitan  during  a  heavy  fog.  The  El  Capltan,  with  a  gaping 
hole  in  her  hull,  sank  as  far  as  her  hurricane  deck,  imperil- 
ling the  lives  of  some  200  passengers.  Among  these  were  Ned 
Buckley,  who  showed  himself  a  hero  in  actuality,  and  was  re- 
warded next  day  by  Figaro's  free  publicity: 

"Manager  Buckley,  of  the  Adelphi  Theatre,  was  a 
passenger  on  the  wrecked  El  Capitan  yesterday.  Ned, 
who  followed  the  sea  in  his  younger  days,  stuck  to  the 
wreck  manfully,  and  did  good  service  in  assisting  the 
helpless,  calming  the  panic-stricken,  and  in  distribut- 
ing life-preservers  to  women  and  children." 

GIRL  SHOWS  AGAIN 

When  the  Victoria  Loftus  British  Blondes  left  the  Adelphi 

in  June,  Buckley  brought  Pauline  Markham  and  her  "jolly  Pina- 
fore crew''  from  New  York.   There  followed  another  lengthy. 


.  o    &<■ 


pe,-;^- 


.3lv   -J 


■J  Bv  u  'r 


t  - 


:  .?t'jL    til 


r><H/*'  *^ 


9±t£ 


'■B.'-: 


'Z-i     JXl 


78 


highly  successful  girl  show  which  soon  came  to  be  advertised 
as  "vaudeville."  Thus,  for  the  remainder  of  the  year,  Buckley 
kept  his  audiences  well  supplied  with  theatrical  fare.  He 
treated  the  company  to  a  weekly  fishing  excursion.  On  one 
such  occasion  the  Figaro  critic  went  along,  and  reported  on 
August  23,  1879: 

"The  Adelphi  Theatre  folks  have  been  talking  so 
much  about  their  fishing  excursions  that  they  persuaded 
Figaro  to  go  along  with  them  on  their  regular  weekly 
exc\irsion  on  Thursday.  The  first  thing  to  be  done  v/as 
to  get  up  at  4:30  a.m.  so  as  to  reach  the  wharf  at  5 
o'clock,  the  hour  of  sailing.  This  was  a  novelty  that 
paid  for  the  task.  There  was  the  usual  morning  fog 
at  this  season  of  the  year   —  damp,   cold  and  dismal. 

"After  getting  all  on  board  the  tug  Lottie  we 
steamed  away  for  the  heads,  anchored  and  caught  no 
fish.  Up  anchor,  and  steamed  for  the  California  City 
fishing  grounds  with  many  a  song,  glee  and  a  bright 
shining  sun.  Here  we  found  good  fishing,  and  abundance 
of  rock  cod  and  other  fish  were  caught.  At  four  o'clock 
we  started  on  the  return  trip  with  two  champagne  baskets 
full  of  fish,  after  a  pleasant  and  healthy  day's  recre- 
ation. 

"Manager  Buckley,  Mvho  played  the  role  of  commodore 
for  the  occasion,   had  provided  most   liberally  for  the 


'.7  ;  JJ  .,i  I,- 


H      \itu 


aw 


J   eew   BxciT 


?.Q 


J  ^'^^'ij 


t   I'^rf.-t 


•J  owr) 


'W 


79 


oreatiire  comforts  during  the  trip.   Hot  coffee  graced 

the  cabin  stove  all  day,  and  an  abundance  of  eatables 

adorned  its  solitary  table.  Everybody  had  fish  for 
Friday." 

The  year  1880  can  be  described  as  the  most  brilliant  in 
all  Buckley's  career.  For  although  he  appeared  on  the  Adelphl 
stage  only  once  during  the  year,  he  made  the  little  melodeon 
pay  for  itself  a  hundredfold.  He  offered  competition  with 
every  theatre  in  the  city,  and  in  the  final  bidding  for  popu- 
larity took  second  place  to  none.  The  Adelphi  became  ultra- 
sensational.  Its  stock  soared  beyond  reason,  and  it  failed 
to  acknowledge  its  natural  limitations.  Its  stage  groaned 
with  the  elaborate  settings  and  machinery  of  four,  five,  and 
six-act  melodramas,  and  its  seating  capacity  could  not  ac- 
commodate more  than  half  the  crowds  clamoring  at  each  per- 
formance for  admittance. 

The  year  began  with  an  extravaganza  called  ivlopLiatc^h- 
eles  and  Queen  of  Snow,  in  which  Lavarnie  proved  that  a  spec- 
tacle could  be  staged  at  the  Adelphi  as  realistically  as 
though  its  stage  were  that  at  the  Grand  Opera  House.  Jeff  de 
Angelis,  at  this  time  a  popular  favorite  in  the  company,  was 
called  upon  several  weeks  later  to  play  four  roles  —  Old 
Karl,  Young  Karl,  Max,  and  Hans  Snitzberg  —  in  Fred  G, 
Maeder's  One  Word,  while  the  leading  lady,  not  to  be  outdone, 
took  the  parts  of  Gretchen,  Wolf  Schnlderkins,  Kntrlna  Krou- 
switch,  and  Granny  Wrinkles. 


be'' 


'lo  ;  n 


5ei 


It 


•Of 


^&Ci<>  >  'v. 


eti  li 


vb   er>rjo  vino   e;^Ri-R 


,1". 


v«„   »",-\      ,.\ 


■,r.ni 


(■ '  r .  »T  t  *M  ■»  r  r 


1   ^lU  «1   5; 


c»Xlii    j'ii    d'iJdw; 


5iOOM 


»«•■.  Tl:  «r>  i 


■;itiui 


.1  lo  -^^ 


f  -r  t-cv  n  --I 


;j!tse 


•o  r 


•  \r  u'<r  ^v  ■ 


-ilSf    ii.£      .V 


tr 


A      fiffcf 


-.1 


a;t     T  w     I»i->V98  cioais     &ell so 


nwol 


T'^ClS^I''^ 


Liiii'i-cirjulot. 


.'j}I 


810  bnn   ^doityta 


80 


Inchcape  Bell,  which  followed  Maeder'a  fovtr-act  piece, 
had  two  outstanding  melodramatic  episodes:  a  broadsword  duel 
between  Mollle  Williams  and  Billy  White,  the  former  playing 
a  "d-umb  boy";  and  a  last-act  shipwreck  so  convincingly  done 
that  some  in  the  audience  fancied  the  players  v;ere  drowning. 
Effects  improved;  new  members  were  added  to  the  already-large 
company;  and  the  minstrel  first  part  gradually  became  a  shadow 
of  what  it  had  been.  After  a  aeries  of  thrillers  starring 
Pope  Cooke  and  James  Mass,  and  a  "coftf lagration"  viiich  mirac- 
ulously did  not  get  out  of  control  and  burn  the  house  down, 
audiences  were  prepared  for  the  Westeril  "plays"  Buckley  had 
in  store.  The  first  of  these,  Joe  Bowers,  or  California  in 
'49,  a  mining  camp  drama,  packed  the  Adelphi  during  the  lat- 
ter half  of  April  despite  almost  continual  rains. 

BOUQUETS  AND  BENEFITS 
Neither  bad  weather  nor  hard  times  could  keep  people 
away  from  Buckley's  Melodeon,  but  they  were  turned  away  in 
considerable  numbers  for  lack  of  seating  or  standing  room. 
Said  Figaro  on  June  11,  1880,  the  occasion  being  Prank 
Lavarnie's  benefit: 

"Tonight  Chief  Mate  Frank  Lavarnie,  who  for  the 
past  three  years  has  so  ably  seconded  Commodore  Ned 
Buckley  in  sailing  the  popular  little  ^delphi/  craft 
into  the  harbor  of  success,  will  be  the  recipient  of  a 
complimentary  benefit   tendered  by  the  officers   of  the 


i^in  ij-cavi 


t.: 


I.  aelT:  I. A       .n»©d  b/>  bxIw  "io 

•Oft''  fe/ie    ,eB«M   PfltnsT,    btp   ?>'oor»  ^or'>'^ 

b-  ^n-   9X1  q   arrow     zsonelbmi 


Xa   &■} 


-T 


J-  "ifd  jber 


81 


crew,  assisted  by  volunteers  from  the  fleet.  Prank,  by 
his  ability,  strict  attention  to  business  and  uniform 
amiability  of  temper,  has  succeeded  in  making  many  sin- 
cere friends, " 

It  was  said  of  Buckley  himself,  when  he  received  a  bene- 
fit on  August  13: 

"Manager  Ned  Buckley  will  be  the  recipient  of  his 
second  annual  benefit  tonight,  tendered  to  him  by  the 
Adelphi  company  and  attaches  and  a  large  number  of 
volvmteers.  The  bill  does  not  contain  half  the  names 
of  those  who  were  anxious  to  appear  for  Ned's  benefit. 
Those  v4io  were  late  were  left  'out  in  the  cold'  per 
force  /aic/*  as  the  programme  for  the  night  would  not 
permit  of  any  unlimited  extension  —  the  performance 
would  have  to  be  brought  to  an  end  sometime  or  other. 
Manager  Buckley  is  one  of  the  few  financially  prosper- 
ous managers  on  the  Pacific  Coast;  if  not  the  only  one 
who  has  successfully  steered  safely  through  the  reefs 
and  quicksands  of  years  of  theatrical  managership  here. 
His  manly,  honorable  course  with  all  connected  with  him 
in  business  has  become  proverbial,  and  every  one  knows 
that  'his  word  is  as  good  as  his  bond.'  He  Illustrates 
to  an  eminent  degree  that  'honesty  is  the  best  policy' 
even  in  the  theatrical  business,  so  full  of  speculative, 
double-dealing  managers,   whose  only  ambition  seems  to 


■vri,,. 


--•■;     opj^y   £ia  -•-iiw  -^i 


S-i 


''^     y.'   ■^''•''  "t?;  T.p-^r^\S". 


tOl    ■iSi.-^i;;'.    iiC 


atftw  set  pi 


-f  -  '  e  ^  A 
BSorfT 


,  6'V 


b6.ioe 


ea.1    io    9X10   bx   xsJ>^i>~-i    • 

:rjirz   seri 


:-''iO'A 


i   Oct 


0    IJtrl  OS    .H3r-;il 


■  ?.--(:♦  ni 


a:i:  ^ruJiiSiJ'- 


82 


be  to  try  to  get  the  best  of  everything  and  everybody 
in  their  dealings  —  even  with  the  public,  by  trying 
to  persuade  people,  for  instance,  to  buy  tickets  for 
opera  without  singing,  and  drama  without  actors.  We 
know  that  the  Adelphi  will  hold  its  worth  tonight,  and 
trust  that  its  manager  may  live  to  have  many  happy  re- 
turns of  his  annual  testimonial," 

Another  star  appeared  on  August  ?3,  when  J.  Z.  Little 
made  his  debut  at  the  Adelphi  in  Roving  Jack,  or  Saved  From 
the  Wreck,  supported  by  Ida  May  and  Mollis  Williams  —  both 
of  whom  were  rewarded  for  their  good  work  by  being  cast  in 
the  next  attraction.  Nuggets,  or  Loj^t  and  Won.  This  was 
another  "Western"  in  which  practically  the  whole  company  had 
a  chance  to  demonstrate  its  histrionic  genius,  with  yeoman 
service  rendered  by  scenic  artist  Fest,  property  man  Bostwick, 
and  machinist  Terry.  These  three  contrivod  a  "mountain  scene 
and  cascade,  with  a  fall  of  real  water,  and  many  additional 
and  remarkable  artistic  excellences."  The  piece  itself  was 
written  by  a  California  printer,  J.  J.  McClosk^r,  who  had  made 
his  Initial  attempt  at  acting  some  25  years  earlier  at  the 
American  Theatre. 

"Mac  failed  as  an  actor,"  Figaro  announced  fa- 
miliarly on  September  8,  1880,  "but  succeeded  as  a 
dramatist,  as  his  numerous  successful  plays  will  tes- 
tify to.   Nuggets  is  one  of  his  most  carefully  written 


28 


y,'  vn     bns  ^ijfd^t-^tpvs  'io  *B©d   arid   cfo3     o*  x*^^  o^  9f"J^ 

grtfrtrt    T-ff      r:-  /".;■  -Jr*    ^:tfT-  ^ra-c  .  -        ■  ^nlT'if^b   t?'^'^:*   rr.f 

©'  -ro^fos   i::rociitfi  Fn?'£b   brrfl  3   ;tx;o/ii*lw     sieqo 

h:Tn    .  rfrttiifTc-t    rf-tio7/  e:fr    br~:i  il.t'.v   IrfcIpfcA.      p:!:f    :*n.r{;f  Tirorr-vf 

Ql1.ti:J  ,5  .T,  nexfw  A, 

rfjo^::   --   ..c.oj. _x:;i'i  jxiicui     ./xi-j    jsk  ficj,     \;o   iojio::^^!::- 

afiiaocY  ''^-•'   olnolicteJ.rf     ncfi   ©d-sicJanc  '0  b 

oxiooa  axio.u;uui'  ■.  x'uuoo  eo'iai;    r.jsxri;      .'^-x'-;;':  taoon:   s^a-^ 

Xanc-  \^nflw  bae      ^'xocJr  XIal   a  d:f?'w    .e&r.osBo   5n« 

p.n.T  *iX'^'?"^^    Pr3t~    ortT        **.  fri^rj'fi.CXfiotce    oli^.l^TP.      ?X''  '""^'■^ 

arid-  *e  •x^lXiae  aT9e\  "iX  eJiii 

.  ST'  ■  ^^ 

oOijs    JJJ<^-  -*       t  ••    %■■ -.^  ■>'.  3.^      cio   ri'ss.i 

-ae:f   XXiw  avfiXq    lirlaeeooife      ?traif  ,BXctamfli& 


83 


plays.  It  has  plots  and  cotmterplots,  quick  action, 
many  strong  and  Individually  drawn  characters  and  is 
written  in  carefully  prepared  diction  —  the  language 
In  many  of  its  emotional  scenes  rising  to  the  height 
of  poetic  excellence." 

Having  once  set  such  a  swift  melodramatic  pace,  Ned 
Buckley  continued  it  without  stint  in  such  pieces  as  A  Tor- 
rible  Test  (declared  to  be  neither  a  melodrama  nor  a  bcroGi- 
drama,  but  "a  legitimate  play")j  155,  or  Seven  Years  in  Sing 
Sing;  Welcome,  or  Mistaken  Identity;  A  Mother ' s  Crime;  and 
Forsaken,  which  was  the  finale  to  that  year. 

RESPECTABLE  IS  NAME  FOR  A DELPHI 
In  midsummer  of  1881  --  after  another  season  of  melo- 
drama during  which  The  Marble  Heart  was  produced   —  the 
Adelphi  received  a  39  word  salute,   attesting  its  respecta- 
bility, from  the  San  Francisco  Post  of  Ju.ic  18: 

"Adelphi  Theatre  —  Althougli  tho:.''^  is  a  bar  con- 
nected with  the  theatre,  it  is  one  of  t.u  most  respect- 
able theatres  in  the  city  and  the  entertainments  given 
are  proper  and  ever  amusing  without  pandering  to  de- 
praved tastes.  The  main  attractions  are:  C.  W.  Bari^y, 
Charles  H.  Meatayer,  Elleford  and  Hall,  Miss  Cecily  St. 
Clair,  Miss  Fannie  Young,  the  Pranks  Brothers  and  Sam 
Marion,  Miss  Annie  Leonard  and  Miss  Frankie  Howard." 


Barf  :tl        .  KXBlci 


t  •  tVBR 

11  al 
"■.f7^M   Piff     rir.lcivf     p.n^'xub      srr.&ib 

'i 


has  RtociionB.  oY  ©lfirrfi'=r  Bi2l 


84 


Whether  or  not  this  notice  was  occasioned  by  the  fact 
that  the  Adelphl  was  advertising  in  the  Post,  it  Is  certain 
that  the  matinee  performances  drew  large  niAmbers  of  women  and 
children  and  that  the  emphasis  remained  on  dramatic  sensation- 
alism rather  than  on  girl  shows  throughout  1881,  However, 
"blondes"  of  one  kind  or  another  were  still  much  in  evidenv;<= 
during  the  curtailed  first  part  of  the  bills. 

The  same  policy  persisted  in  1882  until  May  20,  when 
Buckley  decided  to  make  a  combination  theatre  and  music  hall 
of  his  melodeon.  The  house  changed  character  slightly,  but 
still  continued  to  offer  a  number  of  dramas  between  musical 
offerings  and  acrobatic  feats,  among  them  an  adaption  of 
Dickens'  Oliver  Twist,  played  In  1883  —  Just  three  weeks 
before  the  Adelphl  closed  for  repairs  on  January  2S. 

ADELPHI'S  FADB-cUT 
When  the  Adelphl  reopened  on  February  10,  newly  renovated 
throughout  at  considerable  cost,  Buc"kley  was  no  longer  its 
owner.  Its  period  of  vitality  had  passed;  its  end  already  was 
foreshadowed.  The  new  lessees,  Clinton  and  Fagan,  from  the 
Elite  Theatre  of  Portland,  Oregon,  kept  the  theatre  going 
nearly  a  year  as  a  bvirlesque  and  variety  house,  but  their  suc- 
cess was  negligible.  On  January  5,  1884,  the  Post  advertised: 

'*ro  Let  — The  Adelphl  Theatre,  California  3trro«t, 
two  doors  from  Kearny,  with  fixtures,  bar,  etc.  complet*. 
Apply  to  Robert  0.  Oakley,  440  California  Street," 


baa 


UttJi"''' 


.   oJt.il 


eno  to 


.Wi^T 


'J  .V  s)  yv. 


/onei 


n.nJioT.   '- 


*°'f^ 


:rf    SP' 


i;:j  >:; 


.  _'j.A'j         -V  >JV  ^    ^ 


r  -      %  .  r. 


9di 


:,  nO 


nol 


u1 


'J  J.}-:  a\ 


'Il'-UIM    Co 


85 


The  Adelphl  opened  again,  after  another  renovation,  under 
the  management  of  Jamea  A .  Brown,  who  announced  "brilliant 
programmes"  for  the  week  of  April  6,  1884.  The  Jamea  Boys , 
"a  powerful  four-act"  melodrama,  was  followed  in  May  by  The 
Boy  Detective,  The  Fatal  Bond,  and  Jack  Shepherd,  along  with 
various  specialty  acts.  But  Brown's  enterprise  collapsed  dur- 
ing his  production  of  Jack  Shepherd,  and  no  further  mention 
of  the  Adelphi  occurs  until  March  13,  1890,  when  the  Chronicle 
declared: 

"Religious  orders  of  a  certain  kind  are  much  agi- 
tated over  the  fact  that  the  Board  of  Holiness,  which 
for  a  number  of  years  occupied  the  old  Adelphi  Theatre 
on  California  Street,  has  virtually  gone  out  of  exist- 
ence and  has  transferred  all  its  properties,  with  the 
lease  of  the  theatre,  to  the  Salvation  Army,  which  will 
soon  take  possession  of  the  place,  " 

What  finally  became  of  the  theatre  building  is  not  re- 
corded in  any  newspaper  or  other  accessible  source.  It  was 
listed  in  the  city  directory  for  1891,  and  thereafter  vanishes 
even  from  that  meagre  record. 


■f/.-i 


iciBl  ill-id"      fc:? 


"   '.  -  r  ^  s 


'■^     frr«C-f,, 


■lev 


><»    w' ^    W  _*.4^^.< 


:&ei6Xoe! 


iiebv.   3X50 ijii; 


>o    b': 


:;i-v:VOPC       |- 


ijiro   enoji  Y-t-fswcfil 


>'-♦       -*    * 


.•  f 


"■■■■:vo    S:;rts.1 


"r-1      ?ef^  h't^   ec>~J 


;  ;'KAn 


&  ^Ji  (  U  J.  .  i  • 


;.  -■ 


.5.!:   .Ut! 


86 


CHAPTER  VI 
METROPOLITAN  HALL  --  THEATRE  REPUBLIC 
(1877-1903) 

It  is  difficult  to  decide  which  of  the  names  belonging 
to  this  temple  of  religion,  music,  variety,  and  drama  — known 
as  Metropolitan  Hall,  or  Temple,  and  the  Theatre  Repv\blic  -- 
deserves  precedence.  The  former  identified  it  in  the  minds  of 
San  Franciscans  for  almost  a  quarter  of  a  century  before  it 
became  a  theatre  in  the  orthodox  sense;  but  Its  secondary  ti- 
tle, Theatre  Republic,  is  used  in  the  annals  of  the  stage. 

The  Metropolitan  Ha  11 -Theatre  Republic  began  life  as  a 
church  and,  according  to  the  city  directory  for  1877,  it  was 
one  of  the  really  "important"  struct\ires  of  that  year.  On 
August  5,the  Chronicle  announced  completion  of  the  "new  Fifth- 
Street  Baptist  Church,''  and  then  described  It  in  precise  terms 
which  stress  its  secular  as  well  as  its  religiov.s  facilities: 

"The  new  temple  of  the  Metronolitan  Baptist  Church 

at  the  comer  of  Fifth  and  Jessie  Streets  was  thrown  open 
Friday  evening  for  inspection  of  the  members  of  the  press 

of  this  city.   The  temple  is  what  is  known  as  the   Re- 
naissance order  of  architecture,  a  style  much  in  vogue 


a? 


o-r^    (^o  R 


OS     XC 


or 


„.,<:■ 


-r'^ 


87 


tor  buildings  of  this  kind.  It  covers  the  entire  lot 
on  the  northwest  corner  o£  Fifth  and  Jessie  Streets, 
having  a  frontage  of  75  feet  on  Fifth  Street,  with  a 
depth  of  125  feet  .  .  . 

"The  interior  appearance  of  the  hall  is  at  once 
tasteful  and  grand,  and  in  many  respects  resembles  a 
theatre  rather  than  a  church.  It  has  a  seating  capacity 
of  2,500  persons,  and  its  acoustics  are  said  to  be  per- 
fect. Two  persons  conversing  In  an  ordinary  tone  of 
voice  can  be  heard  with  distinctness  from  the  stage  to 
the  gallery.  Two  sunburners  of  108  gas  jets  each  are 
suspended  from  the  ceiling  and  lit  by  electricity,  to 
brilliantly  illuminate  the  room  from  pit  to  dorne." 

The  following  day  the  Chronicle  described  the  dedication 
service,  attended  by  "thousands  of  people  anxious  to  view 
this  chaste  and  beautiful  house  of  worship"  with  its  lofty 
stained'-glass  windows  and  frescoed  ceiling. 

The  Metropolitan  Hall-Theatre  Republic  did  not  remain 
solemnly  chaste  for  long.  A  year  later  it  was  the  scene  of  a 
"gala  entertainment"  which  was  definitely  a  variety  show  com»^ 
plete  with  olio,  Chinese  imitations,  vocal  gems,  and  after-^, 
piece.  The  god  of  mirth  and  mockery,  familiar  in  every  melo- 
deon,  had  taken  possession  for  a  night  --  with  plenty  of  en- 
couragement at  50  cents  a  head;  and  a  company  of  amateur 
actors,   gathered  for  the  occasion,   performed  under  the  able 


5  r  re      t  ■ 


>»,--T^rr" 


«aA 


•;ia 


!?d  fxeo  c»olo' 


^li  xiinBlUl-.' 


-OiST!    v. 


Re 


direction  of  Lotta  Chissold  and  W.  J,  Clough.  Thenceforth  frl* 
vclity  made  frequent  sallies  into  the  temple  of  worship,  with 
interludes  of  dignified  concerts,  not-so-dignif led  lectures, 
and  an  occasional  benefit  by  the  "profession." 

The  hall's  metamorphosis  was  due  in  part  to  the  huge  debt 
incurred  in  its  construction.  Attempts  were  made  to  pay  the 
church's  creditor  as  soon  as  possible;  but  the  Reverend  Isaac 
S.  Kalloch  was  largely  responsible.  Titular  head  of  this 
church,  Kalloch  not  only  established  a  liberal  policy  in  mat- 
ters pertaining  to  worship,  but  manifested  a  clerical  iinortho- 
doxy  in  his  own  conduct.  While' Metropolitan  Temple  became 
more  familiarly  known  as  Metropolitan  Hall  —  offering  sanctu- 
ary to  the  Handel-Haydn  Society,  the  actress  Mrs,  Scott-Sid- 
dons,  Colonel  Robert  G,  Ingersoll  (who  lectured  several  times 
on  anti-religious  topics),  various  troupes  of  amateur  actors, 
tvmiblers,  tricksters,  quacks  and  movintebanks  of  all  sorts  -- 
the  Reverend  Isaac  Kalloch  interested  himself  in  the  cause  of 
the  workingnan  which  eventually  ledhim  into  politics.  'By  the 
fall  of  1879  he  was  a  candidate  for  mayor  —  "the  only  candi- 
date," declares  John  P.  Young,  in  San  Francisco,  A  History  qj' 
the  Pacific  Coast  Metropolis . 

During  the  mayoralty  campaign,  when  it  seemed  probable 
that  Kalloch  would  be  nominated,  Charles  de  Young  of  the  Chron- 
icle threatened  to  expose  the  candidate's  record  in  the  East. 
When  Kalloch  ignored  the  warning,  de  Young  reprinted  an  article 


notSoettb 

■v-  -5:0    ni;                    ■-.■i^il                m:    fr.  v:*.!:!:^^ 

..esalp'xcr''   5 .-ill   -^d.  H'l^H:  ■   ban 

e:ij   ■^/^                                ■'  !":■'<[:.•.:>:         . 'ic x-iCji.  ;^n';^    s^./  '3 T'li. ;:.■:-. 

Oiioq     _i!i£ajl_                                                                     n    liDO.;. ;  .;  i.'j^-^- 
3x1  eV8X  10  XXci 

■  o^fien    • 

■■Y  f!fc    R^  -  •■"^••:  so 


89 


from  a  Boston  paper  describing  the  proceedings  of  an  ecclesi- 
astical body  by  which  Kalloch  had  beer  unfrocked.  Making  no 
pretense  of  denial,  Kalloch  retaliated  In  a  speech  from  the 
balcony  of  Metropolitan  Hall  attacking  the  character  of  Charles 
de  Young's  mother.  Next  morning,  August  26,  1879,  de  Young 
evened  the  score;  he  shot  and  wounded  Kalloch  as  the  latter 
sat  In  his  study » 

The  historian  J.  S,  Hlttell  suggests  that  popular  sym- 
pa thy  for  the  clergyman  was   Instrumental  In  his  subsequently 
being  elected  mayor.   John  P.  Young  in  his  book  San  Francisco, 
A  History  of  the  Pacific  Coast  Metropolis,   asserts  that  this 
is  an  unfoundod  assumptioni 

"The  political  condition  in  San  Francisco  at  that 
.  time  resembled  thct  of  a  few  years  later  when  Schmltz 
was  elected.  The  community  generally,  not  merely  the 
worklngmen,  were  convinced  that  affairs  were  in  a  bad 
state,  and  the  people  were  in  a  frame  of  mind  to  bring 
about  a  change,  and  it  probably  would  have  been  effected 
even  if  the  worklngmen' s  candidate  had  been  an  entirely 
unimpeachable  man." 

After  his  assault  on  Kalloch,  de  Young  had  been  charged 
with  assault  with  a  deadly  weapon,  and  Kalloch 's  son,  a  Bap- 
tist minister,  subsequently  learned  of  investigations  being 
maie  by  the  defendant  in  Boston  and  Leavenworth.  Apprehensive 
of  what  might  be  disclosed  at  the  trial,  young  Kalloch  entered 


7    .«?  ^c  •   ;. 


b  to 


3 '-  ^O    If 


rfr-,-. 


90 


the  Chronicle   office  on  the  evening  of  April  23,  1880,   and 
shot  and  killed  Charles  de  Young. 

METROPOLITAN  CHANGES  HANDS 
The  Kalloch-de  Young  feud,  although  it  ended  in  young 
Kalloch's  acquittal,  did  nothing  to  elevate  the  character  of 
Metropolitan  Hall,  which  still  went  under  the  gulae  of  a  church 
and  harbored,  rather  brazenly  at  times,  the  "indecencies"  of 
the  melodeon.  In  1884,  when  Frank  E.  Willis  and  Charles  A. 
Doyle  acquired  a  lease  on  the  property,  they  made  of  it  a 
forthright  ahowhouse  which  they  named  the  Metropolitan  Theatre- 
Muaee.  The  Daily  Evening  Pest  stated  in  its  issue  of  December 
13: 

"With  commendable  enterprise  Messrs*  Willis  and 
Doyle,  two  Eastern  managers  of  ability,  have  secured  the 
Metropolitan  Hall,  end  -.vill  open  it  next  Tuesday  night 
to  the  public  as  a  resort  for  all  who  seek  good  amuse- 
ment at  a  small  cost.  They  intend  to  conduct  it  in  such 
a  manner  as  will  commend  it  to  the  public  as  a  respect- 
able family  resort  which  ladies  and  children  can  visit 
alone.  Smoking  and  drinking  will  be  prohibited,  and  a 
class  of  entertainment  provided  which  is  free  from  all 
objectionable  features.  Only  the  best  and  most  reputable 
talent  will  be  engaged.  Besides,  the  musevmi  features 
will  be  Instructive  and  Interesting.  Such  institutions 
thrive  Im.  enselyjln  Eastern  cities,  and  their  popularity 


.  A  solTtenj  brie  el  •{  .^.sil 

'^rti  ■<7'.'". 


91 


is  constantly  growing.  Hence  we  bespeak  for  it  the  suc- 
cess it  merits  in  cur  midst.  There  will  be  two  perform- 
ances daily  —  except  Sunday  --  afternoons  at  2:30,  and 
evenings  at  eight  o'clock," 

Like  the  Wigwam,  one  of  Its  host  of  contemporaries.  Metro- 
politan Hall  under  the  management  of  Willis  and  Doyle  became 
a  dime  melodeon^lch  featured  pantomime,  juvenile  opera,  spe- 
cialty acts,  and  similar  attractions,  A  museum  was  operatea 
in  conJTinction  with  the  show.  In  its  slow  metamorphosis  frorr 
a  temple  of  religion  to  a  house  of  the  drama  there  were  many 
relapses.  After  the  short  tenure  of  Willis  and  Doyle,  it  was 
used  by  the  Handel-Haydn  Societj'-  for  concerts  in  the  spring  of 
1885;  by  Henry  C,  Dane  for  lectures;  by  the  painter  and  car- 
toonist, Thomas  Nast,  for  the  same  purpose  in  1888;  and  by  the 
Boston  Quintet  Club  for  musical  soirees  in  1889,  Said  the 
Chronicle  on  January  24,  1889: 

"Architects  Laver  and  O'Connor,  Assistant  Fire  En- 
gineers Riley  and  McKittrick,  Prank  G,  Sf>."ards,  Chairman 
of  the  Fire  Commissioners,  and  Super vi.: ■'-?.•'  Barry  made  a 
tour  of  inspection  of  the  theatres  yesterday,  the  inten- 
tion being  to  continue  the  inspection  from  day  to  day 
until  all  the  places  of  amusement  have  been  examined 
.  .  .  Metropolitan  Hall,  on  Fifth  Street,  was  found  to 
be  in  good  condition." 


rp 


iisq  o-.v:;    sa    j._„-     t 


'-  'tsjo  ni  sj-'isiii  Jx   3E30 


te    tR   ?.',ntriQv6 


<.)u.    cu.. 


aunjj   -L-.sii  *iajxj,05 


•.A"f     ^ 


brtfl 


;•    L'Ui:.;. 


aJ^ 


oXl«      DX  il; 


tnfl  nevaJ  b  oiA" 


iJeM      .    .    . 


92 


Nothing  more  is  heard  from  the  former  Baptist  church  un- 
til March  28,  1890,  when  George  Riddle  gave  a  dramatic  reading 
of  Shakespeare's  Tempest  for  the  benefit  of  the  San  Francisco 
Teachers'  Mutual  Aid  Society.  On  April  5,  Riddle  recited 
Rotneo  and  Juliet  before  an  appreciative  audience.  Mass  meet- 
ings, reunions,  lectures,  and  concerts  were  glvenat  intervals 
throvxgh  the  nineties,,  during  which  time  the  hall  was  considered 
a  "fashionable  place  of  resort,"  and  "resounded  with  music  Of 
many  an  immortal  composer  and  brilliant  virtuoso,"  including 
the  pianist  Rosenthal,  who  appeared  there  on  January  3,  5,  and 
7,  1899. 

THEATRE  REJ>UBLIC 
Suddenly,  on  November  16,  1902,   the  Chronicle  published 
this  notice  of  a  complete  change  of  life  for  Metropolitan 
Hall: 

"Harrington  Reynolds,  the  well-known  actor,  who  is 
to  have  personal  direction  of  the  stock  company  that  is 
to  open  the  new  Theatre  Republic  the  latter  part  of  this 
month,  has  returned  fram  New  York,  where  he  has  been  for 
the  past  three  weeks,  securing  players  and  arranging  for 
plays.  Four  of  the  leading  members  of  the  company  came 
with  Reynolds,  while  the  rest  are  to  follow  ^/ithin  a  few 
days.  Those  who  ar©  now  here  include  Edmund  Breeae,  who 
last  season  replaced  James  O'Haillinthe  big  Boston  run 
of  Monte  Cristo;   Helen  MacGregor;   James  A,  Keene,   a 


Tr 


h    .-> 


5    r 


rir.c;   0£i 


.-u.  ::s  r.:.vl^    svenv 


bXA 


I       '  8' 


t^.tCr"'. 


baa   ^3 


Ctoi; 


16  3'. 


ocii 


■n 


fO'J      V"??/ 


U-''i3   £.  'i  ■ 


wen 


in    --1^ 


93 


juvenile  actor;  Harry  Corson  Clarke,  the  comedian;  Fred- 
erick Gilbert,  a  well-known  character  man;  George  De 
Long,  Blanche  Douglas,  and  Margaret  Dale  Owen," 

It  is  apparent  from  this  and  subsequent  notices  in  the 
Chronicle  that  when  Reynolds  installed  his  Empire  Stock  Com- 
pany in  the  converted  Theatre  Republic,  he  established  it  as 
a  "legitimate"  playhouse  rather  than  as  a  melodeon.  He  opened 
on  November  29,  1902,  with  The  Sporting  Duchess,  in  which  a 
San  Francisco  boy,  James  A,  Keene,  took  the  leading  role.  The 
opening  was  widely  publicized,  with  much  emphasis  on  Keene 
because  of  his  local  prominence;  and  thus  launched,  amid  col- 
umns of  salutation,  the  Empire  Stock  Company  made  its  formida- 
ble debut  on  the  Pacific  Coast.  But  after  one  performance  the 
critics  discovered  they  had  been  carried  away  by  their  enthu- 
siasm. The  notices  became  cooler  and  briefer,  dwindled  from 
column  length  to  a  mere  several  lines  —  such  as  the  Chronicle ' s 
announcement  on  December  9: 

"Beerbohm  Tree's  arrangement  of  Ouida's  play  of 
Moths  was  the  bill  last  night  at  the  Republic  Theatre  by 
the  Harrington  Reynolds  Company,  and  so  well  given  that 
it  is  to  be  regretted  that  the  house  was  not  opened  with 
it." 

Reynolds  withdrew  and  Corson  Clarke  undertook  the  ven- 
ture with  a  reorganized  troupe  known  as  the  Ralph  Stuart  Stock 


EQ 


^aioei. 


/■f  IT-  r-  'i  r- 


vr;f 


<•-  -r  r  »^  n  ■o- 


orW  ni   8"; 


n 


»n      rt«rfw   ;tflrf<t 


■'  nl 


^r'-T 


~'H     no   B. 

too    L. 
^-.^jxunr-'- 


.1    a  B£i 


.ia  rv  .:.,    '.  >■ 


BBlio. 


feJjW 


i^  fro 


'O 


Xenof   etd 


.   -Av,    *     V   tt 


ctuJ 


a  C'       <r 


ftrftf  fto   iJijo'eb   eld 


■  '   »<-.  rv^-^ 


,-\  rt      ii  .-1 


e  H 


a  no  iw 


:8 


lO 


^  eij. 


-i   i-  K   1    ( 


i.fft 


. '» 


M.  /-r-f      \Tr\i->,  "frr  £»  P\f^f  r      a-  Tr 


^LUJC. 


■i  ado 


.,/•;•. 'r  r-..-.'.-f  *  ■!.'  n  *.  Tr*-  <■  n  CT 


94 


Company.  For  a  while  he  managed  to  carry  on  with  productions 
of  Don  Ceaar  de  Bazan,  The  Master  of  Arms,  Lord  Strathmore, 
and  Tolstoi's  Resurrect  ion ,  charging  25j2f  and  50^  admission, 
but  apparently  legitimate  drama  did  not  do  well  in  this  house. 
When  next  the  Theatre  Republic  received  columns  of  publicity, 
it  was  to  announce  ftescagni's  Minstrels,  who  played  there  to 
capacity  audiences  during  the  latter  half  of  March,  1903.  And 
then,  for  no  discoverable  reason  —  except  that  minstrelsy  had 
outlived  its  heyday  —  even  the  minstrels  left, to  be  replaced 
by  a  musical  comedy  troupe  which  advertised  in  the  Call  of 
April  26: 

"Theatre  Republic  —  This  week  onlyt 
First  time  here i  The  novel  musical  comedy 

^  ^^TJ^y^.   Belle  I 
Depicting  a  Circus  on  the  Stage. 
Catchy  musical  numbers  I  Clever  Specialties'. 
Funny  Comedy'." 

This  production,   according  to  the  £all  of  April  28,  was 
received  with  violent  disfavor: 

"The  Theatre  Republic  was  closed  last  evening.  The 
opening  performance  of  The  Circus  Bell_e  en  Sunday  evening 
was  attended  by  such  riotous  proceedings  on  the  part  of 
the  audience  that  the  management  of  the  house,  so  it  was 
reported  at  the  office  of  the  theatre  last  night,   shut 


«  w  no  «•  B  10"^ 

.  ©Bxrorf  alrij  nx   li&vt  ob  ioa  bio  atui.  it>  ot'  al  ^iJat»ij3qq«  uud 

:8S  XliqA 


..■».'■!  .-■     '^  '^  • 


•   ■(_  Li  c'uO  vj 


;■  a  p  r    p  'I 


95 


out  the  A  Circus  Belle  company.  There  was  no  great  de- 
mand on  the  part  of  the  public  to  see  the  perf  omance, 
aeemingly,  for  at  the  usual  hour  of  opening  no  one  seek- 
ing admittance  was  in  sight.  Just  after  eight  o'clock 
the  doors  of  the  theatre  were  closed  and  the  lights  were 
put  out.  The  play  will  not  be  repeated  in  the  Theatre 
Republic ," 

NANCE  OjNEIL  IS  WELCOME  HOIffi 
At  intervals  during  the  next  month  the  Theatre  Republic 
was  used  for  amateur  theatricals,  a  Memorial  Day  Celebration, 
and  a  joint  meeting  of  the  G.  A.  R.  and  Spanish-American  Vv'ar 
Veterans,  Its  life  as  a  theatre  appeared  to  be  ended  when, 
on  May  31,  1903,  L.  R.  Stockv^^ell  leased  it  and  announced  a 
limited  engagement  of  Nance  O'Neil  in  The  Jewess,  which  was 
to  open  on  Jiane  6.  It  was  indeed  a  limited  engagement,  but 
not  through  any  fault  of  Stockwell's  or  any  failure  on  the 
part  of  "the  young  American  tragedienne"  —  if  one  may  judge 
by  this  review  of  her  opening  performance  in  the  Call  of  June 
7,  1903: 

"Kanco  O'Nell  Gets  a  Glad  Home  Welcome. 
"Nance  O'Neil  is  home  again  and  it  was  a  right 
royal  welcome  which  was  accorded  her  at  the  opening 
night  of  her  summer  engagement  at  the  Republic  last 
night.  The  Jev/e s s  was  the  production  chosen  in  which 
to  launch  this  favorite  California  girl,   but  it  was 


-eb  uKfcag  on   saw  n'leiii 
.00:  jricf   esq 


-«?    pnc   Oft  sn.-.nPT~'   "^c   - 


©lew  E:JrlaiI  ^Aii  bna  beeoXo 
Sid  •  ni   b 


exld  no  bsxcat 


1C>    31  ■ 


.:.-.-o   rtjuq 


olIdui^oH 


iT     ©rfcr  rlrfnont  rfx 


:if) 


•IB-'  iiia:x''iaa!n''  '.iex*::ea  .• 


6    bCfC- 


bnfi    if    ^f 


rjSW   .io. 

eri;t  no   ©'^  to   « • 

esbi'"    —    .--iu 

9xu;u  to  XXflO  ox1;f  ni  eonsr 


A 


■iiul  .no 

a.'r.L.:.   it'-.M>     ..j-'i'"-'  t      Oil'?  J-'--      <.  'iW^ 


;ta  loxt  be 


oX»w 


'I 


-to  Hi  80     aiii 


96 


Nance  O'Nell  whcmi  the  audience  came  to  3ee  —  after  her 
the  play.  With  the  yellow-haired  tragedienne  as  Leah, 
The  Jewe 3 3  goes  with  a  snap  , 

"Of  course,  the  curse  scene  with  the  green  light 
and  slow  music  is  the  v*iole  play,  McKee  Rankin  makes 
the  most  of  his  part  of  Father  Lorenz .  It  is  not  much, 
but  what  there  is  in  it  Rankin  brings  out,  Agnes  Rankin 
suffers  a  like  restriction  in  Lena,  but  carries  the  part 
well.  Charles  A,  Millward  as  Nathan  and  E.  J.  Ratcliffe 
as  Joseph  deserve  mention," 

THEATRE  REPUBLIC  BURNS  DOWN 

The  Jewess  played  one  night  to  a  packed  house.  After  the 
last  plaudits  to  Nance  O'Neil  had  died  away,  the  curtain  de- 
scended for  the  last  time.  During  the  early  morning  hours  of 
June  7  the  Theatre  Republic  caught  fire,  and  before  the  flames 
could  be  extinguished  its  interior  was  destroyed. 

In  the  Chronicle  of  June  8,  1903,  a  half -page  photograph 
of  the  fire  was  accompanied  by  the  following  account: 

"The  Theatre  Republic  was  completely  gutted  by  fire 
yesterday  morning.  The  fire,  which  had  apparently  been 
smouldering  since  midnight,  burst  into  flames  at  6 
o'clock  and  the  whole  upper  portion  of  the  building  was 
enveloped  when  the  first  engine  arrived.  By  ten  o'clock 
the  fire  was  nearly  out  and  the  theatre  ruined.  The 
actual  destruction  must  amount  to  about  $40,000  and  if. 


:}*-} 


;sa  9ci^ 


SB 


'■'  -i  Ji- 


ctrfg-t-t  ne-ets     o:; 


-<■.■  .■■-,    •:  -.rr    c  '     -ir 


Qlom     Bii:^ 


»T'*%r,--  f^w-frtr  »n  ^.Tf, :.rr'- 


!Cii>    ee 


oricf    . 

3/10 

f  ct  4-.  *•  f ».-.      -» f-|"* 

■  "  lA-f  lJ 

^.^r•?.    •% 

.wr    ••' 

.     T  /■  ■     * 

io  E-             ixniora 

•Cl'i^:^ 

oa;:-   :.; 

Bf- 

.- 

,s<iiy 

.-\'-r«.-<*f    n-^      :5-t  f  r-u  rr»  Tq      4  is  O  f 

VJ8W  j.,oJ;bIJ:jJc/  erf*  Io  .       ;  ■  yioos 

ed  X  J"  fjitfl  V  w  j   ' 

^11  r.uifj  0 


97 


as  seems  probable,  the  Board  cf  Public  Works  proscribes 
the  repairing  of  the  wooden  structure,  the  loss  may 
reach  |65,000. 

"Wardrobe  effects  of  Miss  Nance  O'Neil,  valued  by 
the  actress  at  between  $20,000  and  $25,000,  lie  xmder 
tarpaulins  in  the  dripping  dressing  rooms.  Crossed 
electric  wires  are  given  as  the  origin, 

"The  building  was  o\'med  by  J.  B.  Lankershim,  a  mil- 
lionaire property  owner  of  Los  Angeles j  it  was  under  a 
ten-year  lease  to  Edward  Ackerman  of  the  California 
Theatre,  and  under  a  three-months'  sub-lease  to  L«  R» 
Stockwell,  the  act or -manager .  With  cornices  shattered 
and  window  openings  agape,  the  walls  still  stand.  The 
roof  Is  gone  and  all  the  upper  woodwork  of  the  building, 

"A  policeman  discovered  the  roof  ablaze  a  few  min- 
utes before  6  o'clock  and  rang  the  first  alarm.  There 
was  no  wind  or  it  would  have  been  almost  impossible  to 
keep  the  flames  from  spreading  to  the  Lincoln  Grammar 
School  &rd  other  frame  buildings  abutting.  The  interior 
of  the  Republic  became  a  great  furnace, 

"Miss  Nance  O'Neil  was  shocked  at  the  news  of  the 
fire.  She  is  eager  to  have  her  baskets  and  cases  un- 
covered. In  them  she  has  the  famous  stage  jewels  of 
Madame  Ristori,  and  other  rare  trinkets.  Manager  Stock- 
well,  who  re-opened  the  Republic  with  her  company,  has 
arranged  to  continue  the  engagement  of  six  weeks  at  the 


I't.OEOiq 


©ri;t 


.^ri;J 


X:l    csi-'x;-:' 


':m   io    l;: 


•;rj.t-'-:c.t'T&      ?^1 
,H  ,J  oij-  »eB9l-dua    •  ari^tnom-  t 


fjSTeo'livfe    e.?."ii'~To:'   rf-tf'-Y        .i^'a/x-.. 


0:1  T 


?vOOT   9r{rf 


-CO    c   o-iol 


o-fg 


'L   -..-. cv-    oaii    ^ati^r^i;   3;:,.■i.^a:vqc    .-001...^/   wr^^ 


•lox-ie:. 


(M 


-iiij    t. fjoj'C'    unii    ij.'-.^ 


•ii    ;>  V  i' 


iQ 


*e  «j. 


':  ;ta  B  to  "Jo  ;*r 


..t3.;.L 


-5  5«a  i^' 


fl 


98 


Alhambra  beginning  tonight." 

Wrecking  crews  finally  pulled  down  the  Theatre  Republic's 
charred  remains,  and  it  was  never  rebuilt. 


ee 


« 'o 


99 


CHAPTER  VII 

THE  MARKET   STREET   THEJ^TRS 

(1883-1897) 

Charter  Oak  Hall,  occupying  the  second  story  of  the  Char- 
ter Oak  Livery  Stables  at  771  Market  Street  where  the  elite 
kept  horses  and  carriages,  became  the  Market  Street  Theatre 
in  1883.  Prior  to  its  conversion  by  Steele  and  Anderson  the 
hall  apparently  had  no  recognized  theatrical  standing. 

Probably  the  earliest  mention  of  Charter  Oak  Hall  was  that 
in  Figaro  of  November  30,  1872,  announcing  a  meeting  of  the 
Protective  Order  of  Seals  "formed  of  members  of  the  minstrel 
profession  and  others  for  benevolent  purposes."  Figaro  six 
years  later  advertised  a  benefit  performance  at  the  hall  for 
Johnny  Price,  "Ethiopian  Comedian";  in  1879, it  announced  Denis 
Kearney's  Workingman's  Party  production  of  Pinafore .  The  lat- 
ter is  by  far  the  most  important  event  identified  with  Charter 
Oak  Hall  during  its  early  period.  Gilbert  and  Sullivan's  ope- 
retta was  playing  at  four  major  San  Francisco  theatres  concur- 
rently, and  Kearney  burlesqued  it  in  true  showman  style  (him- 
self taking  the  part  of  the  Admiral,  with  his  choruses  in  plug 
hata). 


TT7 


(  VV38X-C- 


T   erfcf  'ic 


y  'i  J : 


'        :l   5/bC    to-; 

rvv 

.7^;     j,Ar.-fc»,i)»  ^tsviJ  >{sO  7©^" 

i)..J       ^JO^'w'J^i 

jii^*-.               •■      ""510x1  ^qesf 

aieie- 

Ji:   o;t   loxTi 

(:t   bf 

:X:/n9isqq9  Ilarf 

U.v'      ..(J    ilVi'Jii 

.L<x>    Rfll  Y-^*^^^^"!'^ 

VOW       "to    OTa^Jt'^    ii  1 

•b'tO   evf:*r.-'»toTl 

brXB    fiyiiv-iylOtCT 

lisq 

'ft- loisl               v 

'■'. ' 

^■^r>tf^ 

-  ^io  '>    e  •  k,7U  i-;-.' 

©rf:t 

let:"  «?Tei.. 

X  i  :;.  -  U  D  i!  •;  '  : 

10 1  iian 


-fa   ewiit  ni   ai  be-  ■^9rtta?»X  ba«   ,yj^- 


f.OC 


After  this  brief  Interlude  the  hall  reverted  to  its  former 
neglect  for  the  next  two  and  a  half  years,  enlivened  only  by 
an  occasional  ball,  concert  or  lectvire ,  Then,  according  to 
the  Post  of  January  9, 1883,  a  theatre-minded  opportunist  named 
Kohler  opened  Charter  Oak  Hall  wlthan  exhibition  of  wax  works: 

"Kohler's  Wax  Works  at  Charter  Oak  Hall  have  been 
much  improved  by  recent  ad^iitions.  150  life-size  wax 
figures  of  kings,  queens,  presidents,  and  other  celebri- 
ties, local  and  foreign,  are  being  presented.  Promenade 
concerts  at  2  and  8  o'clock.  Admission  25  cents;  Child- 
ren 15  cents ," 

The  character  of  this  exhibition  may  be  judged  from  an 
article  in  the  Call  of  May  4,  1884,  deprecating  the  "dime  mu- 
setims"  which  had  by  then  overrun  Market  Street  —  or  at  least 
the  neighborhood  of  the  Market  Street  Theatre: 

"Dime  musexoms  and  cheap  shows  generally  are  multi- 
plying in  San  Francisco,  The  nvunber  that  are  now  running 
on  the  south  side  of  Market  Street,  near  the  old  Jesuit 
Church,  are  offered  in  evidence.  Trading  on  people's 
curiosity  seems  tobea  profitable  business;  and  a  trifle 
out  of  the  ordinary  way  has  often  been  the  foundation 
of  a  man's  fortune  as  a  side-show.  There  must  be  four 
or  five  of  these  ctu?io  shops  in  full  blast  at  the  place 
mentioned,   and  they  have  variety  enough  not   to  be 


fa^nmn  JB.tau'i'xoqqo  asri^  «  ?"-  fl"^  ^o  jeo*I  sdct 

aosri   ^v'--''    CI-nH  -!«0  f^ "^rrrfO      rts   57/ioW  xn^V  ^'T'^TrfoJ!" 
-iicfeXeo  jiamq  oeei-. 


ns^xris^   i&jj'jao   Ji  noxy  ex. '.:.". 


u    o    u.. 


'^.'jitn??^  SI 


■  G   10    ~-   Jud'ivlv.    Jdii-i^i^A  iiijl'ie70   iL^ilJ    Y'  .'.j^riw    ■'3r:uj'02 


jf»'i*89rfT  r^ 


cta^lTeM  9rfJ  lo   booii 


sn  Bdi 


-"rt  -.von  ■-■te  >'t; 


.^  :.  '1 


:ri/o 


^   qsf 


.a    ilJjjVJS 


•uci'O 


lo^c   ,«?  ^cf  oti'   2r' ,"•*•!?   T'"?^?oi'Ti.'r- 


^afc   ^r?    -»  ■    :tpr.r.:j'   I.firl  al    srrnrfs   oii'-r:   «»i?r^i  "if^   '^v.t'i   to 


lOL 


monotonous.  If  you  tire  of  Jim  McCue'a  trained  horses 
and  dogs,  and  their  owner's  eloquence,  there  are  Kohler ' s 
wax  works  in  all  their  ghaatliness  to  rest  the  tired  eye; 
or  Jeanette  in  the  frozen  Arctic  waters;  or  the  armlesa 
women;  or  the  Female  Congress  of  Beauty;  of  the  Austral- 
ian bush-ranging  toughs  who  have  stretched  hemp.  All 
tastes  can  be  satisfied  in  the  Market  Street  cheap  shows, 
and  it  is  worth  while  to  loiter  in  the  vicinity  when  the 
touters  are  calling  out  the  various  attractions  they  are 
prepared  to  offer  to  wonder-lovers." 

Not  quite  two  months  after  Kohler  had  departed  with  his 
wax  works  on  a  tour  of  the  Santa  Clara  and  Salinas  Valleys, 
the  Call  of  March  23,  1883,  announced: 

"Market  Street  Theatre  —  formerly  Charter  Oak  Hall  -- 
771  Market  Street,   near  Fourth.   Steele  and  Anderson, 
proprietor;  Louis  Balmour,  stage  manager. 
Saturday  Evening,  March  24th  -- 
Every  Evening:   Saturday  and  Wednesday  Matinees 
THE  WONDTIFUL  EGYPTIAN  MYSTERY 
will  be  produced   on  an  elaborate   scale  with  new  and 
startling  lllusiona,   strong  plays,   new  mechanical  ef- 
fects, new  music,  new  costvimea.  Efficient  Dramatic  Com- 
pany and  Pull  Orchestral   Note:  --  The  management  have 
leased  the  above  hall,   and  at  an  enormous  expense  en- 
larged, refitted  and  thoroughly  renovated  it  .  .  .  Prices 


Bcelrcntft  .idJavr  ciJoiA  nosomlt  erf*  nJt   ©^ctsnseL  10 

IXA        .•••■■        .■..■;y  ^fl^.uoJ   ^.   .    •-tT'r-'ifstrC      ■■'-• 

^Bwori?   qssrlo    .T'lO'fiS   *0MieM    ^jxi:^  ni  5°.l'ia.iie6  «d  rcBC'   eacrsetf 
9rfi  n^-^'v  'j::?i'?.ioiv   ftdi  nl   tf*^toL  o?  elirfw  ricfiow  s>    rti   bna 

",Bi9voi-i9fcnow  ctf  lello  o:?   baiaqeiq 
vEiceXXBV   ei-inlXs^   bna   rt^IO   3.-tn.«^      arict  lo    luod-     a  no    B^'tow  xs'.'.' 

-I9   XooJnsriosra  wert      48^3^0   gno-icfa      ^en-iauXXi   aiiii;*>'XJBje 
-fla      esnsqxs   etrcsmoxie   ns  js   one      ^XXari  ©voo'e   &fi.t   beeeeX 


1C2 


to  suit  the  times:  Admission  25jzf  —  Children  15^." 

Under  Steele  and  Anderson,  the  Market  Street  Theatre  re- 
placed Its  waxworks  with  real  actors,  and  managed  to  wear  the 
habiliments  --  if  not  the  bawdy  airs  —  of  a  genuine  melodeon. 

No  elucidation  of  the  Wonderful  Egyptian  Mystery  is  avail- 
able, but  it  appears  to  have  been  an  early  form  of  burlesque 
replete  with  statuesque  displays  of  females  in  flesh-colored 
tights,  interspersed  with  startling  mechanical  effects,  pic- 
torial illusions,  and  dissolving  scenes.  It  ran  for  one  week 
in  March,  and  for  two  weeks  in  Aprli,  and  shared  the  program 
with  a  dramatic  offering  of  Kathleen  Mavo\irneen  interpreted 
by  Henry  Osbotirne  and  his  company  of  Irish  comedians. 

On  April  22,  1883,  The  Bashful  Youth  of  the  Rhine  and 
Cinderella,  or  The  Little  Glass  Slipper  weare  staged  by  William 
Simms  and  Fannie  Young  with  an  entirely  "new  troupe  of  robust 
comedians."  On  such  slight  recomLnendation  the  Examiner  of 
April  29  announced: 

"This  place  cf  amusement  ^^ie  Market  Street  Theatre/ 
now  ranks  with  the  Winter  Garden  and  Tivoll  Opera  House 
in  point  of  character  and  style  of  performance;  and 
Justly,  too,  for  a  better  entertainment  for  so  small  an 
admission  fee  has  never  been  given  in  this  city.  Peel- 
ing encouraged  by  liberal  patronage,  the  management  an- 
nounced another  burlesque,  Pocahontas,  after  the  public 
have  seen  enough  of  Cinderella." 


JJ3     QO 

>is5w  ano  ncl  rts'i   JI      .BsnsoB  snivlo^aib  bns   ^BaolftL'lll  Xolio* 

'TO';  •-;•*' in    3r{d'   bPicirf"    '-^^.p      .i^ToA  ^f    B'-'>*»w  o«v#   trl    f>ffe    ,r''»'ToW   rf? 

•  enalbsaoo  rlexnl    ..  -.  crl  bna  ©niuoa'eC  '^inaH  -^a 

^^^^     Q^-t^^'H  eri^  In  rtd'/.roY  Iu'jAb.bB.  erfT     ,5SSX   ,2S  X^iqA     nO 
nirtilllW  Tjd  &»8sd"6  oraw  noqsiilB  ee aXO  ^X 3:^1  J  ariT  10    tHlXerf&bfliJ 
:fa0ri"oi  Ic    eq.i/oi.i  wen"  y-^Q'^-^^^®  •'ta  il.tiw  3fiiroY  eln«c'5  bne   a'- 
lo  •?'  I  orfet     rroi.:fe&a9r.-.7ooo'£  fp.  riot/a  nO        ".  ccta?  •^■^frco 

:  bdoniiorxxifl  CS  j.^  7.;'. 

eawoH  sioqO   IXcvxT  bn»?  aeuncsii  t8»TniV/  snjt  ncrxw  aiuioi  wo.t 
i     ,Y^io  aldi  at  xievi  -li  33 i  rtojt - 

'..  ^  io  d^sctt»  nee  a   avail 


103 


Some  sort  of  Internal  dissension  intervened,  however,  "be- 
tween this  intent  and  its  accoraplishment .  Pocahontas  was  never 
produced;  Anderson  withdrew  and  the  house  closed  until  Steele 
GOV. Id  find  another  partner  (one  McKenney)  tov/ard  the  end  of 
May,  1883.  On  May  30  there  was  "a  grand  reopening,  with  a  new 
company,  new  and  elegant  scenery,  and  Dion  Boucicault's  play 
Streets  of  New  York."  On  this  occasion  an  old  trick  of  the 
minstrel  troupes*  was  tried  --  the  orchestra,  led  hy  L.  Von  Der 
Mahden,  played  outside  the  theatre  for  a  whole  hour  prior  to 
the  performance . 

Inside  the  theatre,  Boucicault's  drama  must  have  accom- 
plished all  else  fiecessary  to  an  overwhelming  success,  for  the 
Examiner  of  June  5,  1883,  recorded  full  houses  throughout  the 
week  of  May  30 j 

"The  Streets  of  New  York  has  caused  the  welcome  sign 
of  'Standing  Room  Only'  to  be  posted  up  early  each  even- 
ing /at  the  Market  Street  Theatre/  during  the  past  week. 
It  will  continue  through  the  week,  with  a  matinee  on 
Saturday." 

After  The  Streets  o_f  New  York  came  a  succession  of  farces 
and  melodramas  wiiich  included  Byron's  Our  Boys,  The  Sea  of  lee, 
and  Under  the  Gaslight,  capably  produced  by  James  M.  Ward  and 


*  See  Minstrelsy,  Vol.  XIII,  this  series. 


v 3   oa»  ^ 


■..TSC 


3^1J 


swv: 


■V-  ■^'asqwo'x:*-  I  at 


no     osnl 


tOi  tbM  io  ::9&vw 


'  ""'Xf'^)   f''" 


.  .        ,  ...  iiiiV  u  ■ 

'    Dft» 


104 


Carrie  Clark,  For  a  while  the  Market  Street  Theatre  rode  a 
wave  of  popularity,  abetted  by  the  arrest  of  one  of  its  stars, 
the  child  actress,  Little  May  Tittle.  In  a  brief  commentary 
dated  June  16,  1883,  the  Post'  resented  the  incident,  and  at 
the  same  time  implied  a  higher  moral  character  to  this  raelodeon 
than  was  evidenced  by  other  cheap  ahowhouses: 

"A  very  good  cowpany  has  been  giving  Our  Boys  dur- 
ing the  week  to  large  houses  at  the  Market  Street  Thea- 
tre. It  would  be  interesting  to  learn  why  a  child  ao* 
tress  should  be  arrested  at  this  theatre,  while  such  iJei*- 
formances  are  permitted  at  the  leading  ones,  and  the 
dives  with  their  imnoralities  are  permitted  unrestrained 
license ." 

Subsequently  Little  May  Tittle  was  reinstated  —  whether 
because  of  such  charges  of  discrimination  or  by  direct  legal 
means  is  not  known.  This  dli  nothing  to  bolster  the  success 
of  the  house  beyond  a  season  however.  It  enjoyed  a  brief  flurry 
of  patronage  in  midavunmer  of  1883,  but  by  autumn  even  this  had 
gone  and  Steele  had  lost  a  second  partner.  In  the  Post  of  Oc- 
tober 6  he  inserted  notice  of  another  "reopening,"  with  him- 
self the  sole  proprietor: 

"The  Market  Street  Theatre  — This  theatre  re-opens 
this  evening  entirely  renovated  and  redecorated,  and  with 
a  thousand  and  one  Impr'^vements  in  the  way  of  exits  and 


e   B- 


•Ir^tft') 


'«i^rf 


t.^e 


se9£i. 


.■6   :ri 


Ztf 


.^  ■<  - 


BAw  nsn;^ 


ba«   ^ 


.05 


Other  conveniences.  J.  J.  Steele  is  the  proprietor  and 
George  Osbourne  the  stage  manager.  The  romantic  drama 
The  Man  of  Gold  will  be  produced  with  a  very  strong  cast, 
with  new  scenery,  a  good  orchestra  and  elegant  costumes. 
The  admission  will  be  only  25jz^." 

A  week  later,  in  the  same  journal,   Steele  followed  with 
another,  more  subtly-worded  advertisement: 

"The  Market  Street  Theatre  —  This  popular  place 
of  amusement  is  in  a  flourishing  condition,  and  presents 
a  comfortable  appearance.  A  large  and  elegantly  fitted 
entrance  from  Market  Street  is  only  one  of  the  many  ad- 
ditions made  by  Manager  Steele,  The  stairs  are  covered 
with  a  rich  carpet  and  the  walls  decorated  in  the  latest 
designs.  Three  electric  lights  have  been  placed  in  po- 
sition and  add  to  the  convenience  of  the  throngs  who 
nightly  visit  this  popular  family  resort  ...  On  Monday 
evening  next  The  Ticket  of  Leave  Man,  with  George  Os- 
bovirne  in  his  famous  impersonation  of  Bob  Brierly,  will 
be  produced ." 

The  Examiner  on  October  14,  1883,  revealed  facts  not  quite 
so  complimentary: 

"Market  Street  Theatre  —  This  la  the  name  of  a  new 
place  of  amusement,  which,  in  a  hall  of  moderate  size, 
combines  theatricals  and  refreshments.  The  performance 


90.' 


h^' 


'■CKi   IV'.W  v.'-'O 


.CXlw    .7: 


>l?ie)t) 


10c 


dxiring  the  past  week  has  consisted  of  The  Man  of  Gold , 
which  has  been  pirated  boldly  from  The  Silver  King,  with- 
out any  improvement  at  the  hands  of  the  pirates." 

Whether  such  charges  were  true  or  false,  Steele  made  no 
further  attempts  to  drag  "poor  bedraggled  drama"  across  the 
boards  after  December  of  that  year,  Effie  Johns  and  Robert 
McNair  then  appeared  in  The  Convict,  a  comedy  of  such  slight 
structure  that  not  even  the  Post  thought  it  worthy  of  critical 
notice.  Thereafter  the  Market  Street  Theatre  became  a  minstrel 
house.  Its  owner,  in  what  appears  to  have  been  a  last  attempt 
to  achieve  success  in  an  unfavorable  environment,  ebolishe<3 
the  sale  of  alcoholic  beverages  and  tobacco  from  his  premises 
early  in  April,  1884, 

H.  C.  Wyatt's  Courtwright  and  Hawkins  Minstrels »  fresh 
from  a  successful  run  at  the  Bvish  Street  Theatre,  opened  on 
January  14,  1884,  and  played  almost  continuously  until  April 
12,  when  the  Post  stated: 

"The  Market  Street  Theatre  —  This  coey  place  almost 
opposite  the  Baldwin,  is  gradually,  through  the  excellent 
management  of  its  proprietor  J,  J,  Steele,  beginning  to 
take  rank  with  the  other  theatres,  especially  in  the 
minstrelsy  and  specialty'-  line.  A  most  com.nendable  move 
has  been  the  prohibiting  of  smoking  and  drinking  in  the 
auditoritim.  Ladies  need  now  have  no  more  delicacy  in 
patronizing  the  house  than  in  going  to  hear  Emerson  or 


.5 


•i"i 


'  .■••-'.  ■-.*■_  »*»• 

■  .  .■..-T':t'-  T.:-   •>   Tf.,1  " 

5ns  a     4- 

-in 

ftb   foe  jFO'Jt^l' 


-.4 


107 


Reed.  The  company  is  a  strong  one  and  the  bill  unusually 
good.  The  California  quartet  atri  Morant,  Wyatt,  Holland 
and  Wetter  have  been  popular  favorites  and  are  known  aa 
sweet  singers.  The  rest  of  the  company  have  also  recog- 
nized merit.  On  Monday  there  will  be  a  complete  change 
In  the  bill,  and  in  addition  to  the  niorabers  to  be  rend- 
ered by  the  quartet  and  by  the  Goglll  Brothers,  Stanley 
and  Pixley,  James  Rellly,  Charles  Goet ting  and  Professor 
Sorg's  orchestra,  the  Callan  Comedy  Company  make  their 
appearance.  With  such  a  bill  as  is  to  be  presented  and 
at  such  popular  prices,  the  house  should  be  crowded  each 
evening." 

There  was  no  further  notice  of  the  minstrels.  Kelly  and 
O'Brien's  Comedy  Company  made  its  debut  late  in  April  in  a 
piece  called  Th^  M^ITJ-.l^  Mashers,  which  terminated  this  brief 
interim  of  respectability  and  served  to  close  the  place  once 
more.  J.  J.  Steele,  having  tried  every  known  device,  gave  up 
the  Market  Street  venture  in  despair. 

ROWDY  MIDWAY  PLAISANCE 
The  Market  Street  Theatre  soon  became  a  dive  of  the  worst 
sort  --  even  worse,  it  would  appear,  than  the  "bawdy  Belly 
Union."  John  J.  Hallinan  reopened  it  as  the  Cremorne  on  May 
30,  1884,  using  it  chiefly  for  wrestling  matches  and  prize- 
fights. The  newspapers  gave  the  place  little  publicity  during 
these  years,   but  v;hen  Hallinan  died  in  1893,  the  Examiner  of 


j'Oijn 


filR     ^CP     ?.' 


©JSj. 


3 

■  ^ttfi 

ft.rf*  f  J^ 

9rti! 


bns 


J    4c»u„vs;j   i;,vo 


:,yy.i'j  i>< 


r*srf  r» 


■'J  •.'       '(.i- 


1    Hfii 


109 


November  24  thought  it  fitting  to  review  the  Cremorne's  history 
in  conjvmction  with  its  owner's  obituary: 

"A  single  success  in  the  prize  ring  gave  Hallinan 
a  financial  begirjiing  and  an  opening  for  wealth.  In 
Virginia  City  (Nevada)  he  opened  a  variety  theatre,  a 
place  where  everything  went  and  where  one  could  get  any 
sort  of  a  game.  Hallinan  was  then  a  sport  and  San  Fran- 
cisco tempted  him.  He  cam^  and  established  a  resort 
which,  for  its  evil  attributes,  was  without  parallel 
even  here.  In  his  dissipation  he  contracted  disease 
and  succumbed  to  consvunpti^n  after  an  illnf^sc  of  nearly 
eight  years.  He  never  lost  his  desire  -co  make  money  or 
to  take  life  as  a  huge  joke  .  ,  . 

"He  came  here  to  open  a  boxing  school,  which  rapidly 
developed  into  a  variety  thoatre  and  low  sporting  resoyt 
on  Market  Street,  opposite  Powell,  In  coming  to  this 
city,  Hallinan  had  to  face  competition  in  a  thriving 
field,  Harry  Maynard  and  Jack  Maynard  maintained  a 
similar  establishment  and  accepted  with  poor  grace  the 
presence  of  a  rival, 

"Hallinan  settled  the  competition  quickly  and  very 
effectively.  He  thrashed  the  Maynard  Brothers  on  the 
street.  Both  were  pugilists  (as  was  Hallinan)  and  their 
whipping  practically  closed  their  career.  The  patronage 
which  had  been  given  to  them  went  tn  Hallinan,   The 


al 


...1 


'-T'Vff.l^ 


ftO    1J 


109 


roughs  and  rowdies  who  had  congregated  on  Pine  Street 
drifted  to  Market  Street. 

"Halllnan's  place  (a  saloon)  was  too  small.  He 
moved  down  the  street,  where  his  Cremorne,  under  differ- 
ent names  but  the  same  character,  has  since  remained. 
He  made  hia  resort  popular  with  a  class  of  patrons  whose 
money  flowed  freely.  The  history  of  the  place  is  not  a 
pleasant  one.  It  is  a  record  of  immorality,  thefts, 
outrages,  murders.  But  it  made  money  for  its  owner, 
Hfilllnan  could  now  indulge  his  passion  for  gambling. 
He  played  faro-bank,  tried  his  luck  at  poker,  dipped 
occasionally  into  the  shallows  of  the  stock  market,  bet 
his  money  on  horse  races  and  fighters.  He  always  tried, 
however,  to  make  others  guess  to  win  his  money.  He  went 
east  and  brought  bac':  a  wife,  who  conducted  a  lodging 
house  while  he  maintained  his  sporting  resort, 

"He  schemed  in  every  way  to  make  his  establishment 
popular.  He  tried  to  connect  the  names  of  prominent 
pugilists  and  wrestlers  with  it.  He  gave  exhibitions 
which  attracted  crowds  and  his  attendants  did  the  rest. 

"Two  years  ago  Halllnan's  financial  star  began  to 
set.  The  crusade  of  the  citizens  against  svich  resorts 
as  his  gave  him  a  great  deal  of  trouble,  and  although 
he  continued  to  maintain  it,  the  place  had  lost  prestige. 

"Its  daring  immorality  had  sunk  to  vulgarity  and 
its  power  to  make  money  was  lost.  His  health  was  falling 


bna 


<"  art 


iW    1; 


"  ir.  a  s'l  siTi  s  t  a;:,   art 


:^''-'  c,r^ftp  *  r ."f  ■* rt ."'. ) 


3r 


-•        - .  -V  •»        ".    t 


r,-;[  of,-^ 


a.f.    :• 


•KI 


rferr  -  :^^r    ^-u 


'.B'fM 


wcqf   a;tl 


no 


and  he  soon  knew  that  he  suffered  from  consumption 
II 


•  •  • 


POLICE  PLAY  LAST  ACT 

When  his  health  failed  in  1893  Hallinan  turned  over  the 
house  to  Edward  Homan,  who  ran  it  under  the  name  Midway  Plais- 
ence  and  substituted  "hoochy-coochy"  dancers  —  or  "torso-tos- 
sers  and  hip-wavers^"  as  Variety  called  them  —  f-)r  his  prede- 
cessor's muscular  fare. 

From  a  modern  source.  The  Barhary  Coast  tjj  Herbert,  Asbury, 
one  gets  a  picture  of  the  Midway  Plaisance,  under  Homan 's  re- 
gime: 

"Some  of  the  most  noted  cooch  artiste  of  the  day 
appeared  at  the  Midv;ay  Plaisance,  among  them  the  Girl 
in  Blue  and  the  original  Little  Egypt,  v;ho  first  danced 
in  San  Francisco  in  1897,  a  few  years  after  her  triumphs 
In  the  Streets  of  Cairo  shown  at  the  first  Chicago 
World's  Fair.  The  admission  charge  at  the  Midway  Plais- 
ance was  ten  cents,  slightly  lower  than  at  the  Bella 
Union,  and  it  was  tougher  in  every  way;  its  shows  were 
bawdier,  and  virtue  among  its  female  entertainers  was 
considered  very  detrimental  to  the  best  interests  of 
the  establishment.  Like  practically  all  the  other  rne- 
lodeons,  it  had  a  mezzanine  floor  cut  up  into  booths, 
before  which  hung  heavy  curtains.  A  visitor  who  engaged 
a  booth  for  the  evening  was  entertained  between  acts 


-.'■J  St- 


uuii      su 


■'.« 


-6' 


9rf* 


a:  PC 


;n>.!:i>i 


-rf: 


a-: 


d-     3S' 


Ill 


by  the  female  performers,  and  his  conduct  was  not  ques- 
tioned so  I'Tig  as  he  continued  to  buy  liquor." 

Finally  the  Midway  Plaisance  wao  cl^csd  by  tha  police, 
and  the  building  In  which  it  had  been  located  was  razed  to 
make  room  for  a  new  and  taller  structure. 


oi   b 


lie 


CHAPTER  VIII 
THE  WIGWAM 
(1884-1886)  ' 

"Another  popular  place  of  amusement  vms  the  Wigwam, 
a  great  barn-like  structure  at  Geary  and  Stockton  Streets. 
It  had  been  erected  In  1884  by  the  Dlrlgo  Club,  a  famous 
Republican  organization  that  worked  in  vain  to  elect 
Jamea  G,  Blaine  and  John  A,  Logan  president  and  vice- 
president  of  the  United  States, 

"Gus  Walter  took  over  the  building  at  the  conclu- 
sion of  the  campaign.  Tommy  Leary  was  the  stage  manager, 
later  filling  a  like  position  at  the  Tivoll  for  John 
Kreling,  At  the  Wigwam  Alice  Nielsen  trilled  her  way 
to  fame  and  fortune,  graduating  to  the  Tivoll,  then  to 
the  Bostonia,  and  finally  to  grand  opera.  Gilbert  and 
Goldie,  Weber  and  Fields,  Flynn  and  Walker,  Gus  Bruno, 
Ben  and  Adeline  Cotton  In  a  skit  called  Marked  for  Life , 
Meyer  Cohn,  in  later  years  a  song  plugger  for  Charles 
K,  Harris  of  'After  the  Ball'  fame,  and  countless  others 
were  variety  stars  at  the  Wigwam." 

Some  30  years  after  its  demolition,  a  reminiscent  play- 
goer writing  for  Pacific  Monthly  thus  tried  to  distingulah 


:ii 


IIIV 

MAWOIW 

tCifc'  •xaLi.  \" 

.ec  .  -{.B^xO  ;^«  '.'■ 

'■'jr 

» If  ^d:i  z  3W  erI;J 

roloL    To'i   ^fr^rl^T      0rf+   rfp    -rl;+^!;oa-      --til':    '    ■:-:''"''\      "-^^^^i 

.   B  nt  no    -  nsfl 

-ici',   r."  ■">?.  ,nol,^  :;  ail  .li  0&  ernoS 

1903 


113 


the  Wigwam  from  other  houses  of  the  kln'i .  But,  like  similar 
reminiscences,  this  one  creates  a  true  general  impression  at 
the  expense  -)f  several  errors  of  fact.  Gustav  Walter  took 
over  the  Wigwam  at  least  a  year  later  than  the  date  implied, 
and  Alice  Nielsen,  as  far  as  can  be  learned  from  newspaper 
reports,  did  not  appear  there  at  any  time  in  its  11  years  of 
widely-publicized  existence.  The  writer's  suggestion,  how- 
ever, that  Walter's  establishment  was  a  kind  of  inferior  rep- 
lica of  the  Tivoli,  playing  host  to  variety  stars  then  vinknown 
in  San  Francisco,  is  fairly  well  substantiated. 

The  Wigwam  appears  to  have  been  more  closely  related  to 
the  melodeons  than  to  the  Tivoli,  even  though  Walter  called 
it  a  concert  garden  in  his  official  press  releases.  In  the 
city's  hierarchy  of  the  theatres  it  ranked  slightly  above  the 
houses  of  bawdy  reputation  to  which  it  was  linked  by  virtue 
of  policy  and  price;  definitely  beneath  those  more  expensive 
"garden  resorts"  to  which  it  was  allied  by  title.  Prom  the 
beginning  it  set  out  to  be  irresistible  and  irrepressible, 
blatant  and  dignified,  flamboyant  and  restrained,  flaunting 
all  manner  of  spectacles  before  the  public  view  at  10^  to  25j^ 
a  person. 

After  the  presidential  campaign  of  1884  the  Wigwam  suc- 
cessively was  converted  into  a  banquet  hall,  bazaar,  poultry 
showroom,  prizefight  arena,  theatre  and  circus ' ground .  A  com- 
pany playing  under  the  direction  of  Edward  Barrett  briefly 


X'i's   ic    i3yii,''Jii  •isi^jo   ::.'G''ii  -.    j^oi. 


^fl  ■:'-tcfml 


1o     BO  ?  i 


!d        9\ 


■   -t!    '■-  -^rf 


'.d  a- 


.-'ica'.i 


•s 


J  jt^  .<-•  .    o-.i. 


114 


contributed  a  proper  theatrical  atmosphere  to  the  "great  barn- 
like  structure"  in  1885j  then  came  Walter  Moyosco's  Royal  Rus- 
sian Circus,  and  Fryer's  Circus,  with  its  spectacular  and 
highly  successful  menagerie  shows.  The  Wigwam  had  entered  the 
cycle  of  its  popularity.  Night  after  night  it  was  crowded 
with  2,000  or  more  clamant  spectators. 

While  Fryer's  Circus,  with  its  innumerable  wonders,  was 
still  the  current  attraction,  city  inspectors  declared  the 
VUgwam  unsafe.  The  Argonaut  of  May  25,  1885,  gives  the  story: 

"The  inspectors  next  repaired  to  the  Wigwam  Thea- 
tre. This  is  a  one-story  brick  structure  seating  about 
2,000  persona.  The  roof  is  of  corrugated  iron,  and  on 
two  sides  there  are  streets,  while  on  the  other  two  sides 
there  are  open  spaces.  In  case  of  a  fire  the  house  could 
be  emptied  in  two  minutes. 

"Strangely  enough,  elements  of  danger  have  been 
introduced  for  no  apparent  reason,  except,  perhaps,  a 
consideration  for  economy,  and  instead  of  being  safe, 
as  it  could  have  been  from  the  first,  the  theatre  is 
pronounced  dangerous.  The  entire  auditorium  is  covered 
by  a  ceiling  of  cotton  cloth,  which  is  ornamented  with 
stringers  and  festoons  of  light,  inflammable  material. 
The  proscenium  wall  is  of  wood  instead  of  brick,  and 
upstairs  there  are  too  many  seats  in  the  rows.  The  pro- 
prietors, Messrs.  Meyer  Bros.,  are  anxious  to  have  the 


-.  y 


BX 


'*.0' 


115 


theatre  safe  and  to  conform  to  the  l^w,  and  will  soon 

follow  the  suggestion  of  the  experts. 

"Recently  they  provided  themselves  with  appliances 
for  putting  out  fire,  but  th'fiir  hose  is  too  small  and 
will  have  to  be  changed  for  the  regular  2g-  inch  hose. 

When  the  contemplated  changes  are  made  the  Wigwam  will 

be  as  safe  as  could   be  desired.   It  is  very  important 

that  it  should  be,  as  it  holds   immense  audiences.  On 

Sunday  night  3,000  persons  visited  the  place*" 

As  early  as  August  5,  1884,  before  the  foundation  had 
been  laid,  the  Daily  Evening  Post  gave  more  than  ons  hint  that 
the  proposed  building  would  not  pass  inspection.  It  cited 
specifications,  dimensions,  and  cost  figures  supplied  by  the 
Republican  Party,  with  advance  notice  that  the  building  was 
to  be  erected  hastily,  cheaply,  and  from  materials  largely  do- 
nated by  or  bought  at  discount  from  Republican  merchants.  The 
article  said  In  part: 

"The  building  is  to  be  100  x  120  feet  with,  twelve- 
inch  brick  walls  and  corrugated  iron  roof.  The  stage 
will  be  35  x  50  feet,  and  there  will  be  two  committee 
ro>m3,  each  20  x  25  feet.  The  building  will  be  lighted 
by  gas  and  electric  bulbs.  The  main  entrance  will  be 
on  Geary  Street,  where  there  will  be  two  other  smaller 
places  of  entrance  and  exit.  .  , 

"All  modern  conveniences  will  be  provided,  including 
a  sink  with  bright  tin  cup  attachments  for  the  thirsty. 


-'  ■)  j  Jj 


.1  Oo 


••£Sb».     mO 


f>-t^T 


116 


The  latter  Is  intended  to  be  used  in  opposition  to  the 
sideboard  full  of  bottles  and  red  liquor  at  the  Demo- 
cratic headquarters  across  the  street.  The  estimated 
cost  of  the  edifice  is  $5,500,  which  includes  furniture. 
The  inside  will  be  rough  and  vi/hitewashod,  and  unless  it 
is  found  that  the  absence  of  a  ceiling  interferes  with 
the  distribution  of  sound,  no  ceiling  will  be  provided. 
Twenty  deys  hence  the  vicinity  of  Geary  and  Stockton 
Streets  will  be  a  lively  one,  where  the  political  pot 
will  boil  cor.tinually." 

GUSTAV  WALTER  TAKT^'S  OVER 
By  the  time  Guatav  YJalter  leased  the  ViJlgwam,  in  the  au- 
tvLmn  of  1885,  the  improvements  recommended  three  months  earl- 
ier had  been  made*  But  these  were  negligible  compared  to  the 
alterations  Walter  himself  undertook  to  render  the  place  at- 
tractive as  well  as  safe.  Tearing  out  the  sink  "with  bright 
tin  cup  attachments"  he  installed  a  svmiptuous  bar;  remodeled, 
re-decorated  and  frescoed  the  auditorium,  and  btiilt  a  new 
stage.  Then,  fortified  by  his  experience  with  three  previous 
"resorts"  —  the  Fountain,  a  basement  melodeon  at  Kearny  and 
Sutter  Streets,  acquired  in  1874;  the  Vienna  Gardens  at  Sutter 
and  Stockton  Streets,  opened  in  1881;  and  the  Telegraph  Hill  , 
Observatory  and  Concert  Hall,  established   in  1884  —  Walter 


\ 

-oared  bd:t  ;:fiB  touplL   b  :h 

cfl    aBc)j.tiif   una    ,  5f>rt8  3Weic>i;riw    ou»   ;.  •d    li.i  iT 


cf»  ei  .  j^-Vbi  ill  Doo. :  io 

i'«7'  «rict   -  •'   5na 


117 


advertised  the  opening  of  his  fourth  andmost  grandiose  enter- 
prise>  with  pomp  and  fanfare,  in  the  Daily  Evening  Poat<  Au- 
gust 20,  1885: 


"WIGWAI^  CONCERT  GARDEN  --  Cor.  Geary 

and  Stockton  Sts. 

Gustav  Walter  &  Co.  ..•*..  Proprietors. 

(Gustav  Walter,   fonnerly  proprietor  of  the 

Fountain,  Vienna  Gardens,  and  other  popular 

resorts*) 

The  largest,  best  appointed,  and  most  per- 
fectly ventilated  Concert  Hall  in  America. 
The  Hall  is  remodeled,  redecorated  and  fres- 
coed in  the  latest  style.  Entirely  new  stage, 
new  scenery,  etc. 


■q  x^- 


118 


GRAI'ID  OPENnTGl 
Saturday  Evening;-  August  22nd 

Extraordinary  attraction^  I   Everything  new  J 

4  Grand  Opening  Performances  4 
Saturday,  S\inday>  Sunday  Afternoon,  and  Monday 
August  22nd,  23rd,  24th 
ADMISSION  FREE  I  " 


Although  Walter  neglected  to  mention  what  stars,  if  any, 
appec.red  on  his  initial  bill  (repeated  for  two  weeks  with 
suitable  accompanying  publicity),  the  Wasp  and  News  Letter  of 


!.' 


n  ! 


ro     t 


119 


September  5  declared  "the  performances  are  of  exceptional  mer- 
it and  the  whole  tone  of  the  place  is  refined  and  pleasant." 
The  publication's  choice  of  words  was  curious,  considering 
the  quantities  of  liquor  dispensed  during  performances 
bartenders  and  perspiring  waiters  struggled  between  ^e  rows 
of  seats  --  and  the  inevitable  altercations  between  drinkers 
and  non-drinkers.  V;(hatever  else  it  lackei,  the  Wigwam  had  an 
oversupply  of  patrons  —  all  intent  in  surfeiting  themselves 
in  one  manner  or  another  at  these  extraordinary  free-'admission 
performances.  Never  before  had  San  Franciscans  been  so  privi- 
leged; never  before  had  any  theatre  in  the  city  opened  its 
do  >rs  indiscriminately  and  maintained  such  a  policy  for  two 
full  weeks  . 

Walter,  indeed,  had  tried  out  a  precedent  hitherto  con- 
fined to  the  lowliest  salo  ■'ns  --  a  fact  which  demonstrated 
his  business  acumen  and  revealed  the  school  In  which  he  learned 
It,  His  former  enterprises  --  each  a  springboard  to  more  am- 
bitious plans  —  were  all  "entertainment  bars"  dignified  only 
by  their  names  and  surroundings,  and  invested  somehow  with 
airs  of  owlish  propriety.  The  Wigwam  could  not  escape  this 
influence,  but  being  many  times  larger  than  the  previous  "gar- 
dens," it  proved  less  susceptible  to  control.  Brasher  elements 
got  the  upper  hand,  and  its  "respectability"  became  a  nominal 
shield  for  boisterous  conviviality. 


zip-.-'-tit  ri,-'57r."'no'                                                                5ff."t    •  ^  .'s-SG    1o 

aev  o 

:tc_^5P  ..rfiL- -■•--"• -r'.    —:•"-■  ?b^o  r?'.-                     -?■  rta ':  erro   ;"i:l: 

-xvi"*^  OK  aro..;                              ns^               ''''.xoa  'tisq 

a*I  si 

-aoo  o  bBA 

aioni  oj  10 '1  elH 

..•  —  sr/Jlcr 

^  r  «=.  T  i-f  P. 


120 


SPECTACLE  AND  VARIETY 

The  Wigwam  was  nearly  always  overcrowded,  even  when  lOj^ 
and  25^  admissions  were  charged.  Its  stage  bristled  with 
spectacles,  with  daring  and  sensational  acts,  with  all  of  the 
ciirios  and  extravagances  of  variety.  In  September,  Gilbert 
Sarony,  the  burlesque  artist,  was  billed  with  a  trio  of  vocal- 
ists described  in  the  press  as  Emma  Middleton,  "operatic  bal- 
ladist";  Mamie  Dampierre,  "queen  of  song  and  dance";  Ida  Eis- 
ner de  Marion,  "Vienna  waltz  and  concert  singer".  Augmenting 
these  were  Master  Leonard  Cohen,  "the  boy  mesmerist" j  Mile. 
La  Selle,  "the  water  queen  and  champion  lady  swimmer  of  the 
world";  and  the  Phoites  Burlesque  Company,  a  dozen  or  more 
mimic,  pantomime,  ballet,  and  acrobatic  performers  reputed  to 
have  been  "European  sensations"  before  making  their  appearance 
in  the  United  States, 

Billed  first  in  "Les  Scenes  Humoresque,  Grand  Act  Pantaa- 
tique,  Le  Grand  Ballet,"  the  Phoites  troupe  during  its  several 
months'  engagement  also  presented  forthright,  if  outworn,  Eng- 
lish titles,  such  as  Huxnpty-Dumpty  on  a  Farm  and  Love  Under 
Difficulties  .  Vvith  their  amusing  French  accents,  their  nasal 
Intonations,  and  obvious  skill,  they  held  the  Wigwam' a  patrons 
spellbound  and  earned  for  themselves  and  the  management  solid 
reputations , 

In  August,  1886,  Bonlon  and  McGinley's  Specialty,  Comedy, 
and  Concert  Company,  enhanced  by  a  "sextette  band,"  arrived 
to  head  a  monster  program  which  included  not   only  Mauritls 


^ox 


i>  ■;>  ■•  r  o  r»  '^      ■^  t  ■ 


'  -,     «,  r ;  '■> «  -a  T  '• :  li"     '-  '1 't         ;:  n  O  'i"  a  P. 


8«f  '^ 


Ow     O;' 


'  D^fl"     .afi     tftfi 


4  ■  e'"^- 


i.-!*Tm-i':     Ji  (t:  r' ••  r '•  rrf7     Bt\-;-.*- 


•^8a:frrf5''i  cfnA  cneiO 


"QrfT     . 'r^T.-^  ,  J -f  r rA    ^? 


"^  .   J  ;  .  TT 


»rfct 


••^'•!'^3aS^' 


>:  l*'.1'f     ;  IIA 


.;  «<''t  Marf  Yi^*-'-- 


.  !-..•t^r^ 


I      ^£0  i      Lrdii'it; 


121 


and  Odell's  Happy  Coons  and  Mile,  Suaretti's  Troupe  of  Aerial 
Wonders,  but  the  usual  array  of  scintillating  performers  and 
acts. 

Then  the  Dirigo  Club  demanded  t':e  use  of  its  old  hoaf^~ 
quarters  during  A.  A,  Sar.-ent'c?  campaign  for  United  States 
Senator.  In  spite  of  his  lease,  Walter  acquiesced.  He  prom- 
ised (in  the  Chronicle  of  September  IG,  18C6)  a  greater  shov/ 
than  ever  when  he  reopened: 

"The  management  announces  that  the  Wigv/am  Concert 
Garden  vnMl  be  closed  for  performances  from  Monday, 
September  20th,  and  v/ill  be  reopened  with  entire  new 
novelties  dii'ect  from  Europe  on  November  6,  1886.  Mr. 
Gustav  V/alter  will  start  for  Euro^oe  in  a  fov;  dayr;  and 
bring  out  the  strongest  musical  attraction  ever  brought 
to  this  country." 

SENSATIONS  FxROM  EUROPE 
The  troupe  playing  at  the  Wigv/am  when  It  suspended  cper- 
aticns  included  Marsho.ll's  Japanese  Tourists,  Jugglers,  Equil- 
ibrists, Acrobats,  Ttunblers,  Gymnasts  tvad  Prestidigit^itors  -- 
together  with  the  "Grer.t  Little  All  Right  and  the  Beputlful 
and  Daring  Female  Gymnast,  Miss  Gusno  Onego  Y<"xig  Yea,  all 
dressed  in  beautiful  oxid  brilliant  native  costumes*''  It  is 
difficult  to  im'^gine  a  more  spectacular  program,  but  Walter 
sailed  to  Europe,  returned  on  schedule,  and  triumphantly  ad- 
vertised in  the  Chronicl'  cf  November  2: 


^iji.-    ;■ 


r"   &  i   r'Prfv'  rr" 


■ii-.'-PiH     4,  _  ■i'ji.^,'_^JJ  *J    4  tJ  ■-' <i  i"- /.' ■-  i      'JUv>-LI. -C    ,  L- 


J.    L 

ei  il     ".r 


.■J-'i) 


122 


"WIGWAM  GARDEN  THEATRE  —  GRAND  REOPENING  I 
Saturday  November  6,  1886 

Extraordinary  novelties  brought  here  es- 
pecially at  enormous  expense  I  Acts  never 
witnessed  here  I  The  Latest  Parisian  Sen- 
sation, The  Vanishing  Lady,   Beautier  de 
Kolta's  Marvellous  Illusion,   the  Instan- 
taneous Disappearance  of  a  Lady  I 
Professor  Adolph  Seenean'a 
Cremation!  Cremation'. 
A  Lady  actually  set  on  fire  and  burned  up 
before  your  eyes! 
Etirope's  Greatest  Sensation 
Electral  Electra! 
or  Dreaming  and  Walking  in  mid-air  I 
Signer  St.  Belmo,   the  Man  Plyi   Leaping 

through  a  Heart  of  Sharp  Daggers  I 
Burtine,  tiie  Arabian  Juggler'.  The  3  Adon- 
ises I  Marvellous  Gymnasts  I  Acrobats  I 
The  Celebrated  San  Francisco  Quartet :  with 
John  C.  Miller,  the  famous  basso  profundo; 
Miss  Lucille  Hall,  comic  singer  and  dan- 
seuse;  Miss  Bertie  Sanger,  vocalist;  Wil- 
ItAa-  Baker,  artistic  lightning  changes; 
and  others  make  t>T»ir  first  appearance. 


•  t.:.,t 


'8iG  aiTOfii.s.-t 


}'ri:r;  ■  r-aeid  to 


, .«,  4     f 


aitt  ^ttdiitiH:. 


rrf.  •:  a.  »      «Ci"  f 


123 


FOUR  GRAND  OPENING  PERFORMANCES 

Saturdajr  -  Sunday  -  afternoon  and  evening 

-  Monday  November  6th,  7th  and  8th" 

GENESIS  OF  THE  ORPHEUM 
The  prices  remained  at  their  original  figure  when  the 
Wigwam  reopened.  It  prospered  witii  foreign  imports  vrtiile  home 
talent  went  begging  for  engagements .  Along  with  its  phenomenal 
success  came  tidings  of  yet  another  enterprise,  the  Orpheiom, 
which  was  nameless  when  the  Chronicle  of  November  26,  1886, 
made  this  announcement: 

"The  Wigwam  continues  to  do  a  large  business  with 
novelties.  The  best  sign  of  prosperity  is  that  the  pro- 
prietors are  about  to  build  a  new  place  opposite  the 
Alcazar  big  enough  to  hold  4,000  people." 

In  his  imagination  Walter  already  saw  the  Orpheura  as  hia 
summit  of  achievement;  but  the  Wigwam  was  paying  for  it  and 
he  did  not  forget  that  fact.  Melodrama  and  grand  opera  now 
were  added  to  the  regular  v^-riety  bills.  Just  before  the 
close  of  the  year  "a  Mr.  Mason's"  comedy.  Josh  Whit comb  and 
another  called  Half  an  Hour  w_ith  Judge  Louder  back  were  pre- 
sented on  the  same  program  with  "scenes  from  II  Trovatore." 
The  latter  featured  bona  fide  stars  from  the  German  and  Eng- 
lish Opera  Company,  who  played  the  scenes  with  none  of  the 
bvirlesqueing  usual  in  melodeon  grand  opera.  The  Chronicle  on 


JX 


■:tr? 


■f-*     e>  «• 


:.  jX  ; 


'}    *?BOlo 


or.  J    lo 


.0 


124 


January  1,  1887,  recorded  the  auccesa  of  this  combination  pro- 
gram: 

"One  of  the  most  notable  features  of  the  year  has 
been  the  development  of  cheap  amusements  of  a  better 
kind.  The  places  where  admission  is  ten  cents  have 
risen  above  customary  ideas.  The  Wigwam  gives  scenes 
from  grand  opera,  sandwiched  in  with  entertaining  spe- 
cialties of  all  kinds.  A  tendency,  too,  has  arisen  to 
put  on  go">d  dramas  at  cheap  prices,  and  the  crowds  would 
seem  to  show  that  good  things  are  as  much  appreciated 
in  resorts  of  the  poorer  classes  as  in  those  of  the 
higher.  The  enormous  numbers  that  attend  make  the  enter- 
prise pay.  This  has  made  a  serious  inroad  on  the  gallery 
audiences  of  the  better  theatres." 

WIGWAM,  A  LESSER  ORPHEUM 
But  an  even  bolder  maneuver  was  under  way  when  Walter 
established  a  booking  agency  in  New  York  v;hich  sent  to  the 
Pacific  Coast  such  vaudeville  and  variety  stars  as  M»  Forest 
Chene,  violin  virtuoso;  Lulu  Powers,  oraic  opera  soprano;  the 
Oro  Brothers,  Chinese  impersonators;  McGraw  and  Arlington, 
Irish  comedians;  George  H.  Wood,  satirist  playwright -actor; 
Jolly  Nash,  Cool  Burgess,  Eddie  Poy,  George  Vi/essels,  and  Weber 
and  Fields.  Said  the  Chronicle  (February  27,  i887)  on  hearing 
of  the  New  York  Agency: 


nol: 


9riT 

-  ftr:  y.    ' 


JO  svoda  n 


oic    -  -ttq.  qasn'c  *';  " 

6fi-?A^  o-it-.--7a    ricrm      s?    f^'xn  ';t   bro-?    ^9rf.f  ^n;^p.      '-•:f 


idileA'     nerlw  t^sw 


r,  ,-'  -f      .' ,  _-f      •♦  rf  A  "3 


3W    "X? 


.Eler- 


•  -l^CiY  v:r<V 


^^JO"? 


© 

OS.  J. 1 03^ 


"'■'"'■, ;  •  « 


311 J       JU 


125 


"The  nev;  deprrturo  on  tho  part  of  Gue  'Walter  In 
establishing  an  agency  In  the  East  for  procuring  attrac- 
tions is  likely  to  pay.  The  novelties  that  have  come 
and  are  coming  are  ir-rely  to  raise  the  entertainments 
at  the  Wigwam  to  a  higher  level  than  hitherto;  and  in 
its  special  line  this  place  proposes  to  hid  for  the  cus- 
tom of  the  leisure  public." 

The  Wigwam  profits  mounted  incredibly  and  Walter,  a  Ger- 
man im.migrent  who  had  started  with  many  handicaps  beside  an 
empty  purse,  launched  the  Orpheum  on  its  long  and  successful 
career  with  perfect  self-confidence*  For  two  years,  until 
1890,  he  owned  both  houses,  leasing  the  Wigwam  finally  to 
Charles  Meyer,  who  continued  Walter's  tactics  and  policy  with- 
out notable  deviation  for  a  period  if  three  years. 

Although  ostensibly  rivals,  both  the  Orpheum  and  the  V\fig- 
wam  offered  the  same  kind  of  bills;  both  recruited  their  stars 
in  Yi/alter's  agency,  and  frequently  exchanged  acts.  It  is  prob- 
able that  Walter  arranged  with  Meyer  to  use  the  Wigwam  as  a 
proving  groiind  for  those  attractions  he  intended  later  to 
stage  at  the  Orpheum. 

The  V.'igwam's  popularity  waxed  rather  than  waned.  The 
same  old  sensations  --  interspersed  with  burlesque  of  Eastern 
flavor  modified  to  fit  local  conditions  --  and  comic  operas 
which  included  nearly  the  whole  Gilbert  and  Sullivan  repertory 
still  made  an  irresistible  appeal  to  the  dime  and  quarter 


'•  "^  I. 


etao 


xex    ©ri3    lo  potf 


locti 


•X01 


;luo 


9fl*   5na  h: 


L>  -     *    r 


■     L-       -J  ^^ 


.  t  '-1  -f  /-<  ^ 


/ 


'  fr\  r.  <?i   t   K  r 


r-^  ? 


126 


crowds.  These  audiences  were  so  amenable  to  spectacular  il- 
lusions that  the  Examiner  offered  the  following  suggestion, 
on  June  11,  1893: 

"The  dime  mu3e\im  is  entering  into  San  Francisco  dra- 
ma with  an  astonishing  rapidity.  The  V/igwam  is  crowded 
with  admirers  of  a  pugilistic  kangaroo,  and  ladies  who 
adore  Patti  and  Albani  and  who  rush  to  New  York  for  a 
first  night  of  Henry  Irving,  have  been  flocking  furtively 
to  the  shrine  of  the  marsupial.  The  next  freak  show  we 
are  to  have  at  the  Wigwam  is  a  celebrated  Miss  Derondo 
who  will  waltz  about  the  stage  viith  eleven  crocodiles. 
Her  crowning  act,  so  the  Eastern  papers  say,  is  to  place 
her  head  between  the  Jaws  of  the  largest  of  her  crawl- 
ing friends.  This  is  supposed  to  cause  a  thrill  of  hor- 
ror among  the  audience.  Two  of  the  hideous  beasts  stand 
erect  on  their  tails  and  dance  a  quadrille  with  the  fair 
Derondo,  Would  it  not  be  a  good  idea  for  the  sake  of 
dramatic  art  in  San  Francisco,  to  place  all  the  kanga- 
roos and  all  the  prizefighters  and  all  the  alligators 
in  a  single  pit?  Let  the  day  be  the  Fourth  of  July  and 
let  their  appetites  be  well  sharpened  beforehand  I" 

t 

The  Wigwam  ignored  the  suggestion.   The  Call  of  July  2, 
1893,  carried  an  announcement  of  further  activities: 


'fi.1  &iwl»  iio 


,'  >  'f  •  •'V   ■-»'\^        /-,  *■  ^^ 


jisB  aB  iSiftw  m 


.■*^,'f ; 


a   'xo  i 


1 


n    •■■»  ■ 


i.V,' 


Li    lO 


l-Sil 


?  r'n  . 


10 


f.W    QllltbBUp 


T  A     f>  .'^  ft  r.-f     i^  -t      ,  ,-,  An*: 


TOT 


&*Xii»w     »■*  ii.ii*;  «!!(}  ".» 'ji-Vp 


*':-p:^b 


wi'-;  .:•.    ^.C'.O/jC 


sr^' 


127 


"Charles  Meyer's  Wigwam  must  have  a  managing  ele- 
ment In  its  affairs  that  is  as  full  of  energy  as  a  dy- 
namo. The  bill  for  the  present  week  is  a  marvel  in  the 
way  of  new  operatic  stars  and  n«w  variety  performers* 
In  the  first  place  Fred  Urban  puts  on  Marriage  by  Lan- 
tern Lights  a  ner.'  coi^iic  opera  in  one  act,  with  an  en- 
tirely new  distribution J  and  then  comes  in  regular  pro- 
cession a  baker's  dozen  of  novel  specialties  hy  new 
people  --  each  a  specimen  of  skill,  or  physical  train- 
ing, or  of  the  art  in  some  peculiar  line.  The  manage- 
ment has  concluded  to  retain  Omene,  the  Turkish  dancer, 
for  another  week.  There  will  be  a  matinee  here  ai  Tues- 
day, July  4," 

Whatever  the  merits  of  these  performances,  there  was  cer- 
tainly a  dynamic  energy  shown  when  Charles  Meyer  presented 
the  disparate  viewpoints  of  opera,  melodrama,  burlesque,  end 
sensation  acts  on  a  single  bill,  Fra  Diayolo,  The  Beggar  Stu- 
dent, A  Trip  to  Africa,  The  Mascot  --  sung  in  colloquial  Eng- 
lish --  had  to  contend  for  a  season  with  animal  attractions, 
acrobatics,  and  even  "an  Eskimo  Village  from  the  Arctic,  con- 
sisting of  eleven  people,  five  dogs,  and  the  largest  collec- 
tion of  curios  ever  brought  trom  the  frozen  zone,"  But  when 
Colonel  Daniel  Boone  and  T'lillie  Carlotta  arrived  with  their 
unique  ensemble  --  "a  large  den  of  forest-bold  lions"  —  they 
capped  the  climax  of  sensationalism. 


.9    10 


I'fiS,    S'lSJii.      O^iCxT^qO 


■iX 


'SU-.  S.  iac: 


C---J.. 


7.C 


*v    -ii 


-•Tt 


a£w 


fn^-^i- 


-J  xic. 


.ioai 


ail'-i  Q 


ru 


[!• 


128 


Late  in  1893,  Charles  Meyer  died.  The  Call  of  December 
31  delivered  these  tidings  to  anxious  Vk'igwam  patrons: 

"The  widow  of  Charles  Meyer,  late  proprietor  of  the 
Wigwam,  succeeds  to  the  ownership  of  that  place,  and,  in 
conducting  it,  will  be  aided  by  her  sons  as  business 
managers.  The  same  varietj'-  of  attractions  will  be  fur- 
nished nightly  as  usual." 

Thereafter  Albert  Meyer  assumed  control  of  the  house, 
while  Charles'  second  son  (never  mentioned  by  name)  performed 
the  of f ices  of  accountant,  factotum,  and  general  advisor.  For 
nearly  a  year  the  Wigwam  wore  its  crov/n  of  svipremacy  among  the 
me lod eons  with  undiminished  bravado.  The  Mej'-ers  staged  a  bur- 
lesque of  Pinafore,  called  A  Lass  That  Loved  A  Sailor .  They 
followed  this  with  a  Chanticleer  String  Band,  with  a  standing 
offer  of  |500  to  any  one  who  could  prove  the  "r casters"  were 
not  alive  J  presented  the  comedians  Plynn  and  Wallcer  In  their 
famous  sketch  Columbus  at  the  Midwinter;  and  on  April  29,  1894, 
after  a  series  of  "Caprine  Paradoxes,"  featuring  Professor 
Sherman's  $10,000  herd  of  educated  goats,  announced  in  the 
Can: 

"Albert  Meyer,  the  manager  of  the  Wigwam  —  usually 
a  specialty  theatre  --  will  make  a  new  departure  this 
week  by  starting  his  program  with  a  three-act  comedy  — 
the  title  and  cast  of  which  would  lead  one  to  suppose 


•iC  JO- 


:x9i."iJ  ai.    at 


.  i.'    iTUL'^f.    oni 


:n 


T9 


129 


that  the  author.  Prank  Dumont,  who  also  gave  birth  to 
The  Rainbow  and  The  Nabobs,  had  seized  upon  and  dramat- 
ically embalmed  a  local  subject.  Our  Married  Men  is  a 
very  suggestive  title,  and  for  subject  matter  there  is 
no  more  prolific  source  than  San  Francisco.  Clara  Belle 
is  a  prominent  name  in  the  cast  (played  by  Violet  St. 
Clair)  and  'the  cause  of  all  the  trouble.'  A  score  or 
more  of  specialties  follow  the  comedy." 

THE  TIDE  BEGINS  TO  EBB 
Our  Married  Men,  evidently  a  comedy  of  manners,  was  the 
first  and  last  three-act  play  to  make  its  appearance.  Either 
Frank  Dumont  ran  out  of  ideas,  or  the  Vi/'igwam's  patrons  dis- 
claimed interest  in  such  fare.  Gradually,  through  the  last 
months  of  1894,  patronage  for  even  spectacle  shows  began  to 
drop  alarmingly.  The  Wigwam,  despite  its  bravado  and  osten- 
tation, was  no  longer  paying.  First  news  of  its  failure  came 
on  January  20,  1895,  when  the  Examiner  proclaimed  without  any 
previovis  warning:  "Gustav  Walter  of  the  Orpheum  has  become 
proprietor  of  the  Wigwam  and  the  first  program  under  his  man- 
agement will  be  given  tomorrow  evening."  A  week  later  the 
Chronicle  stated: 

"The  Wigwam  has  swung  into  popularity  already. 
The  program  for  this  week  is  announced  to  be  Mahara's 
Mammoth  Colored  Minstrels,  thirty-five  performers,  of 
which  the  Southern  press   speaks  very  cordially.   The 


',J 


T'jO 


..-te 


'        B    '».^ 


-ar      , 


.a  "in 


:•  V  y 


Id   bJ 


cfr 


no 


SOit'N       ^i 


sd^B    r 


■r<   c;* 


;jR      5l    7r^«»«'   ei 


J-lt?.T'i''   .■iO-i 


.9M 


130 


first  part  is  said  to  be  very  strong,  and  the  olio  very 
entertaining." 

THE  WIGWAM  FOLDS  UP 
But  the  Wigwam  had  become  a 'white  elephant  for  Walter, 
After  one  more  engagement,  he  closed  it  in  disgust.  The  Post 
of  April  23,  1895,  made  his  reasons  quite  clear: 

"The  Wigwam,  at  the  southeast  corner  of  Geary  and 
Stockton  Streets,  is  closed,  and  Adele  Curi,  the  lead- 
ing lady,  is  now  on  her  way  to  New  York.  After  the  per- 
formance on  Sunday  night  Gustav  Walter  of  the  Orpheum 
and  Albert  Meyer,  manager  of  the  Wigwam,  both  of  whom 
are  interested  in  the  now  darkened  playhouse,  came  to 
the  conclusion  that  it  would  be  folly  to  keep  it  open 
longer.  The  burlesques  given  by  the  local  artists  at 
the  Wigwam  did  not  appeal  to  the  purses  of  theatre-goers 
In  San  Francisco. 

"One  of  the  plays  produced  at  the  place  last  week 
was  called  High  Fly.  In  one  of  the  acts  a  ball  is  bat- 
ted from  the  stage  into  the  audience.  One  night  a  jockey 
at  the  Bay  District  track  who  was  sitting  near  the  or- 
chestra cauf^t  the  sphere  and  punctured  it.  Another 
ball  was  substituted  and  that,  to  ,  was  destroyed.  On 
the  following  night  the  same  jockey  caught  the  ball  as 
it  was  flying  ov^r  the  heeds  of  the  spectators  and  tore 
it  to  pieces.   He  was  arrested  and  tried  before  Police 


.t*  - 

baa   »t  Bl    t* 

:-.£!.;:   vajB^jt;  -r                        -.   ao    .  ■■--■- 

.■:-^  3110 1 

.:"-.•-.■:  3  i::r.r. 'I 'i  -:3c:   a-. 
>;t.nw    tgpl   ■•                                                       slq 

-  .'^•■■''                                        ■  "ft   ?.o  *?  '?Vf 

:  ts 

6  8  11                                           .-Jt.    dn.  icf 


151 


Judge  Campbell.  His  punishment  was  a  fine  which  hs  could 
not  pay,  and  he  is  now  serving  a  short  sentence  for  the 
misdemeanor.  From  that  night  attendance  at  the  Wigwam 
fell  avmy  until  there  was  scarcely  enough  money  in  the 
box  office  to  pay  the  performers.  All  the  actors  and 
performers  were  paid  in  full  yesterday  afternoon.  Harry 
Constantine,  a  female  impersonator  who  had  played  one 
night  at  the  house  aaic':  'We  got  our  money  all  right. 
I  suppose  the  play  did  not  take  and  that  is  all  there 
is  about  it.  There  was  no  trouble  between  the  artists 
and  manager  Meyer.  He  kept  faith  with  all  of  us  .  .  . 
something  that  is  not  always  done  by  managers  of  losing 
playhouses , ' 

"Gustav  Walter  of  the  Orpheum  had  this  to  say:  'The 
fact  of  the  matter  is,  San  Francisco  will  not  patronize 
home  talent.  I  don't  blaiiie  the  people  much,  for  many 
of  the  people  v/e  have  had  v/orking  at  the  Wigwam  have 
been  unsteady  in  their  hours  and  upon  their  pins.  The 
Orphe\am  and  the  Vtfigwam  have  been  working  in  the  same 
circuit,  but  we  found  that  it  did  not  pay  us  to  transfer 
fron  the  Orpheum  to  the  other  theatre  the  higher-priced 
artists  we  brought  from  the  East.  There  was  but  one 
thing  to  do  from  a  business  standpoint  and  that  was  to 
close  the  Wigwam's  doors.  Local  talent  in  the  old  bur- 
lesques has  proved  a  failure,  and  the  Wigwam  patronage 
was  not  strong  enough,  it  seems,  to  pay  the  salaries  of 
Eastern  artists.* 


dj 


nc 


fa.-. 


'  rr  b-^  >^  :'fr-' 


6i: 


aes',' 


ti- 


lt 


I.  J  J    ii  1."  /. 


132 


"The  V/igwam,  which  for  many  years  commanded  a  large 
share  of  vaudeville  patronage  in  this  city,  was  built 
several  years  ago  by  the  Republican  Party  as  a  hall  in 
which  to  hold  Its  political  neetlngs,  and  the  aggres- 
sive utterances  of  many  of  its  leaders  on  the  Coast 
have  rung  in  the  great  auditorium.  It  is  not  believed 
the  building  will  again  be  reopened  as  a  playhouse. 
Many  attractions  at  the  Wigwam  will  be  seen  at  the 
Orpheura  this  week." 

Not  only  did  the  Wigwam  never  reopen  as  a  playhouse,  it 
never  reopened  as  anything  else.  Sometime  nrior  to  the  spring 
of  1896,  when  the  city  directory  of  that  year  went  to  press, 
the  building  was  razed  to  make  way  for  the  City  of  Paris  Dry 
Goods  Company's  establishment,  and  the  Wigwam's  only  perpet- 
uation was  in  its  name,  bestowed  on  a  theatre  in  the  Mission 
district. 


-«« 


03J8   eteev 


f5^V 


T    »/ 


,  Tl '.•-.ov.-j.i  *■■>-.. 


8      rtet't 


■  yiw 


eriJ^ 


\>[o 


if 


lO 


lib  ^c^io   aria 


,booO 


133 


CHAPTER  IX 
THE  BIJOU  THEATRE 

(1888-1894) 
On  Atigust  4,  1888,  the  Evening  Post  announced  the  comple- 
tion of  a  "new"  theatre  on  Market  Street,  opposite  Grant  Ave- 
nue, v;hich  was  to  be  opened  that  evening  for  inspection  by  the 
press.  But  the  Bijou,  although  expensively  and  luxuriously 
furnished  according  to  the  standards  of  thr.t  day,  was  new  only 
inside.  The  building  housing  it  had  been  standing  for  several 
years,  had  been  remodeled  at  an  enormous  cost  by  Colonel  Isaac 
Trumbo  and  R.  P.  Thomas,  and  had  been  leased  to  Billy  Emerson, 
"King  of  them  All."*  who  intended  to  make  the  Bijou  a  temple 
of  minstrelsy.  Said  the  Post  in  its  lengthy  description  of 
this  theatre ; 

"The  original  plans,  which  did  not  satisfy  Mr, 
Tr-umbo,  have  been  s.'irewhat  altered  and,  it  can  be  safe- 
ly said,  no  better  arranged  place  of  amusement  exists 
on  the  C^ast  ,  .  . 

■'The  main  entrance  —  some  fifty  feet  in  depth  -- 
is  one  of  the  most  beautiful  in  t'.ie  city.   The  floor  is 

■«•  See  Vol,  XIxI,  Minstrelsy,  this  series. 


..ftOEt •--■■•'  .     V 


lo 


In  pJ 


p-n  J* 


.1^,'      'r'5:Elr^ 


ei 


■■J  J  TO      e.d:T 


9  7  fiil 


i« 


.*   rto 


eo 


134 


carpeted  through  the  center  with  a  rich  crimson  velvet 

Moquette  carpet  on  each  aide  of  \;hich  is  a  two~foot 

border  of  inlaid  woods  of  oak  and  black  walnut.  Upon 
the  sides  of  entrance  and  hall  is  a  v/ainscoting  of  terra 

cotta  color,  three  feet  in  height  .  .  ,  Above  this,  to 
the  height  of  six  feet,  is  a  relief  in  tinted  green  and 
gold  of  web  or  comb  pattern  .  .  • 

"The  ceiling  is  of  light  greon  tint  handsomely- 
frescoed  and  divided  off  int  i  sections  of  four  beautiful 
arches  in  each  of  which  are  placed  four  incandescent 
lights  capable  of  throwing  a  brilliant  light  throughout 
the  entim  entrance.  Two  large  glass  do-5rs  sepni'ate  the 
entrance  from  the  foyer.  Upon  eitlior  side  of  the  foyer 
are  broad  stairvays  leading  to  the  balcony  and  gallery. 
On  either  side  of  the  foyer,  also,  are  the  entrances  to 
the  dress  dircle  which  is  the  handsomest  part  of  the 
house.  The  main  body,  to  appearances,  is  about  the  size 
of  the  Standard  Theatre  and  has  a  seating  capacity  of 
500.  The  fl)or  has  a  pitch  of  3/8  of  an  inch  to  the 
foot  and  the  neats,  which  are  of  the  latest  model  of 
folding  opera  chairs,  are  so  arranged  that  the  vlevf  of 
the  stage  is  not  obscured  by  those  occupying  seats  im- 
mediately in  front. 

"The  stage  has  a  frontage  of  35  f cot  and  a  depth  of 
25  feet.  The  limited  apace  on  the  stage  is  made  up  be- 
low, where  a  large  room  has  been  built  and  contains 
seven  dressing  rooms  .  .  . 


.  x'zo  i  - 


U.o 


VCl  J     JLO    J.'i.0..  ;):Ci    duCt 


T   ,e: 


.Tr^r+    ■■ 


I   ons 


w   In    blC'S 


.it 


J 


iG 


135 


"The  curtain  is  one  of  the  finest  ever  hung.  Val- 
ued at  |10,000,  Insured  for  $5,000  In  the  Bankers'  and 
Merchants'  Ins\irance  Company  /it/  is  a  representation 
of  the  Battle  of  Lookout  Mountain,  which  has  been  ex- 
hibited all  over  the  country.  Proprietors  of  the  Bijou 
have  secured  a  two-year  lease  of  the  painting,  which 
will  be  an  attraction  in  itself. 

"The  balcony  is  arranged  in  the  same  manner  as  the 
dress  circle,  with  handsome  crimson  velvet  carpets,  and 
seats  250  persons,  not  counting  extra  seats  which  ushers 
find  place  for  when  the  house  is  crowded. 

"Lighting  is  managed  behind  stage  where  numerous 
electric  buttons  can  be  pressed  •*-  any  section  of  the 
house  can  immediately  be  lighted  by  gas  or  electricity* 
In  the  center  of  the  ceiling  is  a  72  inch  Carona  light 
and  large  reflectors.  On  gallery,  balcony  and  dress 
circle  are  eight  three-pronged  jets;  one  burns  gas,  the 
others  the  Incandescent  light,  same  as  used  in  the 
Baldwin  ,  ■.  . 

"Besides  fire  hose  and  flood  pipes  on  the  stage, 
there  is  a  fire-proof  drop  curtain  which  can  be  let  down 
at  a  moment's  notice  and  prevent  spread  of  flames  .  •  . 
There  is  no  doubt  that  the  opening  of  the  new  Bijou 
Theatre  will  be  attended  with  grand  success  --  no  rea- 
son why,  under  the  popular  management  of  Billy  Emerson, 
it  should  not  receive  a  large  fashionable  patronage." 


■jac 


•JVU  , . 


^n32 


*i£s-' 


caI:^    ''•r,   ro  ^j'l^n    v .: 


arror* 


■t   /-•ft 


.^i^:;u::*x    Ji-sa    'rjiiiui 


30ir.c 


^x-ibi.:o_i..Cii 


136 


Although  elegant  enough  to  arouse  such  enthusiasm  from  the 
Post,  the  Bijou  was  destined  to  a  rather  brief  and  inelegant 
career,  ending  sadly  during  the  panic  of  1893  as  a  shelter  for 
the  homeless . 

EMERSON  MimjS  HIGH  "C" 

Emerson  opened  on  August  5,  1888,  with  his  minstrel  com- 
pany and  received  a  jubilant  ovation.  The  Post  declared  that 
it  surpassed  the  demonstration  tendered  Pattl,  the  previous 
spring,  when  people  stayed  up  all  night  in  their  eagerness  to 
buy  tickets  for  the  opera  star's  concert  —  and,  incidentally, 
smashed  a  plate-glass  window  at  Sherman  and  Clay's  music  store. 
Nothing  of  this  sort  occurred  at  the  Bijou,  but  a  number  of 
huge  floral  offerings  proclaimed  Emerson  "the  Prince  of  Min- 
strels" at  the  top  of  the  ladder  of  success.  These,  according 
to  a  waggish  observer,  had  been  contributed  by  the  "softer  sex 
.  .  ,  and  to  do  him  justice,  Emerson  looked  disgusted  at  this 
girly  girl  gush  in  the  flower  line;  so  did  other  people," 

With  one  or  two  exceptions,  the  show  stood  every  critical 
test  hy  v/hich  a  minstrel  performance  was  judged.  The  "king" 
went  through  his  entire  repertoire  of  songs;  tried  his  voice 
out  en  the  old  familiar  burlesques,  on  German  opera,  on  dialect 
pieces.  "But,"  said  the  Post  correspondent  next  day,  "he  made 
no  attempt  to  tag  that  high  "C"  which  made  him  so  famous  years 
ago.  In  fact,  the  great  William's  voice  is  not  so  clear  as 
it  used  to  be,   although  he  has  his  old  time  fund   of  mimicry 


t-  'i-i      -I  ■■i.lOXi     tJ^lJ 

'  T'        !;:»-.  -jf.'-i-l-ff 

oi  eaenia^ist*  -Jj.  en  llB  qw  T:  Ltqs 

loffjjf     ,_«•?•?;?»,  Iff.     TI: 

I 


137 


and  is  atill  about  90^  better  than  any  other  minstrel  on  the 

atsge."   The  rest  of  the  company  was  neither  very  good  nor 

very  bad.  As  long  as  the  people  had  Emerson,   oven  without 

his  high  "C",  they  were  apparently  satisfied. 

On  August  18,  1888,   the  Post  reported  full  houses  at  the 
Bijou. 

"The  Bijou  is  now  certain  to  be  as  permanent  an 
addition  to  our  regular  amusement  places  as  it  is  a 
welcome  one.  It  has  already  stood  the  test  of  ample 
trial  —  people  like  it  and  will  patronize  it  when  there 
l3  a  reasonably  go<-)d  show  there,  Emerson's  minstrels 
constitute  a  reasonably  good  show  when  Emerson  works  as 
hard  as  he  has  done  since  the  house  opened,  but  there 
is  room  for  improvement .  The  orchestra  is  not  all  that 
a  music  loving  community  could  ask  for  .  ,  .  Perhaps 
it  would  be  too  much  to  expect  to  find  a  good  orchestra 
in  such  a  pretty  house,  amd  much  of  the  company  is  quite 
clever.  One  change  had  to  be  made  during  the  week  be- 
cause a  couple  of  Irish  song  and  dance  gentlemen  found 
they  were  not  able  to  struggle  with  a  deck  load  of  whis- 
key and  an  acrobatic  act  simultaneously.  The  patronage 
of  the  house  has  been  very  large,  the  transient  trade 
alone  being  a  large  item." 

BIJOU'S  FORTUNE  P'-LAGS 
The  people  did  not  have  Emerson  long;   after  the  first 
month  or  so  his  name  dropped  out  of  the  casts  and  the  company 


srii  no         .  '  •   y.fp   rrart?  b    «? 

.  h(*i.l.tl  :tB&    y f "tn«'t »'.tr;  r?  TTf^w   v^rfct    ,"0"    rfyfri    • 

•  e   e.-JT'  SSI  s  0:tx;ctlcj.: 

eqsri' 

-Bill"'  '^'-   '  ■•  >r   •/.'.'!'  ."ton   ;"IOW  V. 


ed   9cr 


AH'      '1 


.-fT 


138 


had  to  oarry  on  without  him.  A  female  Impersonator  laconically 
known  as  "Leon"  practically  constituted  the  show  during  Emer- 
son's absences.  He  performed  remarkable  feats  of  imitation  in 
skits  variously  titled  A  Voyage  in  a  Balloon  (supposedly  de- 
picting a  birdseye  view  of  the  terrain  between  San  Francisco 
and  Washington),  Jessie  Street  Coona,  The  Mystery  of  a  Hand- 
some Cat,  and  The  Skat ing  Rink.  Then  Mclntyre  and  Heath  ap- 
peared in  November  to  help  things  along  with  their  Golden 
Colored  Wedding. 

None  of  these  attractions,  however,  sufficed  to  restore 
the  Bijou's  flagging  fortunes.  Whereupon  Messrs,  Trumbo  and 
Thomas,  and  an  associate  not  hitherto  mentioned  —  one  Mr, 
Houghton  --  immediately  notified  the  surprised  minstrel  king 
that  he  had  become  "a  ha If -proprietor"  of  the  Bijou  —  lock, 
stock,  and  building.  The  reason  for  this  became  apparent  when 
the  minstrels  began  demanding  their  salaries  which,  under  terms 
of  an  agreement  made  in  the  lease,  were  to  be  guaranteed  by 
the  owners  of  the  building  before  they  could  collect  their 
share  of  the  profits.  On  November  20,  Trumbo  and  his  partners 
shifted  the  entire  responsibility  on  Emerson  with  an  official 
notice  submitted  to  all  employees  (and  reproduced  in  the  Post 
of  that  date)  as  follows: 

"You  are  hereby  notified  that  the  undersigned  will 
not  be  responsible  for  any  salaries  which  may  become  due  ■ 
for  any  services  which  you  may  hereafter  perform  at  the 


861 


woriB  30  xS  'd"  ea  nwornl 

^rv^-v  '"''t^JSSi  oxiT   t snooO  ;f»oi;tS  o.IeebL      . '  rtrirf^rrh^'naV  bns 

-;  ,   hiii'.  'M.  nerfT  "..■. ' '^"        "  jiia    tU<,y   t>cgj£ 

n  gno  ■  i     rtsdmevoPI     ni  -I 

.      .  t  lo  "loleJ:  * 

annso   i-3f>rm   ^fi^j-uiw   <3e'.;;"ifijL>iB   'xi3riJ'^>-i*.viiii.;iDi.  riagoci  'ji'-'iJr:..;*.'"..   >•.-:; 
^d    f  tPtra   aCf  o:t  eaew  ^ 

-rc-V^i.-f      ■.:—?:  f^Tfrrrf   orfcf  "Jo   •  Pff* 


I 


omoo9cf  vfirr>  drAdv  BolifiXse 


139 


Bijou  Theatre,  under  the  employment  of  Mr.  William  Emer- 
son, or  any  other  person. 

Very  respectfully, 

Triimbo,  Houghton  &  Thomas." 

Emerson,  when  shown  a  copy  of  the  notice,  was  as  surprised 
as  the  men  to  whom  it  was  addressed.  He  gave  his  assurance, 
nevertheless,  that  the  salaries  would  be  forthcoming  at  the 
specified  date.  The  Post  article  continues: 

"This  did  not  satisfy  some  of  the  men,  especially 
some  of  the  members  of  the  orchestra,  and  the  majority 
of  them  quit  and  announced  their  intention  of  not  going 
on  last  evening,  Emerson  tried  to  persuade  them  to  re- 
turn, but  failed,  and  as  a  result,  when  the  curtain  rose 
at  8:45  last  evening,  the  stage  presented  a  deserted 
appearance,  there  being  only  five  out  of  the  usual  eleven 
seated  around.  They  were  Lorraine,  Delorme,  Whitmark, 
Somers,  and  Kushy,  The  orchestra  numbered  but  four 
pieces  —  a  cornet,  trombone,  clarinet  and  bass  dr\am. 
Besides  these  there  was  placed  an  upright  piano  on  the 
stage . 

"After  a  short  explanation  by  Lorraine  of  the  sit- 
uation, the  performance  began,  the  first  part  consist- 
ing of  singing  accompanied  by  the  piano.  The  first  part 
being  over,  all  hands  turned  to  and  assisted  in  moving 
the  piano  and  scenes  for  the  second  part,  much  to  the 


v     lO      ,!IO! 


''  .   f  o,.r   rTf? 


,\n'^'i  *^ ' 


T>.    - 


filx/ow  roa*xs.C.cb    6d.^   ^r 


♦  M    eXlO'    8fi 


,  f-  >  -..v-r-v 


qnlnji^  iort  It 


r:  .'■■.  .-f  .'^      (rvf»  (j»f»  •■!  -,rr     .'■•   !•     f  .•    '  ';    i      '•'(>  K^i^i-ti 


taritf  ,JA«6w't  e  &t!  bad   »i>t 


C    t.>-T   -,   O.:        /   ■ 


A'x^iOii   e*iBW   ^erii        ,  biiwoia   t>&. 


,/-rr-^  j-fl-  -*  ?  cs  r/»Yr 


!,.»  -r 


'Ji* 


■•j-q     J£ 


■^'iodc/ 


Tt^^or.  »^' 


Io  J^ftl 


ed;?   -'7  fioiJin      ^       .cr   DnoneE 


.     DClfi    OiJdlq 


140 


amusement  of  the  a\Tdlence,  The  entire  programme  waa 
made  up  as  they  went  along>  even  Billy  Emerson  himself 
going  on  the  stage  and  amx;slng  the  audience  for  half  an 
hour.  This  was  kept  up  until  10  o'clock,  all  the  actors 
doirig  their  share  of  scene  shifting  and  the  laying;  and 
taking  up  of  carpets,  with  the  exception  of  Delorrae  and 
Lorraine,  the  heavywel.^hts,  who  v/erc  detailed  to  handle 
the  piano,  while  two  of  the  ushers  raised  and  Invcred 
the  curtain.  The  men  did  their  new  line  cf  work  so  v;ell 
as  to  excite  loud  applause  from  the  audience,  who  left 
at  the  close  of  the  performance  well  satisfied,  Emerson 
was  deliglitei,  and  after  the  show  was  over  exclaimed  to 
the  men:  'You're  bricks,  every  one  of  yai,  and  you  can 
draw  double  pay  for  the  bn lance  of  the  week!'  And  he 
invited  them  out  to  hav^.  a  drinJc.  Tonight  a  good  per- 
f  imiance  is  promised  ond  outside  talent  will  be  engaged." 

PLAYIEG  m;  CAIIDLELIGHT 
Thus  began  the  quarrel  which  destroyed  minstrelsy  at  the 
Bijou,   Emerson  considered  that  he  had  been  discriminated 

against  and  refused  to  release  his  "partners"  from  their  agree- 
ment unless  they  paid  over  a  sum  of  m.)ney  a\ifficient  to  buy 
him  out.  The  partners  retaliated  by  attempting  to  force  him 
out.  They  summoned  the  renegade  employees,  gave  them  their 
overdue  salaries  on  condition  none  of  them  would  work  at  the 
theatre  again  under  Emerson's  employment,  and  ordered  the  gas 


I^tPs   no-ri    .p.rfnTn    -f-r^v. 


f.n   air    "'^_r:n 


iiti    .  .1.  ■■-.': 


1  Lis 


!   eew   b2 


b'p.* 


Tn/iR 


i  o/iJ 


•i.ri'i 


1^'xua   Oxij 


rroE  r 


•^ona-anr' ;. 


lo  r.f;.' 


(v 


flfi  5nA 


tiXD         ii'Sbtl       i'".  tiii 


.  Xi^  U  ■;  :-J.i  ll 


rf   eiT-r? 


fi 


141 


and  electricity  turned  off  in  the  house.  Next  evening  the 
ahnw  opened  with  candles  and  Japanese  lanterns  for  illumina- 
tion. The  Post  of  November  22,  1&88,  joked: 

"Bijou  Theatre  —  About  the  usucl  nuir.ber  of  people 
strolled  in  to  see  the  first  original  fun  that  has  been 
seen  on  a  minstrel  stage  in  this  city  for  several  years. 
The  candles  and  the  performance  came  to  an  end  at  about 
the  same  time  and  the  spectators  went  away  in  go  d  humor. 
Emerson  says  the  agony  will  be  repeated  tonight,  and 
that  he  is  going  to  give  a  show  if  he  has  to  do  it  v/ith 
his  contract  in  one  hand  and  a  kerosene  lamp  in  the 
other." 

Trumbo's  attorney  obtained  a  court  injunction  which  pre- 
vented Emerson  from  giving  further  performances  until  the  dis- 
pute has  been  settled.  After  a  period  of  costly  litigation 
v/hich  terminated  in  mid-January,  1889,  both  sides  agreed  to  a 
settlement  out  of  court.  The  Bijou  reopened  on  January  21, 
with  Emerson  once  more  making  personal  appearances  at  every 
performance  in  his  original  character  of  Moriarity. 

It  became  evident,  hov/ever,  that  Emerson  had  no  intention 
of  remaining  at  this  troublesome  theatre  longer  than  was  ne- 
cessary to  gather  a  company  and  prepare  for  a  tour  of  the 
Northwest.  When  he  departed,  early  in  February,  the  Bijou 
became  a  variety  house  in  the  strictest  sense.  It  offered 
everything  from  musical  comedy  to  opera,  including  a  dramatic 


a  o; 


'    '■)''{  •■? 


ifoMR 


142 


season  of  several  weeks   during  which  Edwin  Thnrne   played  in 
The  Right  Man^  then  a  recent  New  York  success. 

ILL  LUCK  DOGS  THi;  .BIJOU 
On  December  29,  1089,   after  another  period  of  idleness, 
the  Chronicle  stated: 

"Bijou  Opera  House  —  Another  theatre  that  seems  to 
carry  a  spell  of  ill  luck  upon  it.  It  v;as  huilt  for  a 
comedy,  comic  opera,  or  minstrel  theatre.  It  is  a  com- 
pact, comfortable  little  place,  but  so  far  it  does  not 
seem  to  have  'caught  on.'  It  was  opened  on  January  19th 
with  Billy  Emerson  and  a  minstrel  company.  It  did  a 
go  id  business  while  Emerson  played,  but  falling  out  with 
his  partners  who,  bein;;^  shrewd  business  men,  made  the 
usual  mistake  of  knowing  too  much,  and  gave  Billy  a 
contract  which  obliged  them  to  pay,  but  did  not  oblige 
him  to  pay,  the  arrangement  broke  up  in  some  disorder. 
A  specialty  show  took  it  v/ith  Kennedy,  the  mesmerist, 
and  made  little  money.  Then  there  came  along  Nod  Thorne, 
who  had  a  play  which  he  thour.ht  would  set  the  town  on 
fire.  The  play  was  The  Ri^h_t  Man,  but  Thorne  was  the 
wrong  man  apparently.  He  stepped  down  end  out.  Ben 
Cotton  took  it  for  a  brief  'flyer,'  Then  Lewis  Morrison, 
having  from  long  playing  of  the  devil  in  Faust  acquired 
an  idea  of  the  original's  powers,  bloomed  out  with  a 
chestnut  to  begin  with.   Chestnut  or  novelty,  it  did  not 


^*x 


I  tA.^1  a. 


,lif  L> 


ia    e 


ioa'ieii  J 


..Xi     ■■/! 


egxldo 


^'>   -^rfct      iTetr 


eff.l 


ft   f 


*.f:T'^^ 


•./-  ?i-. 


o*  lo. 


143 


seem  to  matter.  Hq  played  hig  snort  season  and  got  out» 
It  stood  vacant  a  long  time* 

"Then  tliroe  weeks  ago  Campobello  saw  the  vista  of 
fame  and  money  open  to  him  and  started  grand  opera.  But 
grrnd  ooera  at  75  c^nts  was  not  the  .ciiid  of  entertain- 
ment people  believed  in  and  he  succximood.  Several  less 
important  attractions  have  had  their  hour,  but  none 
stayed.  Yet  it  is  hard  to  see  why  the  Bijou  should  not 
draw  with  a  proper  show.  It  is  a  good  house  to  sing  or 
act  in,  and  for  a  light  comic  opera  it  is  peculiarly 
fitted. 

Notwithstanding^  the  Chronicle  '_s  lament,  ill  luck  contin- 
ued to  haunt  the  Bijou.  Samuel  Johnstone  took  over  on  Febru- 
ary 8,  1891,  but  was  happ^r  to  relinquish  his  lease  within  a 
month  to  H.  L.  Leavitt,  whereupon  the  C^all  of  March  15,  1891, 
announced,  concurrent  witl:t  a  change  of  name: 

"The  Casino  /fonierly  the  Bijou/  --  Under  this  new 
name  the  Bijou  will  a,^ain  enter  the  list  of  places  of 
amusement.  It  will  be  devoted  to  vaudeville  and  bur- 
lesque, and  maintained  as  a  place  of  family  resort. 
While  the  performances  will  be  of  a  high  character  of 
excellence  —  the  best  artists  being  engaged  —  varied, 
lively  and  humorous,  and  even  grotesqvie,  no  coarseness, 
or  any  action  approaching  it  will  be  all-^wed  on  the 
stage . 


't  n 


nil 


BB=iI    la*7 


i<Jii.     i,\.i 


10 


■1   d-I 


8 

5 


rioT" 


•-TJ^r.TP' 


ilijL, 


.1      15  'jV 


•  m 


:fli 


9 


'•?.c  ji" " 'Tao' 


144 


"The  re-chriatencd  house  will  open  toinorrow  even- 
ing with  the  classical  bvirleaque  of  Venus  and  Adonis, 
as  illustrated  in  Shakespeare's  poem." 

CHRISTIAN  Mt_S£ ION  SHELTER 

The  watchword  "Vivacity  Without  Vulgarity''  which  Leavitt 
now  applied  to  the  Bijou  also  signalized  its  quick  return  to 
the  doldrumt ,  There  was  one  more  classical  burlesque  •  — 
Pasha  Pasha  —  before  it  dropped  out  of  the  theatre  columns 
again.  In  the  latter  half  of  1891  it  v/as  utilized  by  various 
amateur  companies,  and  in  1892  was  opened  for  another  trial 
by  Loraine  Hollis,  who  intended  to  produce  comedies  and  society 
dramas.  But  two  or  three  weeks  sufficed  to  convince  Miss 
Hollis  that  she  could  not  make  the  Bijou  pay.  She  presented 
a  piece  called  The  Tigre^ss  and  another  called  Forge t-Me -Not 
during  the  month  of  February,  then  abandoned  the  house.  It 
was  used  for  amateur  theatricals  for  another  short  period  late 
that  year.  One  of  thf>  plays  trailed  across  its  boards  was 
called  Never  Despair.  The  Bijou  stood  desolate  again,  des- 
paired of,  apparently,  even  by  the  amateurs. 

Y/hen  next  heard  fron.,  in  1893,  this  ill-fated  playhouse 
had  become  a  shelter  for  the  homeless,  with  a  canvas  stretched 
across  its  foyer  bearing  the  legend; 

"CHRISTIAN  UNION  MISSION 
All  are  invited." 


f  »*J 


-uaVi    \i'-  -noiu''. 


■...  SX'TilC- 


a-iVH-S  '^ij 


Ytf 


Y^dio;.'t:  !-' w  ;i  ' '. 


«•>       OCi 


ii  xeMi 


•',q    U. 


5C^  :f  ei 


:JiiJ.( 


TO 


■.a 

1.    ii 


;'ii.A 


•V   Bbtor 


s^rfct 


•0 


-/:. 


144-a 


Said  the  Chronicle  ->f  February  9  in  explanation; 

"The  auditorium  where  once  the  jokes  of  famous  min- 
strels revived  old  play-going  memories  or  started  nev/ 
ripples  of  laughter  has  been  converted  Into  a  house  of 
praise  and  prayer.  The  nucleus  of  a  mighty  movement  to- 
wards caring  for  the  guest  unwanted  was  started  by  the 
erection  of  sixty  cots,  but  now  about  300  find  shelter 
in  the  building.  Some  •■>f  them  occupy  the  galleries  and 
private  boxes.  In  another  part  of  the  building  a  small 
number  of  women  find  refuge.  Such  are  the  hard  times 
today  manifested  on  the  great  main  artery  of  trades  and 
traffic  in  San  Francisco, 

Before  the  end  of  1895,  however,  the  Bijou  had  undergone 
one  more  transformation.  It  passed  its  last  days  as  the  Eden 
Musee,  housing  a  collection  of  "realistic"  wax  works  which 
"portrayed  scenes  and  incidents  made  famous  in  history."  It 
was  razed  sometime  in  1894,  as  far  as  can  be  learned. 


4C 


h'jvxvsi   p.ietiB 


'      .aoxod  9-:JovxTtq 

•  'T'ow  T:o     rrecfman 

•vxl'ie'i;* 
"?&   t»9set  eew 


145 


CHAPTER   X 

mSCHER'S  THEATRE 

(1900-1906) 

On  March  19,  1900,  F.  A,  Fischer  threw  open  the  doors  of 
hia  new  concert  house  at  122  O'Parrell  Street,  between  Powell 
and  Stockton  Streets.  Six  years  later  this  house  burned  down, 
never  to  be  rebuilt,  but  in  its  brief  career  it  made  itself  a 
landmark  in  San  Francisco  memories  --  although  not  as  a  con- 
cert house.  Fischer  planned  to  bring  the  noblest  music  to  all 
for  the  cost  of  one  dime,  and  probably  would  have  scoffed  at 
the  idea  that  his  name  would  bo  remembered  chiefly  in  connec- 
tion with  two  "German"  clowns  named  Kolb  and  Dill. 

Fischer's  v/as  a  handsome  h  »u3e,  as  the  Bulletin  of  March 
18,  1900,  described  it: 

"The  building  is  a  two-story  structure  in  Renais- 
sance style  of  architecture,  with  a  frontage  faced  with 
B  buff -colored  brick  and  terra  cotta.  Entrance  to  it  is 
made  through  three  spacious  arches  which  lead  into  a 
semi-circular  vestibule  finished  in  polished  mahogany, 
and  a  ceramic  tile  floor  of  artistic  design.  Prom  thifi 
vestibule  there   is  ingress  to  the   ladies'  cafe  on  the 


.  c 


1o   m^^rb   pr''*'  ns'jT; 


..frp^^.J    t-r\ 


flOfl 


'S^  L.  iJ  O  *  i     J,  'i  c  C; .  i  ^ 


145 


right,  and  to  a  similar  department  for  men  on  the  left, 
while  the  center  opens  to  the  grand  foyer  which  has  a 
rich  paneled  ceiling  with  a  brilliant  display  of  incan- 
descent lights  spaced  in  its  decorated  plastic  arches. 
The  sides  are  wainscoted  with  highly  polished  Tennessee 
marble  and  a  neatly  moulded  capping  upon  which  rests  a 
finish  of  polished  mahogany  panel  work  elaborately 
carved.  In  the  panels  are  beveled  plate  mirrors  which 
reflect  the  entire  foyer  and  its  artistic  ceiling.  The 
floor,  in  keeping  v/ith  the  vestibule,  is  of  a  special 
design  in  ceramic  tile,  while  the  doors  leading  to  and 
from  the  foyer  are  double-swinging  in  character  and  set 
?/ith  beveled  plate  'art  glass  '  .  .  . 

"The  auditorivim,  worth  the  price  of  admission  every 
day  in  the  year  to  view  its  magnificent  works  of  art,  is 
52  X  75  feet  and  45  feet  higli,  v/ith  the  galleries  al- 
ready referred  to,  above  on  either  side  and  extending 
over  the  foyer  and  lobby.  There  is  not  a  point  dov/n  or 
upstairs  from  which  a  full  view  of  the  stage  is  not  ob- 
tained." 

Among  the  most  admired  of  Fischer ' s  effects  were  the  pan- 
eled walls  of  the  auditorium,  each  of  which  exhibited  a  lighted 
medallion  of  a  great  composer.  The  celling  of  the  gentlemen's 
cafe  displayed  the  nude  figures  of  three  maidens.  The  stage 
was  good-sized:  52  x  25  feet,  and  52  feet  high;  the  proscenium 
was  20  feet  wide  and  25  feet  high.   George  Mooser  was  named  as 


147 


atage  manager  and  August  Hinrlchs  as  orchestra  conductor.  It 
was  expected  that  the  patronage  of  Fischer's  two  cafes  would 
more  than  make  up  for  any  deficiency  in  the  price  of  admission. 

HIGHLY  Sy C CES SFUL  OPEMING 
The  proprietor,  already  a  standard-bearer  of  culture  at 
his  old  Oberon  Hall,  ruled  that  gentility  was  to  be  the  order 
'  of  the  day  at  Fischer's.  The  first  concert  featured  nothing 
more  violent  than  former  members  of  the  Lambardi  Italian  Opera 
Company  --  the  Signori  Badarocco  and  Vargas,  and  Signorini 
Barducci  and  Pollettini  —  in  the  fourth  act  of  Verdi's  II 
Trovatore ,  Furthermore,  it  was  announced  that  the  house  was 
to  be  devoted  entirely  to  music  and  would  "encourage  and  fos- 
ter home  tolent."  Only  true  music  lovers  were  desired  at 
Fischer's,  and  the  balcony  ^-as  to  be  reserved  exclusively  for 
ladies  and  their  escorts  so  that  "the  fair  sex  will  be  as  se- 
cure from  the  possibility  of  insult  as  in  the  privacy  of  their 
homes."  This  did  not  speak  m\ich  for  local  manners,  and  evi- 
dently the  policy  was  appreciated,  for  the  Argonaut  of  March 
26,  1900,  reported  that  nearly  1,800  people  were  turned  away 
on  opening  night , 

Fischer  was  trwe  to  his  word  throughout  most  of  the  open- 
ing year,  featuring  the  Lambardi  troupe  in  excerpts  from  such 
easily  assimilated  grand  operas  as  La  Boheme ,  Mignon,  Caval- 
leria  Rusticana,  La  Favor ita.  La  Forza  del  Destine,  Rigoletto, 


la 


Martha,  Faust  and  Lucia,  punctuated  by  restful  concert  selec- 
tions under  the  baton  of  Conductor  Hinrichs.  Refreshments  be- 
ing the  main  source  of  income,  programs  were  calculated  to  set 
easily  on  the  digestive  system,  Rnd  this  policy  seems  to  have 
been  successful  for  some  months.  But  toward  the  end  of  sum- 
mer, novelty  cautiously  crept  into  the  genteel  halls  with  such 
performers  as  Baby  Ruth  Rowland,  Deets  and  Don,  Pox  and  Long, 
the  Berlin  Sisters,  Cogill  and  Cooper,  and  others  more  at  home 
in  vaudeville  houses  than  concert  halls.  However,  Fischer's 
Concert  Kail  still  buttressed  its  name  with  musical  programs. 
Music  began  to  play  a  smaller  and  smaller  part  at  the  Con- 
cert House:  jugglers,  "singing  soubrettes,"  "sketch  artists," 
trapeze  performers,  "Oriental  necromancers,"  and  all  the  pot- 
pourri of  vaudeville  gradually  transferred  Fischer's  gallery 
of  culture  into  the  most  indefinite  of  entertainment  res<irts. 
Finally,  on  February  24,  1902,  Fischer  capitulated,  called  the 
house  Fischer's  Theatre,  and  opened  with  an  "English  music 
novelty"  entitled  The  French  Maid.  Prices  were  25;?;',  bO^  and 
75j2f.  The  Chronicle  of  February  25  reported  a  full  house  and 
discovered  that  Madame  Pilar  Morin,  star  of  the  piece,  com- 
pared very  favorably  v/ith  the  famous  Anna  Held,  The  writer 
complained  that  the  house  did  not  hold  many  people;  he  could 
not  know  that  the  theatre  was  soon  to  bo  put  to  a  use  which 
demanded  just  such  intimacy.  On  March  17  Pilar  Morin  made 
another  hit  in  Littl_e  Christopher . 


s^x 


.jrjicc       •    i  V  ■■I  .'. 


1    i  ^  *»J     V^      T-\  r\  -*  ;.  t  r  4  ri  / 


7    r, 


13  I    ^.  f  r.  f      »-'.r;  Ti 


lo© 


;    -^dileme   one  'i: 

i 


o.ff.'f^,,,-!    r'-; 


OCJ  ii 


i   a  'fif^-iiotti;^  pat". 

)T  :tn  to   Q 


(     '  ,-.  '![.i  f  'l""         pf.-.f' 


9r{;J 


r -. 


ir:  ',.-.-(  ?.-rr.',     •f,'^' 


'?'t  ■"<  1  f ' 


ieyiv^ 


r.v  t--^  A'f 


CO 


arr?^ 


bnR 


U.:.;- 


S>>.-t  T'^f^  A- 


dilJ     lO         1.'»Cf(i 


*Jf     Tf 


niH?-!    .^C 


if  .-ir.T 


.Six  A 


trrf   rfr:-p    :?; 


a  lOiiu'  :ia 


149 


KOLB  AND  DILL 
On  April  7,  1902,  Fischer's  theatre  entered  the  phase  by 
which  it  is  beat  remembered  .  Kolb  and  Dill  opened  in  Fiddle - 
Dee -Dee  with  Maude  Amber  and  Barney  Bernard,  the  first  of  a 
long  series  of  burlesques  of  the  Weber  and  Fields  type.  For 
five  years  the  team  had  been  making  its  Twenty-Ninth  Street 
Music  Hall  the  center  of  amusement  activity  In  New  York,  and 
their  fame  had  spread.  San  Franciscans  had  never  been  able 
to  witness  these  burlesques,  though  Weber  and  Fields  had  made 
their  first  real  hit  in  San  Francisco  in  1889.  Since  there 
was  no  prospect  of  their  leaving  New  York  for  some  time,  the 
management  of  Fischer's  substituted  the  German-dialect  team, 
Kolb  and  Dill,  for  Weber  and  Fields,  Jfeude  Amber  for  the  beau- 
tiful Lillian  Russell,  and  Barney  Bernard  to  reproduce  the 
Jewish  smirks  and  mispronunciations  of  David  Warfield.  The 
experiment  was  more  than  justified,* 

BURLESQUE  AND  SLAPSTICK 
For  18  months  after  the  production  of  Fiddle -Dee -tlee , 
Kolb,  Dill  and  Company  made  Fischer's  Theatre  patrons  chortle 
with  foolery  almost  identical  to  that  offered  by  New  York's 
Twenty-Ninth  Street  Music  Hall  —  and  for  the  bargain  prices 
of  "Two  to  six-bits,"  Perhaps  Maude  Amber  was  not  (juit^J  so 
lovely  as  Lillian  Russell;  perhaps  she  did  not  make  the  spine 


*  See  Vol.  XIV,  Burlesque,  of  this  series 


j.TTri  riMt  fr 

,6881  ni  ooei  :ts2  nl   .•*  t.ff   Caet  .i;t 

■:V  10 1    .Ilia   r.a»  rfroTf 

vfb'-T'y'i':  ..-o,-.^.-,.Tr  •,,-,,, ..f.-p      :-,  -      ,      ^..ai/n  naJLlIici.  ax;^^^ 

bdx       .bXeiliftkV  blvaC   io  bits  aafilme  rfel^ve'G 

*,  63i1iJt*5i/f.   n  sew  ..e 

•I;tiorfo  anot^tAq  etctseriT  .^  eb&m  x-  ^^s  IXIQ   ,dIo."^ 

t^*  •Jtrr'}'    waTT     -i-r-r        art-r- "  "f  .'•      !•   -'r     '■■  :f         f ,       '.ff—ir-f'       *^<Trrrri     vn^rr  '  '.V 

o8  ti^Jlufi  iact  asw  -xIr  oi  owT"   to 


.Esiioe   elrii  "ic  i    ^VIX  ,ioV  pi&3     ^J- 


150 


tingle  quite  30  dellciously  as  she  sang  John  Stromberg's  "Come 
Down  Ma  Evenln'  St;. r";  but  San  Franciscans  liked  her.  Perhaps 
Barney  Bernard  could  not  screw  up  his  face  with  quite  the  com- 
iccl  pathos  that  distinguished  Warfield,  nor  could  Kolb  and 
Dill  ever  be  anything  but  distinguished  mimics  of  the  orig- 
inals, but  they  rolled  the  local  gentry  in  the  aisles,  and 
continued  to  do  so  for  years  after  Fischer's  Theatre  was  rubble 
and  ashes.  From  April, 1902,  through  September, 1903,  Fischer's 
was  the  center  of  frolic  and  satiric  mischief  as  there  fol- 
lowed in  uninterrupted  order  Pousse  Cafe^,  Hurly  BurJ^,  Whirl  - 
I'^JS-f  'J^Q  Geezer,  Barbara  Fidgety,  Hoity  Toitj,  Helter  Skelter, 
Twirly  V.Tiirly,  Under  the  Red  Globe,  Quo  Vass  I.s_s?,  and  The 
Con  Curerg  --  all  of  them  broad  bxirlesques  of  current  "mas- 
terpieces." There  was  certainly  nothing  subtle  about  them  -- 
their  hxomor  was  featured  by  bone-crushing  puna  and  ardent 
kicks  in  the  seat  of  the  trousers  —  bv\t  their  boisterous  and 
healthy  sense  of  the  rldicn.lous  must  have  been  a  relief  from 
the  sentimentalism  of  the  age  which  was  about  to  die. 

Others  at  Fischer's  must  not  be  forgotten:  Winfield 
Blake,  the  "De  V^folf  Hopper"  of  the  company;  dancers  Flossie 
Hope  and  Gertie  Emerson;  singers  Harry  Hfermsen,  Charlotte 
Vidal,  Hal  de  Forrest,  and  Olive  Vail;  and  above  all  the  pro- 
ducer of  these  lucrative  inonlties,  S.  K.  Priedlander. 

AI'T^!.R  1903  —  WHAT? 
With  the   close   of  The  Con  Curers,   October  5,   1903, 
Fischer's  finally  broke  away  f rom  tt»  Weber  an3  Fields  monopoly 


omcO"    • 

«?■■ 

baa  dio/i   bir/oo 


T', '*^"  ^  "^  <^'  t  >jT     .•;r  ."<  ri  *^  c ' 


■il>Ai-i' <%e 


-   ctwd  Mvns   acf  "xsv©  IIIQ 


-  Tr^'t 


,     lO'i    0  6    nt 


rfairoirfcf   ,S 


iu    beJq.i'r-i 


aictn.- 


e:^. 


.A.         I.    t,  ;j 


InlW 


rfr^  r ,  :•- 


»ri;f   "io 


'"     i=>Vlj 


iefiwU 


•fwTi 


no; 


ii  f— t«T. 


fl<tr*>  fti'fd 


.5   T-.-fc-?-""      .,-";''rr'r^  rroO   '^r-'T 


151 


to  offer  a  nev/  musical  comedy.  The  Paradera .  The  Argonaut  of 
October  12,  1903,  called  it  "an  agreeable  change,"  which  doubt- 
less it  was;  nevertheless  it  was  the  beginning  of  the  end  for 
the  old  Fischer  company.  Kolb  and  Dill  remained  for  some  time, 
but  with  the  opening  of  Judson  Brusie's  local  piece,  I^  0_.  U_,, 
on  December  2,  1003,  Flossie  Hope  and  Gertie  Emerson  were  re- 
placed by  the  Althea  Sisters,  and  in  Barney  Bernard's  tradi- 
tional place  as  "the  Hebrew"  v/as  Allen  Curtis.  There  were  also 
two  new  players,  Georgia  O'Ramey,  soubrette,  and  Ben  T,  Dillon, 
comedian*  Further  dissolution  came  vi/ith  the  opening  on  January 
13,  1904,  of  another  piece  of  local  origin.  The  Beauty  Shojg, 
by  J.  C.  Crawford,  in  which  Maude  Amber  and 'Winfield  Blake  were 
replaced  ty  Helen  Russell  and  John  Peachey,  Only  Kolb  and  Dill 
remained,  They  soon  made  their  last  appearance,  on  February 
22,  1904,  in  Will  Carleton's  RolyPoly.  On  May  3,  1904,  after 
a  disappointing  season  of  musical  comedy,  Fischer's  closed 
"for  alterations." 

§PJ1NCE  CREFPS  IN 
The  Argonaut  for  May  2,  1904,  announcing  the  theatre* a 
closing,  spoke  In  wishful  terms  of  great  days  ahead: 

"President  Fischer  and  Stage  Director  Jones  have 
gone  East  to  secure  the  best  singers  and  actors  available. 
The  policy  of  the  house  will  be  changed  as  far  as  the 
plays  are  concerned.  Nothing  but  the  funniest  of  bur- 
lesque will  be  offered.   No  less  than  six  well-known 


T      . 


:".      P-,.-. 


.  ri  t'-r -rt^T  St  r . 


-J.'' 


■)0 


/I  rtej 


f^      ^ot    lOCfOv 


I  A>      W ' 


"■f  (^  '*^    f  f  ^  v/ 


•.^(-1^ 


-0 


nr/ii  Ti' 


writers  are  at  work  upon  new  subjects,  and  three  are 
nearing  completion  that  are  said  to  excel  any  of  the 
Weber  and  Fields  successes  .  .  ." 

The  "new  subjects"  may  have  been  all  the  Argonaut  said 
they  were  --  but  unfortunately,  the  public  dirt  not  concur. 
First  on  the  list  was  Judson  Brusle's  U,  3,,  which  opened  on 
May  30,  1904,  with  all  the  new  replacements  —  Ben  Dillon, 
Helen  Russell,  Nellie  Lynch,  Allen  Curtis,  Rice,  Cady,  Bobby 
North,  Georgia  O'Ramey,  anr]  Edna  Avig.  An  item  in  the  Argonaut 
of  June  13,  1904,  concerning  this  run  mentions  the  "Radium 
Dance"  in  which  "girls  in  pyjama  costume  appear  on  a  darkened 
stage  and  appear  to  radiate  light."  Among  the  "hit"  songa 
was  "My  Coo-Coo  Baby." 

Then  came  The  Lucky  Stone,  on  July  11,  1904,  offering  a 
nxjmber  of  nev/  people,  among  thorn,  one,  Nora  Bayes,  a  soubrette," 
singing  "Follow  the  Crowd  on  Sunday."  Nora  Bayes,  born  Emma 
Goldstein,  was  to  become  a  great  figure  in  vaudeville*  The 
temperamental  Nora  is  remembered  for  her  chief  song,  "Shine 
On,   Harvest  Moon,"  written  by  her  husband.   Jack  Norworth, 

In  the  rest  of  Pitcher's  career  there  was  little  of  in- 
terest. An  advertisement  from  the  Evening  Post  of  May  1,  1905, 
bills  Tony  Lubelskl  as  general  manager,  and  Henry  Cahen  as 
business  manager.  The  theatre  announces  as  its  feature  at- 
traction "the  man  who  mystified  Hermann,"  one,  Hov/ard  Thurston, 
"world's  master  magician,"  Admission  was  reduced  to  10^  and 
20j^. 


&rii  lo  x^*     -f 


[U     5(aow  ,-tfi  9i»     Biarti-xw 


-  'J  j:j  O*. 


i.   riii:    "::,'U3 


.  t; 


nu;ih«5^" 


tooxr. 


.TO   "XB&qqs 


'sr 


Tf>    ■♦eT?''? 


■r'J  ■■i' » 


-q»0    r 


yi/i 


.4b 


r~r-  i^T    ".7' 


Br.^ra.:; 


. alXive 


:  IT-  T  ■-- 


^finnrn 


■.18 


.  r>  *•  .-'  1  ;»  i.-  ''  •■>  -»  r;  a  f 


153 


FINALE  —  1906 
The  history  of  Fischer's  degenerates  into  mlacellaneoiis 
acts.  On  April  18,  1906,  the  great  San  Francisco  earthquake 
and  fire  turned  the  house  into  a  heap  of  ashes,  A  later  item 
Inthe  Examiner  of  October  11,1906,  headed  "Fischer's  Theatre," 
began: 

"Upon  the  old  site  of  the  Fischer  Theatre  on 
O'Parrell  Street,  near  Powell,  the  Fiacher-Rebman  Theatre 
company  will  erect  a  .ii)75,000  hotel  .  .  , 

"'We  had  intended  to  rebuild,'  said  Manager  Henry 
Cahen  of  the  company,  'but  the  50-foot  frontage  was  too 
narrow  to  conform  to  the  theatre  law  which  requires  10 
foot  exits  on  each  side.  We  have  secured  another  site 
for  Fischer's  Theatre  and  will  soon  begin  the  erection 
of  a  permanent  structure  .  •  ,'" 

But  the  only  "permanence"  Fischer's  Theatre  ever  at- 
tained lay  in  Impermanent  memory. 


isuaax"    ujiv      jiJiV'i^    2i 


♦  fijoa 


»7a  leve   < 


iB    lO 


154 


CHAPTER  XI 
THE  MAJESTIC 
(1904-1906) 

The  life  span  of  the  Majestic  falls  naturally  into  two 
periods:  the  period  of  Ita  construction  and  that  of  its  actual 
career.  The  construction  of  the  modern,  fireproof  building 
at  Market  and  Larkin  Streets  took  almost  20  months,  and  the 
theatre  had  been  in  operation  little  m'jre  than  that  when  it 
was  destroyed  by  the  earthquake  of  April  18,  1906. 

When  the  Majestic  opened  on  April  18,  1904,  it  was  still 
Incomplete.  Ashton  Stevens  wrote  in  the  Examiner  of  April  19, 
1904:  "...  the  architect  had  miscalculated  the  time  re- 
quired for  building  a  modern  fireproof  playhouse,  and  it  was 
only  by  managerial  grit  in  the  face  of  almost  uncompromising 
obstacles  that  the  curtain  was  rung  up  last  night  —  just  foixr 
weeks  later  than  Mrs.  Piske's  first-night  at  the  Grand  Opera 
House,  where  fortunately  another  independent  management  was 
only  too  glad  to  give  house  room  to  the  most  dlatingulahod 
actress  in  the  United  States  ..."  Prom  which  it  would  ap- 
pear that  H,  W.  Bishop,  lessee  of  the  Majestic  had  been  even 
more  sanguine  than  the  architect  and  had  tentatively  scheduled 
Mrs.  Fiske  for  his  new  playhouse  at  least  a  month  before  its 
actual  opening. 


il«l 


**r^i'\T'-r  Jt»* 


I  i .     ■    1  •»• 


:^Xii*.    ;.  ZSjZJ.. 


155 


Having  missed  one  opportunity,  however.  Bishop  was  deter- 
mined not  to  miss  another.  He  signed  a  contract  with  James  K. 
Hackett  guaranteeing  "house  room"  to  Isabel  Irving,  a  star 
only  less  exalted  than  Mrs.  Fiske  herself,  and  fulfilled  his 
contra '■t  to  the  letter  by  opening  the  Majestic  before  it  was 
completed.  This,  together  with  its  "failure  to  make  history" 
(in  Ashton  Stevens'  words)  during  the  advent  of  Mrs,  Fiske, 
gave  the  theatre  an  air  of  early  disappointment  which  fore- 
shadowed its  brief,  frustrated  existence.  On  May  9,  1904, 
Sarah  Bernhardt  also  was  scheduled  to  appear  at  the  Majestic; 
but  because  of  its  unfinished  state  her  engagement  was  trans- 
ferred to  Bishop's  Ye  Liberty  Playhouse  in  Oakland. 

GALA  OPFNING  NIGHT 
But  while  it  did  exist,  the  Majestic  seems  to  have  lived 
up  to  its  name.  It  was  a  house  dedicated  to  drama  and  sophis- 
ticated comedy,  pledged  to  reasonable  prices,:  and  coramitted 
to  a  standard  of  excellence  with  which  the  theatrical  trust 
could  not  interfere.  Seldom  did  it  fall  below  this  standard, 
and  never  did  it  stoop  to  garishness  or  relax  its  dignity. 
Even  the  opening,  as  reported  by  Ashton  Stevens  in  the  Examiner 
of  April  19,  1904,  manages  to  leave  an  impression  of  the  Majes- 
tic's  essential  character,  although  bare  brick  and  iron  were 
visible  in  the  auditorium  amid  a  temporary  decorative  scheme 
of  foliage. 


saw  ji   Qio'ioii   oXmC o(,,i..>  r;.i.j     ;■              ■    ^a   isJCJsi    jrlJ   f3   J~>Gijfirio 

"X  uon 

-es'ici  iloiav;   aTi*»ai.Jr.  '^n  Y-'-                                                      -^i'l-' 

^i-OCJ.  elx©      b- 


OB    5ns    !■.  '    ^■!  •-' 

bo  ■  '  t  'to        -■  f  n  P r^ .'•  -J  ►■  •'  f  ■? 

©tow  rtont    •■ 


156 


"Belatedly,  prematurely,  but  delightfully,  the  Ma- 
jestic Theatre  was  opened  for  the  first  time  last  night 
by  the  Mayor,  Miss  Isabel  Irving  and  her  company  in  a 
dramatization  of  The  Crisis,  and  one  of  the  best  natured 
audiences  that  San  Francisco  has  ever  turned  out,  new 
theatre  or  old,  unfinished  or  finished.  Manager  H,  ViJ, 
Bishop,  for  whom  the  nevf  playhouse  was  built  by  the 
William  Ede  Company,  kept  his  pledge  with  manager  James 
K,  Hackett,  whose  attraction.  Miss  Irving  in  The  Crisis, 
was  shown  as  per  contract  in  the  Majestic  Theatre  on 
Monday  night,  April  18,  1904.  An  independent  theatre 
for  independent  attractions,  says  the  programme,  and 
who  knows  but  some  vital  local  theatrical  history  may 
one  of  these  days  be  traced  back  t  i  that  date  .  ,  . 

''None  but  the  clairvoyant  could  have  popped  his 
eyes  at  the  makeshift  finish  of  the  Majestic  last  night 
and  told  what  the  theatre  really  is  destined  to  look 
like.  I  am  not  a  clairvoyant.  I  could  see.  the  rough 
structure  of  a  round,  compact,  substantial  little  thea- 
tre that  shall  no  doubt  still  be  new  when  Market  Street, 
near  Ninth,  is  regarded  as  a  down-tov/n  location.  It  is 
builded  to  last,  and  I  don't  know  but  the  absence  of 
the  gilding  and  gingerbread  only  served  to  point  to  the 
solidity  of  the  thing. 

"Under  the  strongest  electrical  display  I  have  seen 
in  any  auditorivim,  everything  was  as  white  as  plaster  -- 


■.    <r     .     I  'I' 


orzL 


linn  ^ 


a-et 


'p.di 


1      o^ 


acfxffw 


157 


Indeed  everything  in  axpht  was  plaster,  of  brick  and 
iron,  save  the  stretches  of  red  carpet  temporarily  run- 
ning down  the  aisles,  the  palms  and  other  greenery  that 
made  the  entrance  and  much  of  the  lower  floor  end  boxes 
look  like  the  groundwork  for  a  flower  show,  and  the 
chairs  of  green  and  mahogany,  that  are  in  place  for  ,1ust 
tv/o  weeks, 

"For  after  Miss  Irving 's  fortnight '$  engagement, 
the  chairs  go  out,  the  scaffolding  goes  up  again,  and 
the  contractors  put  back  their  men  at  the  work  of  com- 
pleting the  decoration.  This  yvIII  take  at  least  three 
months,  and  the  six  weeks  engagement  of  Mr.  Haokett 
hiiself,  which  was  to  have  follov/ed  Rfiss  Irving' a,  was 
last  night  definitely  postponed  indefinitely.  The  con- 
tractors want  their  m^ney,  v/hich  v;ill  not  be  forthcoming 
till  the  theatre  3,s  completed;  meantime  they  are  paying 
the  insurance. 

"Such  sordid  details  I  But  if  I  must  be  permitted 
to  'write  up'  the  first  nights  of  the  new  showhouse,  I 
must  bring  back  the  news,  and  while  no  doubt  a  part  of 
that  should  consist  of  a  brilliant  description  of  the 
new  theatre,  I  am,  as  I  say,  no  clairvoyant.  The  best 
I  can  imc.'^^ine  about  the  Ma  jestic  is  that  it  will  be  easily 
the  coziest  and  possibly  the  handsomest  theatre  in  San 
Francisco  —  perhaps  as  handsome  as  the  Ci-rand  Opera 
House  would  be  if  its  owner  would  spend  forty  or  fifty 


V--.!    f. 


'^r-'.vi^.    (•'vo'irff 


6  lie 


^r/c-ila'  'ier'<iL'\. 


a  qx: 


ert-iiid 


■il' 


X-,    1  :- 


^n.i:r?" 


?)air 


T9q    Od 

•'.t:Jqi:i.-itj 


■i  erict 


lisri^r 


VlUii'i.i- 


r?/n    3 


158 


thousands  in  decoration.  For  sheer  structure  the  Grand 
is  hard  to  beat . 

"Mayor  Schmitz'  dedicatory  remarks  were  more  than  '. 
the  usual  formality.   He  said,  of  course:   'Majestic  in 
name,  let  us  hope  that  it  will  ever   stand  for  what  ia 
majestic  in  art.'    In  such  circumstances  that  would 
have  been  a  very  hard  thing  not  to  say  ..." 

STARRING  ISABEL  IRVING 
There  follows  a  paragraph  of  laudatory  remarks  directed 
at  Alfred  Bouvier,  credited  with  first  conceiving  the  idea  of 
a  first-class  theatre  on  the  Majestic 's  site;  and  then: 

"Miss  Irving  ushered  it  /the  play/  very  prettily 
by  breaking  a  bottle  of  California  champagne  over  a 
mound  of  native  yellow  flowers  and  saying:  'I  christen 
^  thee  Majestic.'  Then  the  thoroughly  California  curtain 
that  is  painted  after  one  of  Latimer's  best  'rcdwonda' 
gave  way  to  the  photographers,  who  very  swiftly  executed 
a  smell-less  and  smokeless  flashlight  of  an  audience 
that  had  no  difficulty  in  looking  pleasant,  although 
the  hour  was  9  .  .  , 

"It  v^as,  indeed,  Miss  Irving's  effortless  sublima- 
tion of  a  rather  flimsy  character  that  made  the  purely 
theatrical  end  of  last  night's  opening  a  success.  Every 
member  of  the  company  but  herself  overestimated  the 
seating  capacity  of  the  house  (which  is  not  over  1,700 


brifiTv 


L\J    '  v>,".,  ,1  £5       ■ 


IV  •  X  ■• 


T-'' 


'1 


KX      J  ' 


a     e<- 


-.lUiu  JL     J.  u  fcj  • ;  J ;      -.:  CI* 

.  ©fltSfl 


'  '  A.  i.      .^  i  i  ^  I  i  •.' 


arf 


li"    jsof^i    "^ -'"(■*    'nr 


b'^!*i/'*5'?." 


??» 


v:i.i:jaoa' 


'..-tcr 


.ij.e7V:vc    uxnic: 


^  -iji:^ 


^u      ^ivi-    r'.si?''" 


7Cf 


8Ey>r 


1  -to 


;/9   bo 


•A 


•.J3ii':i-.L.'JJ. 


'J  ;.'!.' .lie- 


•Affllldj/B   eeeJ 


il     ,  6  /? 


>.il 


159 


and  snugly  packed  at  that)  and  underestimated  the  admir- 
able acoustics.  They  shouted.  They  pitched  their  per- 
formances in  Grand  Opera  fiouse  key.  Exaggeration  was 
the  watchword.  But  there  is  hope  for  better  things 
henceforth  in  the  fact  that  this  fault  was  unanimous, 
with  the  exception  of  Miss  Irving  ..." 

The  prices  for  this  performance  vrere  fl.SO,  ^1,  and  50jzf; 
the  play  was  Vi/inston  Churchill's  dramatization  of  his  own 
novel.  The  Crisis .  The  performance  was  notable  chiefly  for 
the  charms  of  Isabel  Irving,  who  had  begun  her  stage  career 
when  little  more  than  a  child  in  August in  Daly's  company,  had 
played  engagements  for  Charles  Proliman,  and  had  been  John 
Drew's  leading  lady  in  several  notable  New  York  successes. 
For  two  v/eeks  Isabel  Irving  packed  the  Majestic  every  night 
"with  her  sublimation  of  a  rather  flimsy  character",  then, 
her  engagement  over,  she  went  on  with  her  tour,  leaving  the 
unfinished  house  to  the  contractors  and  their  workmen. 

FORMA L  OPENING 
Some  three  months  later,  on  September  3,  1904,  The   Majes- 
tic had  its  "formal"  opening.   Said  the  Argonaut  of  August  29: 

"San  Francisco's  handsome  new  theatre,  the  Majestic,, 
on  Market  Street,  opposite  Larkin  Street,  will  formally 
open  on  Saturday  evening  September  3rd,  with  an  elabo- 
rate production  of  P.  Marion  Crawford's  historical  ro- 
mance. In  the  Palace   of  the  King,  which  was   presented 


il'-'S     9UJ     USJi-fii. 


D  3ii  0  cq    \:  -  ^.^ ":  L    one 
-a  elcffl 


;?■.;(  ?a 


JCi 


rrn    » £*   .O*!.!^   e'r3'v   *?■ 


offw 


■"»?     Wf 


:tii^^..   x'love   o^"uB5i,jeui   saj    D.ji;;. 


p .  ■: .. 


■■a 
'& 

•''-I 

■    10  u 
lerl  xirtw" 


vic;-,|i>        .-  i-j  I    . 


«fttoS 


'  -I 


'.'A  .'s  ;.'!.«■ 


.-■I-,  ffs  ri-fb 


iiea^j' 


jOOiliitll 


160 


here  with  great  success  by  Viola  Allen.  The  production 
will  be  given  by  the  Majestic  Stock  Company,  the  leading 
lady  being  Grace  Reals,  who  for  several  seasons  appeared 
in  principal  roles  at  the  Dearborn  Theatre  in  Chicego. 
She  has  also  been  starring  in  many  attractions.  J.  H. 
Gilmoure  is  to  be  the  leading  man,  and  others  will  be 
Richard  Thornton  and  Joseph  Callaghan.  Henry  Stockbridge 
will  appear  in  the  light  comedy  roles.  Eleanor  Gordon 
is  also  a  member  of  the  Majestic  Company.  Robert  Morris 
will  stage  the  producti'-^n.  H.  W,  Bishop,  who  also  con- 
ducts the  Ye  Liberty  Playhoxxse  in  Oakland,  is  lessee 
and  proprietor  of  the  Majestic,  and  Oliver  Morosco  tf 
the  Burbank  Theatre  of  Los  Angeles  will  have  the  general 
management ." 

Judging  by  press  reports.  Bishop  had  gathered  a  strong 
company  and  intended  to  present  a  different  play  each  week,, 
with  "bargain  matinees"  on  Thursdays  .  So  great  wos  the  advance 
sale  of  tickets  that  In  the^  Palace  of  the  King  was  held  over 
a  second  week;  it  was  followed  by  The  Altar  c^  Friendship, 
Captain  Bassington,  The  Henrietta,  A  Japanese  Night inga le 
(dramatized  from  Onoto  Watanna's  novel  of  that  name).  Hearts 
Aflame,  and  The  Taming  of  Helen,  each  of  which  ran  a  single 
week.   On  November  26,  1904,  the  Argonaut  announced: 

"The  Taming  of  Helen,  one  of  the  most  entertaining 
and  cleverly  proiuced  plays  that  has  been  offered  at  the 


3 

fl930 

OilO 

-)Cf    ocf 

ei 

•■.  a 

C 

r 

XXI  w 

lO    9lBR 

.rr » •-■'rthrr«i  ^-fT    "*:  -^    :t-f     fAr^mT      '••■-fr  ope    .= 

I'ovon  -Oil   ^  rfllb) 


10 


e'^ct  ie 


161 


Majestic  Theatre,  will  bring  a  successful  weekto  a  close 
with  the  performance  of  tomorrvow,  Sunday,  evening.  In 
Mi zz our a  by  Augustus  Thomas,  will  be  the  offering  dur- 
ing next  week,  commencing  with  Monday  evening.  It  is 
one  of  the  best  of  Augustus  Thomas'  stage  productions, 
wherein  American  life  and  character  are  so  realistically 
pictured.  It  deals  with  the  people  of  Pike  County,  Mis- 
souri, and  ranks  as  one  of  the  most  heart-appealing, 
humorous  and  sentimental  of  this  class  of  productions. 
The  Majestic 's  revival  will  be  on  the  most  elaborate 
order,  with  full  scenic  embellishment,  complete  cast, 
and  will  be  equal  in  every  way  to  the  premiere  of  the 
play  in  New  York,  J,  H.  Gilmoure  in  this  production 
will  portray  the  character  role  of  Jim  Radburn,  the 
Sheriff,  which  is  an  entirely  different  line  from  that 
in  which  he  has  been  seen  in  this  city.  Howard  Gould 
will  present  the  part  of  Sam  Fowler,  while  Adele  Block 
takes  the  part  of  Kate  Vernon.  The  other  members  of 
Oliver  Morosco's  well-balanced  stock  organization  will 
be  assigned  to  acceptable  roles.  The  Senator,  the  com- 
edy made  famous  by  W,  H,  Crane,  is  in  preparation,  and 
will  follow  In  Mizzoura, " 

POPULAR  PLAYS  AM)   PRICES 
The  above  is  typical  of  nearly  a  hundred  such  notices, 
showing  that  the  Majestic  specialized  in  former  New  York  suc- 
cesses.  It  was  a  popular  house  from  the  start;  its  dramaturgy 


162 


achieved  and  maintained  a  uniformly  high  level,  demonstrated 
in  a  series  of  such  plays  as  the  Ella  Wheeler  Wilcox  drama, 
Mi z pah;  William  Gillette's  comedy.  All  the  Comf or t s  of  Home ; 
Hoyt's  frrc-cmedy,  A  C->r tented  Woman ;  and,  in  mid-June, 
1905,  G.  M.  S,  KcLellan's  Leah  Klesphna  —  which  "made  his- 
tory," as  Ashton  Stevens  would  have  said,  with  Mrs.  Fiske  in 
the  title  role.  But  the  Argonaut,  more  conservative,  merely 
stated    on   June    12; 

"The  second  and  last  week  of  Vra .  Piske  and  the 
Manhattan  C  "smpany  in  Le_ah  Kleschna  at  the  Majestic  Thea- 
tre com-'encT. 3  next  Konday  night,  Mrs.  Fislce  is  sur- 
rounded by  a  grovip  of  players  that  include  John  Mas m, 
George  Arliss,  Charles  Cartwright,  William  B.  Mack, 
Claus  Bogel,  Edward  Donnelly,  Monroe  Salisbury,  John 
Emerson,  Chnrlea  Terry,  Prank  E&ptviooci,  Emily  Stevens, 
■  ftery  Maddon,  and  Gertrude  Graham.  The  production  from 
a  scenic  standpoint  is  notable .  The  management  of  the 
Majestic  announced  to  follow  the  Fiske  engagement  A 
Piney  Ridge,  a  rural  drama  by  David  Higgins,  in  which 
he  starred  throughout  the  Eastern  States  for  the  last 
five  years." 

Jack  London's  The  Sea  Wolf  also  came  to  the  Majestic 's 
boards  that  year  in  what  was  probably  a  premiere  of  the  famous 
novf.l  in  drama  form.  An  Oakland  man,  Joseph  Noel,  adapted 
the  story  with  cl  ise  fidelity'- to  plot,  pres'^rving  its  original 
atmosphere     and   characterizati  )n;   and   I/iorosco     cooperated     by 


rf..^    f 


,.N,: 


a.'i. 


-A  ^ 


eaJ 


A    1- 

:Iw     n 
■   ©rf ct  rto 


^^^  a. 


^     ItilV'i 


.     di'iJ     aO    air 


:t^    ^rT'■^ 


iw  ri- 


163 


assigning  Frank  MacVickers,  his  best  character  actor,  to  the 
role  of  Vi/olf  Larsen.  This  was  an  event  of  considerable  local 
significance,  yet  The  Argonaut  apathetically  announced  that 
The  Sea  V^'olf  wouli  play  the  week  of  September  10  and  then  went 
on  to  herald  the  next  week's  production,  an  Augustus  Thomas 
play  called  Alabama.  In  the  Alabama  cast  was  Reginald  Travers, 
future  manager*  of  San  Francisco's  first  little  theatre.  The 
Players  Club,  which  he  organized  in  1912. 

OUTSTANDING  SUCCESSES 
To  these  and  many  similar  offerings.  Majestic  patrons  re- 
acted with  pleasure  if  not  with  enthusiasm.  But  when  an  Aus- 
tralian troupe  presented  a  melodrama  titled  S_weet  Nell  of  Old 
Drury,  tumult  broke  forth.  The  piece  became  an  instant  hit 
and  played  four  record-smashing  weeks,  before  going  on  to  Loa 
Angeles.  The  Post  of  March  8,  1906,  in  an  effervescent  notice 
heralding  The  Bold  Sojer  Boy,  the  Majestic 's  current  attrac- 
tion, took  time  out  to  announce: 

"Mr.  Musgrove,  the  great  Australian  impresario, 
was  so  pleased  with  the  success  of  Sweet  Nell  of  Old 
Drury  at  the  Majestic  Theatre  that  he  has  written  for 
more  time  and  may  return  to  the  city  in  a  few  weeks, 
prior  to  his  departure  for  the  East." 

Two  days  later  the  Post  was  able  to  add  a  cordial  post- 
script to  its  tidings  of  March  8; 


.ZxOi   ax   bssi  sri  cfoidv   ,  T. 


'•'i     ^  J. -i ''i^  I  Hi' 

^uQ      •rcBB. 
blO  50   11?" 

BoJ  o;t 


9W  we 


0   nilw  ion   il   siu^nslq  t{:ttyT  be.;-;/? 


■i    IUOI    I 


?rIT 


bnfl 


rs   nj   ;rtfo 


^  i.  u  a  s : 


JiB  •^;'Uf~a 


:n-^    ^>^'    a: 


-rt)=.   '    r.-"f.'v/.-, 


'■.    n  "f     .^  ff^A     i».  :-,•■        ,"tr'.  n'^     •■^.!■'^f     "'1  ■;  r; '^     '.rt^f- 


164 


"Since   leaving  the   city  the  Musgrove  Australian 
Players,  headed  by  the  magnetic  actress  Nellie  Stewart, 
have  been  meeting  with  a  series  of  sensational  auccessea' 
In  Southern  California. 

"In  Los  Angeles,  where  they  were  to  play  three 
nights,  the  houses  v/ere  so  big  that  the  management  ar- 
ranged for  them  to  play  a  return  engagement  of  an  entire 
week.  There  have  been  so  many  inquiries  at  the  Majestic 
as  to  the  possibility  of  a  return  engagement  that  Mana- 
ger Bishop  has  prevailed  upon  Mr,  Musgrove  to  return 
here  for  two  weeks.  On  Monday  night,  March  19,  this 
magnificent  organization  will  again  appear  in  their 
beautiful  production.  Sweet  Nell  of  Old  Drury,  with 
the  same  magnificent  details  that  characterized  its 
former  production  here,  is  one  of  the  most  exquisite 
theatrical  performances  ever  seen  in  this  city.  Seats 
will  be  ready  next  Thursday  morning." 

Sweet  Nell  jof  Old  Drury  and  its  particular  bright  female 
star  became  the  cynosure  of  the  Majestic's  publicity.  Columns 
of  print  were  devoted  to  Nellie  Stewart;  hei*  stage  presence 
was  excessively  praised;  her  hair,  her  eyes,  her  fine  walking 
were  subject  to  innumerable  panegyrics;  her  voice  was  eulo- 
gized; her  least  gesture  was  held  up  to  admiration  as  If  it 
were  the  pinnacle  of  ihespian  achievement .  By  the  time  the 
company  finally  arrived   to  play  a   season  of  12  nights   and 


eyii'^u  -  c;ja    ±  i^ii:- ..  j  B 


n'r 


«»rf  «>r''  ■ 


.Ttl 


3  3SiJ'-'-~      3n.v       . 


:3fc;i;'4    e 


K.- 


rboiq     xx/'iid'traad 


;^t  ec 


T.  r-  ■    „  ■■   J -J' 


v^tfrf    fSfO 


.Ja 


lo 


ctl 


165 


fovir  matinees,  the  gentlemen  of  the  press  could  search  their 
lexicon  of  laudatory  epithets  In  vain  for  new  expressions  with 
which  to  glorify  further  either  production  or  actress.  Not- 
withstanding, the  Post  of  March  31,  1906,  in  a  voluminous  re- 
view inspired  by  Miss  Stewart's  performance  of  Camille  —  at 
a  special  request  matinee  during  which  she  and  the  company 
abandoned  Sweet  Nell  for  the  mrsnent  —  could  still  fan  the 
flames  of  its  extravagant  admiration: 

"Miss  Nellie  Stewart  is  an  actress  who  has  the  in- 
finite capacity  for  taking  pains;  she  has  proved  this 
beyond  the  peradvonture  of  a  doubt  by  her  interpreta- 
tion of  Camille,  which  was  produced  yesterday  afternoon 
at  the  Majestic.  Miss  Nellie  Stewart,  who  is  becoming 
more  and  more  a  favorite  with  San  Prancisco  audiences,, 
is  unquestionably  a  genius.  The  more  her  work  is  ex- 
amined, the  more  clearly  is  it  seen  that  this  charming 
actress  leaves  no  stone  unturned  in  order  to  accomplish 
the  best  work.  In  makeup,  indreaa,  in  action,  in  voice. 
Miss  Stewart  pa3''s  an  attention  to  detail  which  is  both 
inspiring  and  convincing.  In  our  Sahara  of  dramatic 
talent  it  is  rarely  that  one  meets  with  an  actress  so 
thoroughly  accomplished  and  earnest  as  Miss  Stewart  .  ,  • 

"But  in  our  opinion  the  last  act  of  Miss  Stev/art 
far  transcends  in  realistic  art  the  work  of  Sarah  Bern- 
hardt, even  before  the  grandmother's  period  of  the  great 


•^.^M^;. 


j  A     ■  a')   ?t     i)r»-f.T:.-'rr'^Tr 

K,oii>S  Hfc  ioiaei 

i->    .V  ^    ?•!  . 

'>0    Ou         1.10  J.  vXt>'^' si  i»     jTiB  >4 

ad  3  •> 


166 


French  actress  had  arrived.  The  last  of  Miss  Stewart's 
Camllle  may  be  the  highest  kind  of  theatricallsm,  which 
is  in  reality  the  highest  kind  of  art.  Art  is  only  the 
expression  of  eirotion,  and  Miss  Stev;art's  art  carries 
with  it  conviction  even  to  the  most  unintellectual  aud- 
ience. The  theatricalistn  of  Miss  Stewart  is  a  theatric- 
aliam  which  is  absolutely  necessary  to  paint  the  story 
that  the  author  had  in  mind.  In  reality,  Camille  is 
theatrical  fron  beginning  to  end  ..." 

M5  91   ™1  MA.TT:STIC 

Two  more  plajs  came  to  The  Majestic 's  boards:  Bronson 
Howard's  v/ar  drama  Shenandoah,  presented  during  the  week  of 
April  3,  with  two  companies  of  state  militia  participating 
in  the  production  as  supers;  and  De  Souchet • s  farce-comedy 
Who  Goes  There?,  starring  Walter  K.  Perkins  who  a  fev;  years 
previously  had  been  highly  successful  in  similar  pieces  at  the 
Grand  Opera  House.  Perkins  had  been  announced  f ^r  an  engage- 
ment of  several  weeks  at  the  termination  of  which  Martin  V. 
Merle's  Light  Eternal  was  scheduled.  But  on  April  18,  1906, 
San  Francisco  was  shaken  by  a  catastrophic  earthquake,  and  the 
Majestic  collapsed. 

The  News  of  April  18  confirmed  the  finality  of  its  end 
in  these  words:  "The  Majestic  Theatre  is  almost  a  coriplete 
wreck,  the  r-ar  end,  on  the  9th  Street  side,  having  fallen 
out,  while  the  roof  caved  into  the  auditorium  of  the  building," 


CtBSX 


»iiJ 


eci^ 


fi  nl 


*T  rt  p,  '*•  T  f     .  rf '"'. 


TSt    8':t6 


ilvaci 


■;j  ncrxvw 


■.T:^'rrr 


.'.[ft   bJ 


grfT" 


ii/d   exlcf  lo 


167 


Afterwards  there  was  some  talk  of  rebuilding,  but  this  never 
materialized.  San  Francisco's  "finest  theatre"  and  one  of 
its  shortest  lived  had  definitely  passed  into  limbo. 


^vioi:;; 


168 


CHAPTER  XII 
THE  CHUTES 
(1895-1911) 

The  Chutes,  on  Haight  Street  between  Clayton  and  Cole 
Streets,  opened  on  November  2,  1895,  offering  as  its  only  at- 
traction a  "shoot  the  chutes,"  a  boat  on  rollers  which.  It  was 
claimed,  attained  the  spe^d  of  a  mile  a  minute  as  it  dropped 
from  a  60-foot  tower  into  an  artificial  lake.  Shooting  the 
chutes  was  a  popular  sport  in  the  nineties.  The  Chronicle  of 
November  18  asserted  that  on  the  previous  day  13,634  patrons 
had  paid  the  lOj^  admission  charge  to  the  Chutes,  Variety  was 
added  on  Thanksgiving  Day,  when  "Professor"  Markeaburg  made  a 
balloon  ascension  and  parachute  drop  of  5,000  feet, 

Balloon  ascensions  and  parachute  drops  became  regular 
features  at  the  Chutes,  Professor  Markesburg,  who  hung  by 
his  teeth  while  descending,  soon  had  a  competitor,  one  Mr. 
Earleston,  who  dropped  5,000  feet  hanging  by  his  toes.  But 
the  professor  had  the  last  word:  he  made  the  drop  suspended 
by  his  heels,  releasing  carrier  pigeons  as  he  fell,  and  tri- 
vunphantly  walked  off  the  field  \ininjuredl 

The  Chutes  was  now  well  on  its  way  to  becoming  the  suc- 
cessor to  those  gardens  bo  popular  in  the  seventies  and  eighties 


.  ,-1  r^7i-r^o  r  \ 
niBl Inn  act  :iaod  Tj   "  ^^b^^sjcIo   arfct   doorle"   «  nnJtiOBiit 

?■ .-    r<-r,  ■  '  ?  t.  .-j  .-♦  n  f  'i-f/  ?  .-.i  I"  .'* 

to  3flW    • 

art 
Ibft< 


i69 


and  the  predecessor  oT  er.user.ent  perks.  Charles  L.  Ackermann 
was  advertised  as  its  president;  Edward  I-.  Levy,  its  manager. 
On  July  4,  1896,  the  Chutes  aiinounced  a  "grand  opening" 
with  the  "greatest  scenic  railway  en  earth"  to  thrill  those 
to  whom  the  original  "Shoot  the  Chutes"  had  become  tame.  It 
was  announced  that  the  "hi^-hest  sslaried  artists  ev^^r  brought 
to  America"  v/ould  appear  in  a  new  casino  .  These  stars  included 
the  then-famous  Sissieretta  Jones,  better  known  as  the  Black 
Patti;  Aragon,  "queen  of  the  high  wire";  the  Marlo-Dvmham 
family,  "world's  greatest  aerialists";  Professor  Fted  Macart 's 
Baboon,  Dog,  and  Monkey  Circus;  water  fireworks;  and  the  Rus- 
sian Court  Orchestra,  under  direction  of  Julie  Simonoff*  Into 
this  assortment  of  miracles  children  were  admitted  for  5^  and 
given  a  free  ride  apiece  on  the  merry-go-round  for  good  meas- 
ure • 

RUBY  ROBERT 


In  the  Chutes '  opening  year  one  Captain  Beach,  the  "Man 
Fish,"  ste,  dr::n)^,  and  s-nol'.ed  under  water;  Antonio  Firri, 
from  the  Chutes  at  Milan,  Italy,  rode  a  "safety"  bicycle  down 
the  chutes  into  tl  e  lake  --  ard  irnedittely  was  surpassea  oy 
••Arion,"  ho  punped  his  bicycle  over  a  l?.ve  trolley  \vire  sixty 
feet  above  tie  Icke,  /jid  to  show  that  b:  lloorists  und  cyclists 
v/ere  nottheorly  courarreous  ones,  Albert  Richards  electrified 
the  crov/ds  by  diving  6o  feet  into  tvo  feet  of  water.  But  the 
year's  greatest  attraction  occurred  in  Deceriber ,  when  Bob  "Ruby 


-iiincf 


r\  "\  f%  f  ff  f /■>  '*? 


ndi«&   n' 


[.ff^     ^ff+    JR. 


la     Li. 


■DLiuniv.x:    J.ijv; 


OJfiJ' 


ow  "fi- 


-',i-    y:^ 


1     -•   •     v_. 


_  r--. '.:  ^f.f     !  r-i 


■T  ,.  (~ 


dii; 


oeJe 


170 


Robert"  Fltzsimmona,  world's  heavyivelght  champion  boxer,  il- 
lustrated his  famous  shift  and  "one-two"  in  exhibition  bouta 
with  Jack  Stengl'-r  and  Dan  Hickey.  Robert  (Bob)  Prometheus 
Fitzsimmona  was  called  "Ruby  Robert"  because  his  first  name 
was  Robert  and  he  had  red  hair.  "Ruby"  in  sports  slang  was 
synonymous  with  "red." 

THE  CHUT_ES  FREE  THEATRE 

Cycling,  diving,  balloon  ascensions,  parachute- j\amplng, 
wire-crawling,  and  fire-eating  alternated  with  pugilistic  ex- 
hibitions by  Jim  Corbett,  Jimmy  Barry,  and  Jim  Jeffries.  Pa- 
triotic holidays  such  as  the  Fourth  of  JuD.y,  St,  Patrick's 
Day,  and  Washington's  Birthday  v/ere  well  exploited  by  the  man- 
agement, anH  Haight  Street  savir  some  startling  sights  indeed 
In  those  late,  sunny  days  of  a  dying  century. 

On  June  27,  1S97,  the  Chutes  entered  the  more  circum- 
scribed field  called  theetricpl;  the  advertisement  in  the 
Chronicle  for  that  day  announced  that  "the  Chutes  Free  Theatre 
(formerly  the  Casino)"  would  b«  open  every  afternoon  and  even- 
ing. The  theatre  at  first  featured  only  indoor  versions  of 
the  events  occurrinp,  in  the  open  air,  such  as  "Adjie"  and  her 
performing  lions,  the  European  jugglers,  and  acrobatic  comedi- 
ans Rand  and  Duch.  The  Chutes  Theatre  could  better  be  de- 
scribed at  this  time  as  a  miniature  circus,  though  late  in 
1897  the  "20th  Century  Bloomer  Minstrels"  gave  a  burlesque  of 
Masc^tte . 


U     0 . 


•xV-^'r'7     ,i 


\OJu"/'> 


8  3W 


■CtB    :i- 


•,  i'.'-'^''ftO-f1 


oX^ol-f  - 


.  rf  e  3'A' 


.1  .^  >>  n> 


.-ttft 


an    »r: 


•tn*?" 


171 


Offerings  for  the  next  year  varied  little  froni  those  which 
had  gone  before,  though  fewer  outdoor  attractions  were  featured. 
There  were  trapeze  artists  such  aa  Oro,  Rice  and  Oroj  the  mid- 
get Chiquita,  called  the  "Cuban  at.ora,"  only  26  inches  tall; 
Irish  comedians,  contortionists,  strong  men,  animal  acts,  fat 
men,  buck-and-wing  dancers,  popular  singers;  Pearl  Hight  "the 
American  Anna  Held";  and  on  a  higher  scale  the  young  violin- 
ist Pietro  Marino,  advertised  as  the  favorite  pupil  of  the 
great  Ysaye .  But  6a  yet  there  were  n6  purely  dramatic  presen- 
tations. 

Early  in  1899  the  Chutes  presented  two  sensations  which 
eclipsed  the  usual  run  of  variety  >fferings:  an  exhibition 
of  the  Passion  Play  at  Oberamiijergau  on  Edison's  cinematograph  — 
an  early,  crude  motion  picture  machine,  which  in  itself  prob- 
ably excited  more  inter'^at  than  the  actual  play;  and  the 
famous  "Little  Egypt,"  who  tingled  spines  with  her  "kootchy- 
ko"»"  dance.  The  Examiner  of  Trlarch  19,  1899,  announced  raptur- 
ously that  Little  Egypt  had  danced  before  the  Khedive  nf  Egypt 
himself  "with  startling  success,"  had  traveled  over  the  greater 
part  of  the  world,  and  spoke  seven  languages.  The  ladj^'s  lin- 
guistic ability  had  little  to  do  with  making  her  the  Sally 
Rand  of  her  time. 

CHILD  LABOR  AMD  THE  LAW 
The  variety  of  entertainment  offered  at  the  Chutes  was 
not  unappreciated.  According  to  the  Examiner  of  May  2,  1899, 


■TO**    u 

3adw 


>.•-...■    .       ,  !.■•  J  ci  til"    0- J  i*  ■  .J  ■-»■  •  ,.!      ,r..;f 


ft  A 


.i    i     i"  ".■..-    i        ■..!. 


iSei'i 


-a  orro'iOvv 


8d   ;tjj^ 


::    C9v 


r  I  £.  r    .  J-      -I  ' 


^o   o 


:>iii' 


snf  l:tac^ 


escijiiJ    -a  J 


"oe 
bsrf 


•  ©fjjj 


■-.'•J- 


.esar  .<!  tqm  "tr 


\      .6 


on 


172 


more  than  20,000  people  visited  the  Haight  Street  resort  on 
Majr  Day.  Professor  Markesburg,  still  convinced  that  the  bal- 
loon was  here  to  stay,  added  a  lofty  note  to  the  occasion  by 
landing  safely  on  near-by  Buena  Vista  Heights.  Unfortunately, 
his  balloon  wound  up  in  San  Francisco  Bay, 

Three  weeks  later  Manager  Edward  P.  Levy  found  himself 
under  arrest  for  violating  the  ordinance  against  employment 
and  exhibition  of  minors.  The  arrest  seems  to  have  been 
lightly  taken,  however,  for  September  12  foimd  the  Examiner 
gushing  over  the  cuteness  of  three  little  pickaninnies  attired 
in  Hawaiian  grass  skirts.  And  on  October  10  a  midget  singer 
called  Major  Kite  delighted  crowds  by  a  "telephone  duet"  act 
with  Baby  Ruth  Roland  (later  to  thrill  a  younger  generation 
with  her  dnring  exploits  in  movie  serials).  Manager  Levy  was 
so  c  )ntemptiious  of  the  law  that  he  staged  an  act  in  November 
in  which  Major  Mite,   dressed  as  a  policeman,   arrested  two 

little  Negro  boys  tv/ice  his  size  who  were  engaged  in  a  "crap 
game  ." 

During  the  early  months  of  1900  the  Chutes,  withno  change 
of  policy,  continued  the  usual  roimd  of  novelties,  vaudeville 
specialties,  balloon  ascensions,  and  prize  fight  exhibitions. 
In  mid-July  an  Eastern  dancer.  La  Lista,  appeared  in  "La  Danse 
de  Nuit"  and  "The  Lily  of  the  Nile."  In  early  Auguat  the  Chutes 
began  in  a  small  vmy  to  justify  its  name  as  a  theatre,  pre- 
senting a  series  of  sketches^  one-act  comedies,  and  burlesques; 
among  these  were  A  Lightning  Striker,   a  one-act  comedy  with 


V 

rr  '.^T  :+n"r:tS   ctrf-leH   crf.-f   bettiRir  000. C?  narfrt   r-^-t.jw 

^cf  aox"  9i9f;  C 

.'■^Ie.:Jsni;;JT:o'!lxTU  •       rrf-Tisea  rrr  rl&'iBE   : 

T  1   SI  ii  r   Yj:tri^iL 


-ano 


173 


Bogga  and  Hayward,  and  a  travesty,  Opera  in  a  Kitchen,  in  which 
a  Chicago  team,  Williams  and  Bissell,  made  their  first  appear- 
ance on  the  Pacific  Coast. 

NORA  BAYES 
Other  features  of  1900  were  The  Fairy  Godmother,  with 
Arnold  Grazier  and  Helen  Calahanj  Mr.  and  Mrs,  Harry  Jackson 
in  A  Bachelor's  Home;  Wise  and  Milton's  burlesque  of  Uncle 
Tom' s  Cabin  and  The  Parson's  Chicken;  Isabel  Henderson  and 
George  Evers  In  A  Visit  to  a  Widow;  and  the  production  by  Harry 
Watson  and  Sadie  Clayton  of  A  Game  of  Chance .  In  the  notices 
for  November  18,  1900,  is  a  name  as  bright  as  her  "Harvest 
Moon"  --  that  of  Nora  Bayes,  one  of  the  greatest  of  all  femi- 
nine vaudeville  singers.  Nora  had  Just  finished  a  week's  en- 
gagement at  the  Orpheum,  and  her  appearance  at  the  Chutes  was 
a  sure  sign  that  this  resort  was  prospering.  The  year  and  the 
century  were  rounded  out  by  the  appearance  of  Natalie  de  Angolia 
and  by  a  holiday  production  of  Ten  Days  in  Fairyland  by  a  ju- 
venile company. 

The  management  of  the  Chutes  showed  little  awareness  of 
the  new  century  during  the  following  year  and  a  half,  offering 
the  same  type  of  entertainment  that  had  proved  popular  in  the 
old  century.  The  billbnards  for  1901  advertised  such  at- 
tractions as  Johnny  Walen,  in  "an  original  specialty,  the 
Dancing  Drxom  Major";  the  Golden  West  Trio  —  Oro,  Bernard 
and  Oroj  the  Alcedos  in  a  comedy  sketch.  On  Parade;  the  buck- 
and-wing  boys,  Swor,  McCreery  and  Sv;or  In  A  Rag -Time  Reception; 


Ck'tC 


174 


a  comedy,  A  Syrarner  Dreani,  with  Kerr  and  Wilshire,  "direct  from 
New  York";  Murphy  and  Hart;  and  the  "English  serio-comics"  in 
Broken  Hearts ,  The  Chutes  continued  to  profit,  and  on  Christ- 
mas Day,  1901,  managers  Ackermsnn  and  Levy  erected  a  giant 
Christmas  tree  bearing  a  present  for  every  child  in  the  audi- 
ence , 

Tro;  OLD  CI-IUTFS  SHUTS  DOWN 
From  January  to  March,  1902,  the  Chutes  offered  little 
variation  fri'.ii  its  standard,  the  management  being  too  intent 
on  grander  efforts  to  exert  its  ingenuity.  The  billings  in- 
cluded a  c.^t  and  dog  act,  a  lady  cyclist,  performing  bears, 
acrobats,  aerial  artists,  dancers,  monologist  Billy  Bryant, 
equilibrists,  Alf  Holt,  comedian,  and  the  Pitzpatricks  in  the 
comei.y  Matrimonial  Venture  .  Then,  on  March  16,  the  Chronicle 
carried  the  following  announcement; 

"The  present  Chutes  will  close  its  gates  after  to- 
night, having  had  a  remarkably  successful  season,  and 
•  established  itself  as  p\iblic  amusement.  The  management, 
finding  the  grounds  too  small  to  accommodate  the  large 
crowds,  have  purchased  a  new  site  north  of  the  Park, 
opposite  the  museum,  which  is  rapidly  being  converted 
into  one  of  the  most  beautiful  pleasure  resorts  in 
America.   It  will  be  thrown  open  to  the  public  on  May 

l3t." 


tr- 


n^. 


"<     A    C! . 

.   ni   bllrf; 


w«M 


'A  I  fri  r  ■♦  ''rr'  r\     ;•<  ,  ^ .-?  rvi  '"^ 


*--3H  ns  - 


I     ^^bQ  Bfim 
ocf  6 aid' 


rft'i'iO     B93;JiiO 


..'(■f  .1'- 


dii;*     ^^l.    Li' 


'0P>     ,y 


Tattle    15; 


r>i;?j    ^iio^i-j'jt'    ^w  lecf?  "C'-.;q 


'    'V  A  17  A  f -ffT  i 


•7    .Crrl 
nsqo 


rr  erf?   6c? 


".:fel 


175 


The  new  Chutes,  facing  Golden  Gate  Park  from  F'ulton  Street 
between  Tenth  and  Eleventh  Avenues,  was  opened  as  scheduled 
on  May  Day,  1902,  "bigger  and  better"  than  ever.  Its  accent 
on  size  was  stressed  by  the  opening-day  attraction  — "Colonel 
Edward  Beupre,  the  French  Giant,  Absolutely  the  Largest  Man 
on  Earth  —  7  Foot,  10|  Inches  In  His  Stockings."  The  new 
theatre  auditorium  was  claimed  to  have  a  seating  capacity. of 
4,000.  Movies  of  a  sort  were  offered,  but  these  were  side- 
line curiosities.  The  change  seems  to  have  proved  successful, 
and  the  Chutes  continued  to  be  a  paying  institution  for  several 
years . 

In  spite  of  its  new  proportions  the  Chutes  operated  at 
its  old  prices  (10^  for  adults  and  5^  for  children),  and  did 
not  enlarge  the  scope  of  its  programs  to  a  great  extent.  Dur- 
ing the  next  two  years  the  same  cycle  of  vaudeville  players 
and  lion  tamers,  ice  skaters,  freaks,  and  frights  vied  with 
the  nev;  zoo  f or  populao?  interest.  Pew  names  on  the  Chutes 
programs  mean  much  to  today's  reader:  the  Fetching  Brothers, 
in  their  "Musical  Flower  Garden";  the  Wilton  Brothers,  triple 
horizontal  bar  comedians;  Tom  Almond,  Australian  ice-skater 
and  eccentric  dancer  ;  George  Gorman,  comedian;  Frances  Keppler, 
dancer;  Fred  Stuber,  banjoist;  Coley  and  Maurice  Grant,  colored 
comedians.  All  of  these  were  Orpheum  players  and  all  appeared 
during  the  first  month  of  the  new  resort's  existence.  Other 
attractions  producing  a  steady  flow  of  gate  receipts  were 
Sadie  Hart,  in  a   "novelty  song  and  change  actV;   incubator 


.'trri'i'  K!'^'^  if't'^i?  n.-?i*n 


odT 


■.•t  ^  'I  ft  -^  n  ■;    r,  f  f  f  A  piA-.' 


^on 


176 


babies  and  musical  pigs;  Kocian,  the  Bohemian  violinist;  Cap- 
tain Kendricks  and  "Sultan,  the  untamable  lion";  "the  wonder- 
ful scenic  waterway";  and  a  realistic  reproduction  of  the 
Johnstown  Flood,  But  what  was  really  memorable  about  the 
Chutes  and  places  like  it  cannot  be  reproduced:  the  good- 
natured,  jostling  holiday  crowds,  the  cries  of  children,  the 
pale  blue  slry  of  late  afterno^^n  and  the  encroaching  fog,  the 
feeling  of  festivity  as  old  as  the  market  places  of  history. 
No  show  of  any  dimensions  was  performed  until  December 
18,  1904.  On  this  date  the  Chutes  offered  Bothwell  Browne's 
Japanese  musical  extravaganza.  Princess  Fan  Tan,  one  of  the 
currently  popular  productions,  which  required  300  children  in 
the  c?st.  This  piece,  purporting  to  derive  from  an  old  Japa- 
nese legend,  was  sufficiently  spectacular  and  pseudo-romantic 
to  draw  crowds  throughout  the  Christmas  and  New  Year  holida^^s* 

So  successful  was  it  that  in  May,  1905,  the  Chutes  produced 
another  trick  from  Browne's  hat  — Cleopatra  Up  To  Date,  with 
Mr.  Browne  himself  as  Egypt's  Queen,  This  production,  on  a 
slightly  smaller  scale,  required  200  children,  and  the  public 
showed  a  proper  sense  of  balance  by  allowing  it  a  mere  eight- 
day  run,  vrith  a  four-day  revival.   Princess  Fan  Tan  was  back 

in  the  spotlight  late  in  1905,  this  time  sharing  honors  with 
"Ruby  Robert"  Fitzsimmons  and  Bothwell  Browne's  Gaiety  Girls 
in  a  burlesque  called  Twirly  Wirly . 


ni 


Gcrr^' 


eeert 


jLiti;''     ,'Ji4    O.J 


.-.  -,-' 


177 


DRAMA  AT  THE  CHUTES 

In  1905  something  a  little  out  of  the  ordinary  had  come 
to  the  Chutes.  Following  Montgomery,  Stone,  and  Cantor  in  a 
musical  burlesque,  Jolin  T,  Shi ck  and  Company  began  on  Lincoln's 
Birthday  a  season  of  dramatic  comedies.  This  season,  the  first 
of  its  kind  at  the  resort,  proved  surprisingly  popular  and  ran 
into  May,  augmented  by  the  regular  variety  acts  and  the  con- 
cessions, chief  of  which  was  the  new  Circle  Swing.  Among  the 
comediea  presented  by  the  Shick  Company  were  A  Secret  Panel, 
My  Wife ' 3  Mother,  Jasper,  Over  the  Garden  Wall,  Is  Marriage  a 
Failure?  and  The  Irish  Jubilee. 

An  even  more  radical  departure  was  talcen  en  May  20,  1905, 
when  Herbert  B.  Chelsey  appeared  for  a  week  in  a  straight 
drama.  The  Third  Generation.  The  experiment,  however,  seems 
to  have  lacked  encouragement,  for  after  that  week  no  more  was 
heard  of  such  nonsense.  More  in  order  that  sumr.ier  was  the 
exhibition  of  "Chiquita,  the  Living  Doll,"  and  Annie  Redline 
("She  is  as  Broad  as  She  is  Long").  Meanwhile  the  Johnstown 
Flood  continued  to  rise  and  the  Circle  Swing  whirled  its 
shrieking  occupants  round  and  round,  many  feet  above  those 
puzzled  patrons  who  were  groping  "Down  the  Flume"  amidst  a 
maze  of  mirrors.  This  v/as  the  Chutes  in  1905, 

Dread  1906  was  to  interrupt  the  happy  career  of  the 
Chutes  --  as  it  did  the  whole  life  of  the  city  —  but  not  in 
this  case  with  destruction  and  death.  Until  the  catastrophe 
of  April  18  the  Chutes  was  going  Its  merry  round,  with  Bothwell 


»•-  »•  f%. 


■•■  hiB  AoLci- 

,8©If 


VOT' 


-ao  ■ 
ext:f 


.->  -  -  ^  1 


nl 


.  e  ^  ■♦ : 


'-jf   5:ti   Jo 


■sM 


ro  n^ 


Sfriof^a    ,  'Off   »rf 


.J  S:  1  ;i  y  q  q  G     -^;  3  3  i.  J  o.-I'a 


s 


A     beta  " 


,*f  VTii .'?  f>  rt  I  ViT.     •->  (-f  't     i*  f  ?  ~f'.-/ :  i 


■U     01. 


;e      .-* 


a   ^BbJt.ii/ 


.'f-f      "t., 


:av>'  >4 


r  -  .-.  .-r  , ,  .1  •,; 


^O       9i 


r  r.,.    f-f.-irf 


.■o^rroannn  nc.-.'r 


1 


p- ri     ?»'i,'rf'^     p.'?     I*?       -',"*''  \ 


1  o;t      fr 


0   il    BJ3  --   ee 


178 


Browne's  Gaiety  Girls  as  the  main  attractions  in  such  frivoli- 
ties as  The  Merry  Strikers,   Quo  Vadis  a  la  Mode,   and  Happy 
School  Days.   For  the  balance  of  that  year  there  was  no  Chutes, 
vnovigh  the  Fulton  Street  resort  was  far  out  of  reach  of  the 
fire  and  suffered  no  serious  damage  from  the  earthquake.   The 
Orphexwi,   whose  building  had  been  demolished,  moved  into  the 
ample  Ohutes  playhouse  and  continued  there  until  January  20, 
1907,  when  it  moved  into  temporary  quarters  at  Fillmore  and 
Ellis  Streets. 

THE  CHUTES  ITSELF  AGAIN ;  AL  JOLSON 
On  January  21,  1907,  the  Chutes  itself  reopened,  its 
prices  now  rolsed  to  10^  and  25(2^.  After  its  taste  of  higher 
things,  it  would  have  boon  too  much  to  ask  of  the  management 
to  go  back  to  the  old  nickcl-and-dime  status,  though  the  con- 
cessions and  zoo  v/cro  still  open  at  the  old  prices.  Included 
on  the  opening  bill  was  an  obscure  performer,  described  by  the 
Evening  Post  of  January  22,  1907,  as  a  "witty  black-faced  per- 
former."  His  name  was  Al  Jolsnn. 

In  1907  Al  Jolson  v/os  only  one  clever  performer  among 
many,  and  they  were  all  obscured  by  the  excitement  San  Francis- 
cans were  experiencing  over  a  place  where  they  had  spent  happy 
days  before  nature  went  t^pay-turvy  on  them,  and  v/here  they 
optimistically  expected  to  spend  many  more.  The  Gaiety  Girls 
were  there  and  the  Circle  Swing.  There  were  peanuts  and  pop- 
corn and  beer,   and  a  great  |50,000  ice-skating  rink,   opened 


,  ZQiuiiZ  on  r 


^8JI       %0-iiJdO 


ia 


aojifi" 


VOGf 


:'.  .tci   WO  • 


J*8£i    04    X^C<. 


..? 


10 


•  i  Pfi 


179 


on  February  9,  1907.  But  a  change  of  management  at  the  Chutes 
Theati*e  was  forthcoming,  anr]  with  it  a  change  of  policy.  Al- 
though this  applied  only  to  the  theatre  and  not  to  the  resort, 
the  Chutes  never  was  to  be  quite  the  same, 

A  performer  dear  to  the  hearts  of  San  B'ranciscans,  Alice 
Nielsen  cf  the  old  Tivili,  graced  the  Chutes  onMarch  22,  1907, 
appearing  with  the  San  C3rl"3  Opera  Company  in  La  Boheme .  The 
Chronicle  '>f  March  23  disapproved  of  such  a  "great  bare  barn 
of  a  place  li':e  the  Chutes  Theatre"  for  the  display  of  Miss 
Nielsen's  charms,  vocal  ani  otherwise,  complaining  that  the 
occasional  riars  of  V/allace  the  Lion  unpleasantly  punctuated 
the  performance.  But  in  spite  of  the  "picnic  surroundings" 
the  critic  was  forced  to  a'^mit  that  ''Alice  Nielsen  came  into 
her  royal  ovm"  in  the  estii.-ation  of  several  thousand  charmed 
opera-goers  . 

On  April  G,  1^07,  almost  a  yenr  after  the  fire,  this 
announcement  apnf.ared  In  the  j:.voninr  Post ; 

"The  Chutes  Theatre  opens  toriay  under  the  direction 
of  F.  W.  Bishop  and  Will  L,  Greenbaum  with  a  strong  dra- 
matic troupe  which  bids  fair  to  make  this  one  of  the 
atfindard  and  popular  playhouses  of  this  citj'-.  The  com- 
pany is  an  exceptionally  go  ■)d  one  for  a  popular  priced 
stock  house  and  the  stfge  is  adequate  for  any  big  spec- 
tacular or  scnic  prodvictlon.  The  opening  bill  is  the 
comedy-drama  How  Baxter  Butted  In,   There  ere  a  number 


!   eij 


nZ: 


180 


of  clever  specialties  introduced  demonstrating  the  ver- 
satility of  these  players,  and  a  chorus  assists  in  the 
rendition  oi  some  ox  these  numbers. 

"Ramsay  Wallace,  the  leading  man,  is  an  exception- 
ally pleasant  singer  and  introduces  a  new  aut)mobile 
song.  Miss  Th">rnton  does  that  eccentric  piece  of  w^rk, 
'Cheer  Up,  Mary,  '  and  Mip.s  Irene  Outtrin,  one  -of  the 
most  p->pularof  the  Bishop  players,  has  been  spared  from 
that  manager's  Oakland  company  for  this  special  produc- 
tion and  is  singing  her  own  composition,  'Little  Sweet- 
heart Mine.'  Charles  Sellon,  the  stage  director,  cornea 
from  the  East  with  a  lot  of  new  ideas.  A  special  feature 
is  the  orchestral  music  under  the  direction  of  Mr.  Hoff, 
formerly  conductor  of  the  opera  company  at  Pelman  Gar- 
dens, St.  Louis.  It  is  the  intention  of  the  management 
to  produce  the  best  class  of  melodramas  and  big  spectacu- 
lar and  military  plays.'' 

Prices^  which  included  admission  to  the  Chutes  ground 
and  rink,  were  jur-iped  to  20j2^,  35^,  and  SOjZf,  and  all  seats  were 
reserved . 

Catastrophe,  with  a  touch  of  the  ludicrous,  haunted  the 

opening  days  of  the  newer,  nobler  Chutes.  A  man  named  Charles 

Rohn,   while  attempting  to  crawl  from  one  car  to  another  on 

the  scenic  railwaj--,  was  thrown  free  of  the  train  and   left 

hanging  by  his  heels,  screaming,   as  thousands  watched  treima- 
loualy.   The  machinery  was  stopped  and  the  man  extricated. 


na   8. 


.,^f.-(- 


181 


but  the  Call  of  April  17,  1907,  reported  that  he  had  suffered 
a  fractured  skull  and  was  expected  to  die.  Such  events  could 
hardly  revive  the  old  carefree  spirit  nf  "before  the  fire." 

In  attempting  to  compete  with  the  so-called  legitimate 
theatres  in  their  own  field,  the  Chutes  was  taking  advantage 
of  the  fact  that  few  theatres  had  been  rebuilt  since  the  fire, 
and  that  those  operating  were  doing  so  in  makeshift  houses. 
The  management  may  have  believed  that  the  Chutes,  untouched 
and  at  its  old  stand  --  however  distant  from  the  theatrical 
center  —  would  have  more  traditional  appeal  than  a  standard 
theatre  in  an  unaccustomed  locrtion;  but  it  unfortunately  did 
not  take  into  accotmt  the  psychological  importance  of  habit, 
San  Franciscans  thought  of  the  Chutes  as  a  pleasure  resort 
and  place  of  casual  variety  shows  --  "Something  different 
every  minute,  folks!"  —  and  could  not  conceive  of  it  aa  the 
home  of  straight  "theatre." 

WILL  KING 
The  Chutes,  under  Bishop  and  Greenbaxim,  put  on  all  the 
traditional  theatre  fare  --  Bronson  Howard's  Shenandoah,  Owen 
Davis '  Nellie  the  Beautiful  Cloak  Model,  In  Arkansas,  The 
James  Boys  of  Missouri  --  with  such  popular  actors  as  Leslie 
Morosco  and  Ramsay  Wallace;  but  they  still  could  not  impress 
the  public  with  the  idea  that  the  Chutes  was  a  theatre.  The 
summer  months  found  a  dearth  of  patrons,  with  the  Chutes  again 
relying  on  its  concessions,  zoo,  and  ice-skating  rink,  and  its 


.'  BO-t 


f!  r^tr  't  , 


f\«t»y  , 


T« 


»    r^  ..   , 


i«.-    Sffai 


.tti. 


-.  f     ti  -'  • 


-i''a; 


n->rtc     'r  >.'.«.■«   ■  ^' 


182 


main  theatre  attractions  limited  to  motion  pictures  and  "illus- 
trated songs,"  Balloon  ascensions  again  were  featured,  the 
main  protagonists  being  "Professors"  James  W,  Prioo  and  Virgil 
Moore.  During  early  fall,  vaudeville  acts  were  again  promi- 
nent, with  at  least  one  performer  remembered  by  San  Francis- 
cans today  --  Will  King,  "the  Hebrew  impersonator,"  whcse  name 
adorns  a  popular  coffee  shop  in  the  Richmond  district. 

The  big  attraction  of  1907  was  the  colossal  "Conoy  Island 
spectacle"  Fighting  the  Flames,  or  The  Fireman's  Christmas 
Eve .  one  of  those  "realistic"  shows  which  had  delighted  the 
patrons  of  Morosco's  Grand  Opera  House  a  few  years  earlier* 
All  the  paraphernalia  of  an  actual  fire  was  exhibited  --  real 
fire-engines,  ladders,  hooks,  hoses  -■^  and  the  thrilling  mo- 
ment of  the  show  was  heroine  Sylvia  Barrett's  four-story  leap 
into  a  net*  Fighting  the  Flames,  sharing  the  spotlight  with 
various  vaudeville  acts  and  motion  pictures,  held  public  at- 
tention for  several  weeks* 

DANCING  AT  THE  CHUTES 
The  Chutes  again  closed  for  alterations  early  in  1908, 
and  did  not  reopen  until  May  Day.  Among  its  new  features > 
according  to  the  Chronicle  of  April  5,  1908,  were  "electric 
automobiles,  which  run  on  an  elevated  half-mile  trnck,  a  min- 
iature electric  railway  for  children  arovmd  the  flume,  journey 
around  the  world  in  a  boat-toxoring  car,  and  Klein's  electrical 
theatre."   It  was  advertised  that  ladles  and  little  girls 


~e 


»J0 


♦  .*» 


i-    A,r:i-i-- 


vAfjr,  f     >.-r' 


1 1  •  r7.ti'.*  K 


^Lf^iw 


«    .^ 


:ifi:t  o?   Tinl' 


r  ^, 


L^i 


T,-. 


AiiW    JX 


183 


would  be  provided  free  skates  by  the  management,  and  that  a 
new  dancing  pavilion  would  be  open  every  afternoon  and  evening. 
Among  the  early  variety  features  offered  in  the  renovated 
theatre  were  the  three  Wyatt  Sisters;  Howe  and  Edwards,  come- 
dians; Travelle,  "king  of  all  shadowgraphiats";  Irene  Hobson 
In  a  comedy  skit,  Just  from  Syracuse;  May  Archer,  a  soprano; 
the  four  Brown  brothers  and  Doc  Kealy  in  musical  comedy  acts; 
and  Lucille  Tilton,  a  female  barltonel  Admission  was  again 
on  the  nickel-and-dime  scale. 

That  the  Chutes  on  its  former  plan  was  as  popular  as  ever 
is  testified  by  the  Chronicle  report  of  May  10,  1908,  that 
50,000  persons  had  visited  the  resort  the  preceding  week. 
Good  vaudeville  acts,  many  fresh  from  Orpheum  engagements, 
included  Elizabeth  Vlgoureux  and  Louis  A.  Imhaus  in  a  sketch 
called  R.  U.  I,  (Imhaus  had  vreated  the  role  of  Passepartout 
in  the  original  production  of  Jules  Verne •  s  _Arourid  the  World 
in  Eighty  Days);  Fred  Sosman,  famous  singing  comedian;  Walter 
Perkins  in  The  Man  from  Macy's;  Maude  Sutton  and  company  in 
Cinderella;  and  Hallen  and  Puller  in  a  sketch  by  George  M. 
Cohan,  Election  Bets. 

The  1908  brand  of  entertainment  at  the  Chutes  varied 
little  from  week  to  week;  the  only  difference  in  succeeding 
reviews  was  in  the  names  of  the  performers.  The  main  novelties 
were  the  concessions,  among  them  The  Great  V/ave,  The  Hximan 
Laundry,  and  other  frenk  attractions.  Balloon  ascensions  con- 
tinued to  draw,  and  national  holidays  brou;jht  the  usual  fire- 
works and  patriotic  speeches.   But  perhaps  the  biggest  lure 


n}  pii 


f  T^i:. 


Ui} 


al 


00  Xfi 


^'d     a. 


■J   .H 


^rt/T.    'to    .-:rt:^ 


184 


was  the  skating;  rink,  which  "mn  patrnnizor]  night  and  day.  The 
ice-akating  craze  Jv.rin;-.  this  period  equr lied  the  cycling  rage 
of  a  few  years  bof -ire  .  Of  all  typra  of  entertainment  during 
the    early   century,    this   novelty  probably  was  most   prized. 

Amateur  nights  were  a  prominent  feature,  but  it  is  the 
professionals  wh  nie  names  are  best  remembered  i  True  Boardman 
and  Company  in  a  one-act  play,  The  Way  of  _the  Jjjest ;  J.  C. 
Nugent  in  the  comedy  s!:etches,  'ihe  Rounder  and  The  Absent  - 
Minded  Beg.j^ar ;  an'i  Pearl  Hickman  In  The  Twins .  But  during; 
early  1909  mention  of  vaudeville  is  conrpicuously  absent  from 
the  Chutes'  advertisements,  v/hich  are  devoted  mostly  to  the 
skating  rink.  The  management  probably  wns  intent  on  plans 
for  its  new  Fillmore  site.  According  to  the  Chronicle  of 
April  8,    1909: 

"The  lease  iinde  by  t>'e  Chvites  Realty  Company  with 
the  Fillmore  Arcade  Company,  March  lat,  has  been  re- 
C'lrded  .  Under  its  terms  the  Chut<?s  Company  has  loaaod 
the  eastern  312'  6"  on  the  block  bounded  by  Fillmore, 
Webster,  E66y  and  Turk  streets,  for  a  period  of  forty 
months  at  a  t^tal  rental  of  '-$30,000.  This  lease  covers 
only  the  vacant  land,  the  t\.'o  story  building  '.mown  as 
the  arcade,  whioh  faces  Fillmore  strert,  being  excepted. 
It  is  spoken  of  as  one  of  the  signs  tl.iat  Fillmore  street 
is  goinp  to  be  one  of  the  important  centers  of  San  Fran- 
cisco for  a  l')ng  time  t.-*  come  and  especially  as  an 
amusement   center." 


-  ;t,r. '.-,-' A       'i-l'r 


t^r. 


185 


THE  FILLMORE  CHUTES 
Bastille  Day,  July  14,  1909,  was  selected  as  opening  day 
on  the  new  site,  the  advertisement  in  the  Chronicle  of  July 
11  boasting  garishly  of  "San  Francisco's  Half -Million  Funnery 
—  Everything  New  but  the  Name.  A  Solid  Block  of  Joy  Right 
in  the  Heart  of  Things  ..."  Admission  was  lOjzf.  .  Policy  at 
the  new  resort  stressed  outdoor  entertainment,  featuring  such 
"daredevils"  as  "Desperado,"  a  seeming-maniac  who  dove  frcmi  a 
70-foot  tower,  struck  a  polx.sbed  wooden  chute,  and  slid  25 
feet  without  damage;  "Demon,"  who  at  the  top  of  the  chutes  set 
his  bicycle  afire  and  pedaled  furiously  on  his  wheeled  torch 
into  the  waters  of  the  artificial  lake;  and  the  high-divers, 
"Towers,"  and  "Florence."  A  regular  attraction  was  the  show- 
ing of  motion  pictures,  which  were  projected  across  the  lake 
onto  an  outdoor  screen  while  the  orchestra  cajoled  the  audience 
into  the  proper  mood.  A  large  cafe  provided  refreshments. 

Freak  entertainment  and  physical  sensation  v/ore  the  rul- 
ing passions  at  the  new  Chutes.  One  of  the  diversions  was 
the  elephant  ride;  another,  the  appearances  of  heavyweight- 
champion  Jack  Johns  m  and  middleweight -champion  Al  Kaufman 

and  Stanley  Ketchell  in  exhibition  fights.  A  horrible  way  to 
make  a  living  was  suggested  by  German  athlete  Marino,  who 
all'->wed  a  70  horsepower  automobile  loaded  with  seven  passen- 
gers to  ride  over  him  while  he  took  nourishment.  Music  was 
provided  in  the  special  pavilion  by  the  Calif ^rnia  State  Band 
\mder  the  direction  of  George  H,  Bennett.  There  was  no  theatre 


')j  iS 


186 


at  the  Chutes  in  1909;  the  closest  approach  to  one  was  the 
"Nickelless  Nicl^lodeony seating  400,  which  was  opened  on  Sop- 
tomber  19  and  exhibited  motion  pictures. 

Tho  Chutes  could  hardly  have  used  its  old  name  legiti- 
mately without  its  former  concessions  and  "Coney  Island  Novel- 
ties" —  the  "Hviman  Roulette  Wheel,"  the  "Helter-Skelter, " 
the  Scenic  Railway,  and  the  "Double  Whirl."  Tragedy  resulted 
from  this  last  device  on  September  18  when  19-year  old  Edith 
Be  veil  v/as  killed  and  a  man  named  Havisido  injured  in  a  fall 
from  one  of  the  cars.  The  engineer  testified  before  a  coro- 
ner's jury  that  he  stopped  immediately  when  so  ordered,  but 
the  jury,  reported  the  Chronicle  of  October  2,  1909,  thought 
otherwise  and  found  tho  Chutes  Company  directly  responsible 
for  the  accident.  The  jury  recommended  that  the  Board  of 
Supervisors  pass  an  ordinance  providing  that  competent  engi- 
neers be  employed  to  inspo'Ct  all  such  mechanical  devices. 
The  results  of  this  recommendation  were  not  disclosed. 

Evidently  the  public  demanded  more  from  the  Chutes  than 
the  new  resort  was  giving,  for  on  December  5,  1909,  the  Chron- 
icle announced  that  the  park  would  close  for  a  month  while  a 
zoo  and  a  class  "A"  theatre  seating  1,600  were  being  completed. 
Alsr>  to  be  added  was  an  aquarium  stocked  by  the  State  Pish 
and  Game  Commission  which  would  be  the  city's  first  aquarium 
since  the  days  of  Woodward's  Gardens.  The  grandiose  title  of 
the  improved  resort  was  the  Chutes-Zoo-Aquarium-Vaudeville 
Theatre.   It  was  opened  with  a  speech  by  Mayor-elect  P.  H. 


187 


McCarthy  at  7  o'clock  on  New  Year's  Eve,  1909,  anci  the  year 
1910  was  ushered  in  merrily  and  noisily  by  a  huge  crowd  which 
was  allowed  admittance  to  the  grounds  free  of  charge.  The 
Chronicle  of  January  2,  1910,  pronounced  tho  occasion  an  un- 
qualified success: 

"There  is  but  one  verdict  in  regard  to  the  new  and 
rejuvenated  Chutes,  thrown  open  to  the  public  on  New 
Year's  Eve,  and  that  is  that  a  finer  and  more  attractive 
pleasure  resort  could  not  be  well  imagined.  With  its 
scores  of  attractions,  its  compactness  is  one  of  its 
chief  charms,  and  it  takes  the  old-timers  back  to  the 
days  of  the  Haight  Street  Chutes,  which  v/as  opened  in 
1895  and  was  the  amazement  of  visitors  for  a  niociber  of 
years  ..." 

Since  the  Chutes  had  moved  from  Haight  Street  less  than 
eight  years  before,  it  is  unusual  that  the  Chronicle  "old- 
timer"  wrote  so  reminiscently  of  the  original.  But  the  catas- 
trophe of  1906  had  marked  the  end  of  an  era.  The  Chutes-Zoo- 
Aqxiarivim -Theatre  was  regarded  as  something  of  an  anachronism, 
and  for  all  its  fanfare  and  new  contraptions  it  was  not  to 
exist  long. 

Vaudeville  acts,  small-time  and  big,  were  again  a  regular 
foatiire,  as  were  the  old  Thursday  night  amateur  shows.  Popu- 
lar artists  who  had  completed  engagements  at  the  Orphevun  or 
Pantages  Theatres  could  covmt  on  an  extra  week  at  the  Chutes. 


■i>.'-' 


sv^,^:;£.  .:'!■:. 


t:*J 


an   io 


ZV' 


■  i 


brre  * 


188 


John  Golden,  later  a  \vell-knovvn  Broadway  producer,  and  hia 
musical  comedy  troupe  played  a  brief  Chutes  engagement  in 
April,  1909,  and  Melbourne  MacDowell  lifted  the  place  into 
the  loft3^  realm  of  the  ''legitimate"  when  he  appeared  the  fol- 
lowing month  with  Virginia  Drev/  Trescott  in  the  one-act  play. 
The  Sheriff  and  the  Widow.  The  Chronicle  of  January  4,  1910, 
montionod  the  showing  of  a  motion  picture  adapted  from  James 
Penimore  Cooper's  Leather  Stocking  Tales. 

SOPHIE  TUCKER  ENTERTAINS 
In  1910  a  vaudevillian  as  talented  and  highly  paid  as 
Jionio  McCree  was  followed  by  prize-fighter  Bab  Pitzsimmons 
and  his  wife,  who  made  as  big  a  hit  as  their  professional 
predecessor.  Sophie  Tucker,  now  "the  last  of  the  rod-hot  mam- 
mas," stepped  ont-)  the  same  stage  with  a  crew  of  hoofers, 
song-and-dance  men,  and  acrobats;  and  Jack  London,  imbued 
with  the  idea  that  "Ruby  Robert"  could  act  as  well  as  he  could 
hit,  wrote  a  piece  called  Her  Brother ' s  Clothes  which  gave 
the  prizefighter  another  triumphant  week  at  the  Chutes.   An 

old  ringman,  John  L.  Sullivan,  in  October  attempted  to  amuse 
audiences  with  his  impressions  of  the  recent  Jeffries -Johns on 
fight  at  Reno,  Nevada,  and  put  on  the  gloves  with  his  old-tlmo 
antagonist,  Jake  Kilrain,  though  it  is  probably  that  a  solid 
blow  would  have  killed  the  two  of  them.  Sophie  Tucker  re- 
turned in  late  November  for  another  week,  and  was  acclaimed 
"queen  of  the  coon  shouters."  She  was  the  last  performer  of 
note  to  appear  at  the  Chutes. 


,.-»"  r 


t>'ii/;' 


a      If 


•Ofl<. 


■Jot. 


n  ^ 


189 


SHUT  DOVl,^]  AND  Ri=^OPENIKG 
Early  in  March,   1911,   the  Chutes  ceased   to  advertise. 
No  further  newspaper  mention  is  madeof  it  until  May  23,  1911, 
when  the  following  notice  appeared  in  the  Chronicle : 

"The  grounds  of  the  Chutes,  which  have  been  closed 
for  some  months  werc:  throvm  open  for  the  summer  season 
yesterday  and  visitors  to  the  Pillmore-street  pleasure 
resort  were  surprised  and  gratified  at  the  many  improve- 
ments installed  b^^  the  management.  The  water  Chutes 
have  been  talren  down,  althouf^h  the  tower  from  v/hich  the 
boats  used  to  glide  still  stands  and  is  utilized  as  a 
point  of  observation. 

"The  lake  has  been  filled  up,  and  that  part  of  the 
park  which  it  primarily  occupied  has  been  transf trmed 
Into  a  beautiful  lavm  and  garden.  A  large  music  shell, 
built  with  a  strict  regard  for  acoustics,  has  been  con- 
structed on  the  Webster  street  end  of  the  grounds  and 
every  afternoon  and  evening  a  military  band  of  thirty 
pieces,  under  the  direction  of  George  W.  Bennett,  dis- 
courses classical  and  popular  selections,  and  to  lend 
variety  to  the  concerts,  Mme .  de  Witt,  a  soprano,  gives 
vocal  solos  ..." 

The  zoo  and  most  of  bhe  concessions  remained  at  the  re- 
opened Chutes.  An  addition  was  a  reproduction  of  the  Panama 
Canal  which,  in  accord  with  the  spirit  of  the  age,  vms  ac- 
counted not  only  novel  but  highly  educational.   Vaudeville 


/fi.) 


J        C.  J-- 


190 


aho\73  and  anateur  nights  were  continued,  but  the  Chutes  v^ith 
out  the  "sho^t  the  chutes"  had  lost  claiir  to  its  name.   Wore 
it  not  for  the  loss  of  life  and  property  involved,  the  catas- 
trophe announced  in  the  Chronicle  of  May  29,  1911,  might  have 
been  considered  a  flttinr^  demise: 

"A  flro  originating  in  tho  Chutes  restaurant  at  one 
o'clock  this  morning  destroyed  the  Fillmore  street  side 
of  the  Chutes  property,  many  stores,  endangered  the 
lives  of  over  a  hundred  people,  caused  serious  if  not 
fatal  injuries  to  several  and  a  property  loss  rionning 
into  many  thousands 


II 

•  •  • 


The  Chronicle  of  the  foil  'v;lng  c\ay  announced  three  dead, 
seven  injured,  and  one  iriisslng,  and  estlrpated  the  property 
loss  at  sor;ie\Yhere  between  $200,000  and  $250,000.  Irving 
Ackermarji,  president  of  the  Chutes  Company,  was  quoted  as  say- 
inr,  that  the  theatre  proper  could  have  been  opened  that  night 

T/ere  it  not  f  ir  the  loss  of  the  main  entrance.  The  Chronicle 
said  the  theatre  had  been  gutted  before  firemen  arrived.  Sev- 
eral other  buildings  and  concessions  had  been  partially  or  en- 
tirely destroyed.  Most  of  the  improve  .'cnts  were  insured,  but 
policies  had  not  been  transferred  yet  on  several  new  structures. 

ONE  NIGHT  STAND 
In  spite  of  his  staggering  financial  loss,  Ackermann  re- 
mained optimistic,  and  on  June  4  advertised  in  the  Chr''inicle 
with  admirable  restraint  that  the  Chutes  was   "only  a  little 


'^~ 


^f,"fn    /-.rf-' 


vor,' 


±J    ,t 


tl 


\\t  rtf'    .li-fi 


lonilX.. 
-'1  Bed  yJ'1'^Q''-'^ci  3     f) 


^  3:::x7£x. 


rrrir'-fi    H,"^"' 


5na 


-V98 


BUOl 


•  '-  .     ,  ftovJi-; 


■U     Si- 


jon  bBCi 


aa»Vf 


lit 


■iAC'-lU 


■:f  cae    rl 


dilv 


191 


bit  scorched"  and  would  soon  be  reopened  permanently  with 
"fun  for  young  and  old,"  A  news  item  in  the  same  paper  men- 
tioned the  Chutes'  reopening  on  June  3  "for  one  big  time  be- 
fore complete  restoration  of  the  grounds  is  effected." 

Unf ortunately>  this  "complete  restoration"  was  not  under- 
taken. The  Chutes  vanished  from  the  life  of  San  Francisco, 
in  which  it  had  so  long  played  a  pleasant  part.  No  further 
advertisements  apijeared  in  any  newspaper  and  the  city  direct- 
ory of  1911  lists  the  Chutes  fir  the  last  time. 


d^lv 


•j'tarf  'f 


ail  J  Dsaoivj 


"i^hnx;  irr 


,ci.>p  .  :>.ip-i-i   rioo 


■y  C'     r 


•lau    IV. 


ftii.-"     f^r-';    t;. 


V    ^i 


■r  t  *? 


LC    Y'l^., 


192 


CHAPTER  XIII 

THE  GROVE  STREET  THEATRE 

(1892-1895) 

"This  week  Oliver  Twist .  Next  week  Rosedale ." 
Such  was  the  masterpiece  of  brevity  that  greeted  readers 
of  the  Call's  theatrical  section  on  September  22,  1892.  Here 
was  palatable  entertainment  at  prices  neither  prohibitive  nor 
beneath  the  dignity  of  a  not-too-substantial  pocketbook:  the 
Grove  Street  Theatre  made  its  appeal  to  the  man  of  average 
means,  to  the  democrat  addicted  to  drama  rather  than  variety 
or  vaulevillo,  to  the  citizens  who  would  willingly  travel  aa 
far  as  the  "suburbs"  in  the  interests  of  economy.  In  those 
days  the  region  of  the  present  Civic  Center  was  outside  the 
limit  of  the  city's  theatre  district.  The  establishment  thus 
advertised  by  Messrs.  7,  S.  Haswell  and  E,  J.  Holden  stood  on 
Grove  Street  between  Polk  and  Van  Ness,  and  The  Grove  Street 
Theptre  had  been  open  for  six  months  before  the  announcement 
"^  Oliver  Twist  and  Rosedale . 

Haswell  and  Holden  ran  a  thoroughly  undistinguished  house, 
maintained  therein  for  two  years  or  so  an  undistinguished  stock 
company,  and  staged  a  series  of  undistinguished  plays  at  prices 
ranging  from  lOj^  to  50j^.   It  began  with  no  fanfare  whatever 


■o  .1 J 


'Xdil^Jifc.; 


.!■;•>    c 


B. 


Oiiw 


•1   ■*<-> 


.  -,  «i 


Ri 


i.J     iO 


inees;. 


f 

1    '■'.■< 


an  oe  io  8- 


193 


and  no  publicity  except  the  folliwlng  xmlnapired  notice  in  the 
Call  on  March  20,  1892: 

"The  Grove  Street  Theatre  is  the  name  of  a  new 
place  of  amuaeinent  about  to  be  opened  in  the  Western 
Addition  with  the  following  company:  Barrel  Vinton, 
leading  man;  W.  J,  Ellerford  and  Cyril  Young,  formerly 
at  the  Alcazar,  comedians;  P.  J,  Duggan,  from  the  Prin- 
cess Theatre,  Melbourne;  Miss  Anita  Fallon,  leading 
lady;  Miss  Jessie  Norton,  soubrette;  and  Miss  Eleanor 
Leah,  of  New  Yorlc^  Mr.  E,  J.  Holden,  'heavy.*" 

Beyond  this  there  is  no  indication  of  when,  or  in  what 
circ\imstances,  the  Grove  opened.  But  such  a  theatre,  judged 
by  its  location  alone,  must  have  been  a  daring  enterprise. 
Time,  perseverance,  sensational  attractions,  indefatigable 
industry,  anfl  pntience  on  the  part  of  its  owners  were  required 
to  get  publicity.  The  Call  of  April  3,  1892,  remarked  that 
"The  Grove  Theatre,  near  the  Mechanics*  Pavilion,  appears  to 
be  growing  in  importance.  Strogoff  was  quite  a  success  there 
last  week,  and  now  the  managers  talk  of  making  many  improve- 
ments in  the  interior," 

Rosedale,  Strogoff,  and  other  melodramas  must  have  kindled 
a  responsive  warmth  on  the  part  of  public  and  press  alike, 
for  the  Call  declared  on  October  2: 

"This  whirlpool  of  politics,  generally  considered 
at  this  particular  time  a  maelstrom  which  swallows  up 


tf«fl    A       Ic 

n 
,rto*fllV 


J^L< 


(TtOT^ 


•  r  :r^t^  I    •~k^ll 


■■  rl    .       c  •?  .i 


i..t'/^;.v-' 


'■#     e 


tasoxiBxIaciL' 


■..f-lT^.i:. 


TOfli- 


eee-rotfs    s   oSiwp   iisiv 


•9VC' 


5-.  . 


.ifl  es 


«,»<r-»  ■' 


."trrec: 


194 


every  other  interest,  dies  not  seem  to  affect  the  Grove 
Street  Theatre.  Everj"-  night  this  popular  and  convenient 
place  of  amusement  is  crowded  to  the  doors.  Last  week 
was  devoted  to  Rosed ale,  and  all  things  considered,  the 
company  gave  Lester  V^'allack's  composite  play  a  fair  show- 
ing. The  Grove  is  one  of  the  best  appointed  theatres  in 
this  city  as  regards  exits  (aggregating  sixty-two  feet), 
ventilation  and  fire  hose.  The  house  has  a  four  inch 
pipe,  connecting  directly  with  the  Spring  Valley  Water 
Company's  water  main.  Entering  sime  of  our  theatres,  a 
visitor  may  be  said,  in  view  of  the  general  inattention 
to  precautionary  measures  bv  their  .janitorial  managers, 
to  carry  his  life  in  his  hand.  While  smoking  and  drink- 
ing are  strictly  prohibited  in  the  auditorium  of  the 
Grove,  the  managers,  in  >rder  to  accommodate  those  who 
patronize  the  theatre,  have  leased  an  annex  and  fitted 
it  up  neatly,  where  refreshments  can  be  had  at  all  times 
and  a  quiet  cigar  indulged  in." 

Notices  became  increasingly  frequent.  By  November  the 
theatre's  place  was  so  assured  that  Ha swell  and  Holden  proceeded 
with  their  projected  alterations,  extending  the  gallery  along 
both  side  walls  to  form  a  "regulation  horseshoe."  This  change, 
besides  adding  a  formal  arrangement  to  the  interior,  provided 
an  increased  seating  capacity,  accommodating  some  2,300  persona 
"without  crowding  any  one."  The  principle  applied  here  al- 
ready had  been  tried  out  with  excellent  results  by  Gustav 


;~l/ 


■•rfon  hrjr?  'is,  cr; 


■'T^VO 


'•  ■    'i?.     '"■j.  fi  1 


'  +.tr;-'  r- 


:;\7 


a'/rv"  ■'.•'rt"'.':";:rr! 


XA.i.  '^ 


-.  '■• -'•."r.'i"  : 


v:^ 


rrc 


•  3.7  rnc-  0 
1'4    r.J 


fi^:^c^i"'j    "-nti 


bosaa'J 


'.rr.t 


iVO'i. 


r;    -!■/ 


'./:":  ii 


.sf)X'>  I'-    Li     •     J. 


tioXliJ 


:-!j- 


rr>3 


irr-frU-" 


195 


Walter  at  The  VJigTvam,  by  Walter  Morosco  at  Union  Hall,  and  by 
several  losser-known  managers  of  variety  houses.  The  results 
of  this  improvement  were  gratifying  and,  during  productions 
of  Eazel  Kirke,  Chiapa,  Tlie  Shaugraun,  Money  Bags,  The  Streets 
of  New  York,  The  Wages  of  Sin,  and  Woman  Against  VJoman,  a 
stnnding-room-only  sign  v/as  displayed  at  the  box  office  every 
night . 

SHAKESPEARE  ^lARES  ACCLAIM 
At  the  climax  of  29  weeks  of  overwhelming  successes  — 
during  v.'hich  the  original  company  had  prof  it  ed  by  the  addition 
of  newcomers,  including  Jamos  H.  Ward  and  Kate  Dalgleish  — 
Shakespeare's  Richard  III  came  to  the  boards.  Said  the  Call 
on  Decmeber  9,  1892: 

"The  combined  efforts  of  Boreas  and  J.  Pluvius  dur- 
ing the  week  did  not  deter  the  patrons  of  the  flourish- 
ing Grove  Street  Theatre  from  turning  out  en  masse  to 
witness  the  performance  of  Richard  III.  This  conglomer- 
ate tragedy,  part  Shakespeare,  part  Colley  Gibber,  has 
had,  no  doubt,  more  important  interpreters;  but  certainly, 
even  in  the  palmy  days  of  the  old  Globe,  which  the  divine 
William  managed  himself,  more  enthusiasm  could  not  have 

been  shown  than  was  manifested  on  the  occasion  of  the 
Grove's  .-TToduction.  hr .  Vinton  did  fairly  as  Gloster, 
afterward  the  king,  but  is  not  fitted  for  such  exacting 
roles  as  this  is.  The  members  of  the  company  gave  in- 
telligent support.  Especially  was  this  the  case  with 


■>  :Jli  >   jr.  ; 


nXo 


196 


E»  J.  Holden  aa  Richmond.  It  is  to  be  regretted  that 
this  gentleman  received  a  painful  but  not  serious  wound 
In  the  thigh  during  the  combat  in  the  battle  of  Bosworth 
scene.  Edged  tools  should  be  handled  carefully,  even  in 
mimic  warfare . 

"Elaborate  preparations  are  being  made  at  this  thea- 
tre for  the  elaborate  production  of  the  fairy  tale  Cindea?- 
ella  as  a  spectacle  to  be  run  throughout  the  Christinas 
holidays ." 

THREE  WEEKS  OP  CINDERELLA 
Although  Richard  III  was  by  far  the  most  substantial  pro- 
duction yet  staged  at  the  Qrove,  it  could  hardly  compare  in 
pomp  and  theatrical  circumstances  with  the  production  aif  Clniier- 
ella .  Weeks  in  advance  the  costumors  were  busy  preparing 
suitable  finery  for  a  cast  of  64.  The  property  man  constructed, 
among  other  wonders,  a  "fairy  godmother's  coach"  said  to  have 
been  a  work  of  great  artistry  as  well  as  mechanical  skill. 
The  actors  were  drilled  in  their  parts  relentlessly  until  no 
detail  of  action  or  speech  lacked  perfection.  Then,  on  Decem- 
ber 26,  1892,  the  entire  company  paraded  in  costume  through 
the  streets  --  led  by  a  15-piece  band  and  accompanied  by  some 
20  private  carriages  and  Cinderella's  coach-and-f  ovir .  The 
fairy-tale  spectacle  made  such  a  hit,  inside  and  outside  the 
theatre,  that  it  was  continued  a  week  beyond  its  scheduled 
fortnight  run.  Said  the  Call  of  January  15,  1893: 


■j!'                                        '   el   ^  ruoH  .u  .a 
•-   inn  .■twd  i 

Br""  "0     8f 

ftXijoo  dl    ,              art;*  *s     fisne^e  ^e^  nolct 

■q     ^TBi/cf     &19W  eiomi/rfcoo      '^>rf:J   ©srTBvba     nl   6>^6oW      .e 

,5                                               .   eriT  isrtll  9l 

..;i.'-.f,-:                       MI  B9                 ea  -^               3  *boT3  lo  > 

or                                                         T   tisrfJ^   rr.t  bio^ib 

■J  0  nt      'c  ^   orict    ,2 

ecnoa   vi    ^^             ■'f>oe   brre   bnad'  -i.ie.PtiP-   rtr;., 

fr-fT     .  •jjL.'ol-un.iS-fioaoo      a '  aixai'.JO.'ii.o   .:iix:  ?.-2fyt:j.-ii.Bo      e^avx-isi   ■"> 

©ri;J  £            :>  bna  oblani    ,*iri  y  elarf-Y^.; 


197 


"The  three  weeks  riin  of  Cinderella,  or  rather 
twenty-six  performances,  belongs  to  the  exceptional  cases 
in  the  annals  of  our  local  stage.  Over  35,000  people 
witnessed  this  brilliant  spectacle  during  the  holiday 
time.  In  all  probability  —  the  success  of  the  manage- 
ment in  the  spectacular  has  been  so  great  —  the  patrons 
of  the  Grove  Street  will  at  midsummer  be  treated  to 
another  gorgeous  scenic  display  called  The  Angel  of  Mid- 
nijght,  recently  purchased,  and  this  will  be  followed  by 
revivals  of  The  Sheep's  Poo_t,  Yellow  Hat,  and  Red  Gnome . 

"Meantime,  compencing  tomorrow  evening.  Miss  Ge org ie 
Woodthorpe  will  star  for  one  week  In  Mme .  Celeste's 
famous  melodrama.  The  French  Spj.  The  piece  has  the 
merit  of  age,  at  least,  as  a  version  of  it  was  played 
at  the  Bowery  Theatre,  New  York,  as  long  ago  as  1832, 
with  a  Miss  Waring  as  Mathilde.  From  this  date  the 
bill  at  the  Grove  Street  will  be  changed  weekly  as  here- 
tofore." 

CONCRETE  REALISM 
The  succeeding  melodramas  and  their  moiintings  indicate 
that  the  activities  of  the  stage  crew  were  as  strenuous  as 
those  of  the  actors:  they  were  called  upon  to  create  fires, 
train  wrecks,  sawmills  with  loose  timber  flying  about,  and 
even  '©panoramic  view  of  New  York  Harbor,  v;ith  real  rowboats, 
a  steam  lavmch  and  police  patrol  boats."  All  these   effects 


X  :-dqs    •;.M5.1j.i     . 

i'  bxTB    .  io  eXavivet 

(6  .  »l^^^^^    rji^ffrc. 


■    In   jTitR'T^^v   B   B**    ,'fRe«*.r  ■»   "io      ."t 


>.    ■  . 


•■>fift  t-, 


198 


were  presontocl  so  realistically  that  often  the  .audience  burst 
into  applause  for  the  scenery  itself. 

In  February  of  1893,  simultaneously  with  its  production 
at  three  other  showhouses,  n.acl.Q  Tom'  s  Cabin  came  to  the  boards, 
with  a  cast  of  21  and  an  army  of  jubilee  singers  and  ''cotton 
pickers"  who  delighted  the  patrons  with  their  groupings  on  the 
stage.  Nevertheless,  said  the  Call  of  February  5,  1893: 

"Probably  the  only  sound  business  reason  for  the 
revival  of  this  worn  and  improbable  melodrama  is  that 
put  forward  by  Stockwell,  not  in  favor  of  the  piece  it- 
self, but  that  he  has  secured  the  services  of  the  colored 
pugilist,  /VetQv/  Jackson,  to  personate  a  Negro  slave 
noted  for  his  fidelity,  piety  and  faithful  discharge  of 
all  his  duties.  The  Grove  Street  management  has  selected 
for  a  similar  position  a  colored  actor  named  Harry  Ham- 
den,  who  was  born  v?ith  the  book,  it  is  said,  and  has 
been  slavery's  frightful  example  all  his  life." 

There  is  evidence  here  that  the  Grove  Street  Theatre 
management,  despite  its  avowed  policy,  was  emulating  the  sort 
of  sensationalism  comm-m  to  the  melodeons.  Uncle  Tom's  Cab^n 
succeeded  despite  the  obvious  trvunpery.  Without  being  either 
too  clear  or  too  critical,  the  Call  of  February  19  commented: 

"As  predicted  by  an  advance  article  In  the  Call, 
the  11th  matinee  of  Uncle  Tom' s  Cabin  at  the  Grove  Street 


:tB 


'VJo,i;:J_t     ■*"? 


UW  J.->  JJ 


r,  J  Jt    AJv.i.\v  J.  «■  J  <.."-?!  >>j  i.>j,/tj. 


Ai.t:.iv-  ii..i».  ftao^xtfw^  u.....   :-=•:. £3.1X9 fa  oxiw  "ais^islq 
0  ariJ  6158  :.ip. 


eA& 


lis  e  .  >  eJtrt  ila 


7rrfr!'^   '■:'^Tr'Xf>r'.    r*  ft'' ^v  irr'^'T 


'  P     ^5    T*^ 


s    3X    3i,      »:jv'-;j    3^; 
I   elrf  II« 


.Jt'tl  ;.  •»ia  n?ecf 


e-"' 


■iC-  0x1 


•»  -  rr<--,o 


.  a  noetic  ieixi  6iiJ 


■  aiB.CXaar-icliiBiiea    lo 
H»f)   : 


:;navb> 


^"^olfee*^-'    '^ 


A  " 


lO  &£i^  c 


199 


Theatre  has  proved  a  great  success  and  worthily  so.  The 
management  evinced  judgement  and  enterprise  in  the  pro- 
duction ... 

"This  ^undaj7  afternoon  the  German  Stock  Company 
will  appear  in  A  Kingdom  For  a  Child.  This  is  a  new 
venture  and  one  that  ought  to  command  the  attention  of 
German-speaking  theatre-goers.  Tomorrow  evening,  Febru- 
ary 20,  the  great  Bronson  Howard  comedy,  The  Banker ' a 
Daughter,  will  be  produced  v/ith  Mr.  Frank  Holleston  in 
the  lead,  and  a  carefully  selected  company  of  ladies  and 
gentlemen  in  support," 

CLOSINGS  P^pD   OFFNJNGS 

Whether  the  house  continued  popular  for  the  remainder  of 
the  year  ia  questionable.  A  notice  in  the  Call  of  January  7, 
1894,  stated  "The  Grove  Street  Theatre  will  be  closed  till 
further  notice,"  and  the  reason  advanced  by  this  journal  was 
simply  "too  many  partners," 

Haswell  and  Holden,  however,  patched  vtp  their  differences 
and  reopened  the  Grove  on  January  28,  1894,  with  James  M.  Ward 
and  Carrie  Clarke  Ward  in  a  piece  colled  Shamus  O'Brien.  An 
entirely  new  company,  included  Fanny  Yo\ing  and  J.  H,  Todd,  who 
also  acted  as  stage  manager.  For  a  while  it  appeared  that 
their  prospects  for  a  successful  new  period  were  unusually  good. 

Inasmuch  as  the  theatre  was  packed  nightly  during  the  run  of 
Shamus  O'Brien;  but  early  in  April  the  reorganized  playhouse 
abruptly  closed  again.  The  Call  of  April  10  reported: 


T-   .-^  -4-  rrr      t  ■       f\^v  / 


-oaq  ©rii  til    - 


rf^' 


jt/b 


-s     III.'- 


Aj^      ,:tfi 


srto   I 


■jw'     D-iewf.fi 


rri  noieelXoH 


id    ^Obi   Y'i** 


1?    T'" 

Hi*     5o8oXo 
3SV/  lerr- 


■r  9i:J 


•3 


«     .. 


.i.irjci       o; 


■•vo' 


;Jad[;^     b^tegnqfl   . 


f^^l.'^ ' 


.»ff;tn    '',"A\-r  ;■ 


•irrr-oTrr   Tf: 


200 


"It  is  understood  that  Mr,  Gustav  Walter,  proprie- 
tor of  the  present  prosperous  Orpheum  music  hall,  has 
purchased  the  Grove  Street  place  of  amusement  and  will 
run  it  in  connection  with  his  establishment  on  O'Parrell 
Street;  that  is,  the  people  appearing  at  the  Orpheum  will, 
by  means  of  rapid  hack  transit,  do  a  turn  at  the  Grove 
the  same  evening." 

The  Call  announcement  implies  that  the  Grove  at  last  had 
become  a  variety  or  vaudeville  house;  and  since  Gustav  Walter 
had  taken  it  over  one  would  expect  it  to  flourish,  as  did  'every 
other  enterprise  he  had  undertaken.  Such,  however,  was  not 
the  case.  After  a  May  engagement  of  Richard  and  Pringle's 
Georgia  Minstrels  which  was  fairly  successful,  box-office 
receipts  dropped  off  alarmingly.  Endeavoring  to  bolster  them, 
Vi/alter  instituted  another  series  of  melodrama  --  May  Blossom, 
Monte  gristo,  An  Irish  Exil_e  --  starring  the  old  favorites 
Barrel  Vinton  and  Kate  Dalglelsh.  But  1894-96  were  depression 
years;  attendance  at  all  theatres  decreased,  and  the  Grove, 
despite  low  admission  prices,  suffered  along  with  the  rest, 

LA  ST  liXp_IT  I_NG  SCENE 
Nothing  could  avert  the  Grove's  descent  into  oblivion. 
One  evening  a  deputy  sheriff  arrived  at  the  theatre  just  be- 
fore curtain  time  and  attached  the  evening's  receipts,  where- 
upon the  Call  on  September  1,  1895,  came  out  with  this  com- 
ment : 


oos 


en.; 


X^k:i\  i   bib  && 

-t  f  .-'7 


S      .nejla;t'i 


'r.f=>^r\Jio'1  o 


■ie     x^- 


&SW 


.oval      b- 

;TC  I  ^  "  r  T 


TB^B 


esoioaD   eoiJ-'-'yit. 


se" 


-f, 


"  00     U  Ex 


2oa 


"There  was  a  scene  of  excitemer^t  at  ttjie  Grove  Street 
Theatre  last  night.  Deputy  Sheriff  Appel,  accompanied 
by  Attorney  E.  M.  C-ummings,  swooped  down  upon  the  box 
office  with  a  writ  of  attachment  and  secured  all  the 
receipts,  amounting  to  ^25,  The  atta ches  of  the  theatre 
learned  of  the  raid  upon  the  box  office,  but  too  late 
to  prevent  the  minions  of  the  law  from  grabbing  the 
receipts.  ; 

"The  manager  begged  the  deputy  sheriff  to  leave 
enough  to  enable  the  members  of  the  company  to  get  their 
breakfast^  and  after  consulting  with  Attorney  Curamings 
he  acceded  to  the  request.  What  led  to  the  seizure  was 
some  trouble  over  the  bar  connected  with  the  theatre. 
Recently  E,  P.  Lydon  purchased  an  interest  in  the  bar 
for  $85.  The  manager,  after  allowing  him  to  take  pos- 
session for  a  day  or  two,  threw  him  out.   He  endeavored 

to  get  a  return  of  the  fpSS  without  success,  sohe  seciired 
a  writ  of  attachment,  which  was  executed   last  night. 
The  next  scene  will  be   enacted  in  the  Justice's  court, 
as  Lydon  has  entered  suit  against  the  management  for  re- 
covery of  the  $85  and  damages." 

The  ciirtain  rose  the  night  of  September  1  in  spite  of 
this  brush  with  the  lav/,  but  it  is  not  knovi?n  how  many  nights 
it  rose  thereafter.  Sometime  between  September  and  December 
of  1895   it  closed^  and  when  it  reopened   on  June  20,  1896, 


3Ali:ra  t-u 


202 


under  a  different  management,  it  had  become  the  Park  Theatre. 
As  the  Park  it  had  a  brief  and  indeterminate  career.  How  or 
when  the  building  was  destroyed  has  not  been  recorded.  The 
City  Hall  now  stands  on  its  site. 


203 


CHAPTER  XIV 


MINOR  VARIETY  HOUSES 


A  profusion  of  melocleons,  music  halls,  and  variety  thea- 
tres deserve  cataloguing  in  this  volume  for  the  sake  of  com- 
pleteness. Such  houses  are  grouped  hero  because  no  single 
house  is  sufficiently  important  to  deserve  a  chapter  of  its 
own — many  have  left  no  historical  records  beyond  their  names. 

Dashaway  Hall,  on  the  south  side  of  Post  Street  between 
Kearny  and  Dupont  Streets,  was  built  in  1861.  Two  circum- 
stances contribute  interest  to  its  otherwise  dull  story.  It 
v/as  named  after  the  Dashaway  Association,  founded  on  New  Year's 
day,  1859,  by  14  volunteer  firemen  who  decided  to  join  the 
water-wagon  brigade,  and  according  to  the  Bulletin  of  November 
6,  1861,  "dashed  away,  first  for  six  months  and  finally  for- 
ever, the  cup  that  poisons  all  who  handle  it."  The  motto  of 
the  house,  "Death  to  King  Alcohol,"  was  inscribed  on  a  pennant 
which  floated  from  the  flagstaff,  and  the  hall  was  ceremoni- 
ously inaugurated  by  no  loss  a  personage  than  Governor  John 
G.  Downey,  who  laid  its  cornerstone  on  November  5,  18C1,  using 

a  silver  trov/el,  Apcrt  from  being  a  temperance  hall,  v/ith 
upstairs  rooms  for  the  cire  of  reformed  and  roform.ing  driink- 
ards,  Dashaway  Hall's  only  claim  to  histrionic  dignity  lay  in 


tvr« 


2C4 


the  fact  that  it  vms  the  scene  of  innumerable  plays  given  by 
the  DashQvvay  Amateur  Dramatic  Association,  whose  members  fre- 
quently were  accused  in  the  press  of  manhandling  Shakespeare. 
Beins,  like  all  the  halls  of  its  kind,  a  social  gathering 
place,  the  Dashaway  also  served  for  lectures,  concerts,  and 
"Promenade  balls."  Its  usefulness  was  terminated  by  old  age 
in  1893. 

TH2  HIFPOTHEATRON 
One  of  the  many  examples  of  theatrical  Impermanence  dur- 
ing the  period  from  1861  to  the  fire  and  earthquake  of  1906 
was  the  Hippotheatron,  a  hxige  tent-pavilion  erected  at  Seventh 
and  Mission  Streets  in  1864.  It  lasted  only  a  few  months, 
underv/ent  several  changes  of  name  --  New  Hippodrome  Pavilion, 
Wilson's  Hippodrome,  Palace  Opera  House  --  and  v;as  owned  by  a 
man  named  Wilson,  who  staged  therein  at  least  one  circus  per- 
formance and  some  variety  shows.  The  People's  Palace  (believed 
to  have  been  at  Eddy  and  Ivlason  Streets)  seems  to  have-  been  the 
Hippotheatron '3  only  rival.  It  la  at  eel  until  1897  when,  said 
the  Post  of  January  9,  "Professor  Gleason,  the  famous  horse 
tamer,  gave  his  concluding  exhibitions  there." 

CAM'KRBUin'  HALL 
In  1868  the  city  directory  listed  Chapman 'a  Hell.  26  Mont- 
gomery Street;  Harmony  Hall,   corner  of  llontgomcry  and  Sacra- 
mento Streets;   Lyceum  Music  Hall,  ad.i'oining  the  Exireka  Thea- 
tre; McCue'3  Hall,  246  Third  Street;  San  Francisco  Volks  Hall, 


baa 


"\' : t  r 


O'Ua. 


izfi.  iisa 


205 


corner  of  Kearny  and  Sutter  Streets;  and  Brook's  Canterbury- 
Hall,  corner  of  Pacific  and  Kearny  Streets.  Only  the  last  is 
more  than  a  name;  it  received  several  notices  in  Fiparo  which 
indicate  it  must  have  been  a  variety  theatre  of  some  promise, 
and  was  described  on  March  6,  1869,  as  "the  spacious  hall  in 
the  basement  of  No,  824  Kearny,"  It  apparently  specialized 
in  comedy,  farce  burlesque,  songs,  dances,  tableaux  vivants, 
etc.  Ned  Bingham  managed  the  Canterbury;  admission  was  free. 
On  one  occasion  the  house  received  considerable  notoriety  when 
Rose  Bingham  danced  the  can-can  on  its  stage. 

CHINESE  THEATRES 
Said  the  Daily  Dramatic  Chronicle  on  June  20,  1868: 

"The  Chinese  Theatre  situated  on  Jackson  Street 
/Eetween  Kearny  and  Grant  Ave^J^  was  the  scene  of  a  first 
class  Celestial  pow-wow-row  last  Thursday  night.  Cap- 
tain Douglas  was  on  hand,  but  not  being  well  up  in  the 
Chinese  lingo  it  was  impossible  for  him  to  arrive  at  a 
clear  ujaders tending  of  the  cause  of  the  'wtmpus.'  He 
had  no  trouble,  however.   In  understanding  that  hitting 

a  man  on  the  head  with  an  iron  bar  was  equivalent  to  an 
assault  with  a  deadly  weapon,  and  forthwith  arrested  Ah 
Him  for  having  indulged  in  the  pastime  of  scalping  Ah 
Pek  with  such  a  weapon." 

This  must  have  referred   to  what  was  listed  in  the  city 
directory  of  that  year  as  The  New  Theatre,   With  The  Grand, 


riottiyt  c 

as 

:   eaw  no 


>vy.' 


as  to  «K  ^      -  :   anJ"> 


206 


814  Washington  Street,  and  The  Royal,  836  Washington,  it  brought 
the  total  of  Oriental  theatres  flourishing  at  the  time  to 
three.   They  were  all  frequently  patronized  by  Americans. 

VARIETIES;  COMIQUE,  ATHENAEUM 
In  1870  Ned  Buckley  took  over  a  building  called  Victoria 
Hall,  at  Pine  and  Kearny  Streets,  renamed  it  Buckley's  Varie- 
ties, and  opened  it  as  a  minstrel  house.  It  was  soon  rivaled 
by  the  Theatre  Comique,  on  Kearny  Street,  between  Washington 
and  Jackson,  under  the  joint  proprietorship  of  Johnny  Tuers 
and  C.  Brooks  —  both  minstrels  with  considerable  popular  fol- 
lowing. Buckley's  house  seems  to  have  been  extremely  short- 
lived, but  the  Comique  —  featuring  such  stars  as  De  Angella, 
Jake  Wallace,  Jlmniy  Murphy,  Lizzie  Harmon  and  Rose  Durand  — 
continued  to  flourish  until  1872,  when  Figaro  on  September  26 
announced: 

"Elsewhere  will  be  found  the  opening  of  a  new  place 
of  amusement  devoted  to  the  variety  business  \ander  the 
title  San  Francisco  Athenaeum,  The  hall,  formerly  known 
as  the  Theatre  Comique,  on  Kear»y  Street,  between  Wash- 
ington and  Jackson,  has  been  leased  by  Mr.  J.  Church, 
and  has  been  fitted  up  very  neatly  and  comfortably  for 
that  purpose.  The  opening  will  be  on  Saturday  night. 
A  good  variety  company  has  been  engaged,  with  Harry 
Thompson  as  stage  manager,  J.  Church,  manager  and  Charles 
Seymoixr  as  business  manager," 


A     x<^    &' 


A  rcj 


-vf^/' 


r>  *x  iv:  (      ■,  it> "  ■'  -'  .■•*  A  » «■ 


r  ftT 


■islii 


■TA-i'r    yf>(n'; ..         ^ri 


ris   vi 


*>•r^     .-f  >rro>T,-.  ; 


rjifj 


r 


as 


■   r?r    ri 


:0i   .  :b 


311 J    u3::^-iia    '-^K  -'. 


J.   e^'f   './.?*? 


.'iJrJf,ii< 


'W  rreirf?-'    ,  .'''?n'5::^<?   7r^'cn:>)'   r!c    ,9' 


9.rf .J    s '' 


^rioii^' 


•■*     V, 


Ifld^fioii  ^lav  qjj  bGi^ill  n^ad  serf  fontfl 


^^TeiaciBm   TaeniKtrrf   ec   tx'o.Tr-aS 


207 


The  destiny  of  Chiorch'a  Athenaeum  is  a  mystery,  but  one 
fiorther  item  in  Figaro  on  March  18,  1880,  shows  that  the  The- 
atre Comlque  was  revived,  at  least  in  name,  by  Wlllig  and 
Browne  at  some  unspecified  date  prior  to  this  notice: 

"Continual  changes  of  faces  and  specialties  are 
what  the  people  want,  and  managers  Wlllig  and  Browne 
make  it  a  point  to  please  their  patrons.  This  week  the 
specialty  acts  are  The  Two  Pompeys,  The  Outcasts,  and 
Chinese  Servants,  concluding  with  the  original  can-can. 
On  Saturday  evening  Johnny  Tuers,  the  old-time  popular 
favorite,  will  make  his  appearance,  and  on  Monday  even- 
ing Louis  Braham  will  appear.  Six  Kanaka  dancers  from 
Honolulu  are  also  engaged  and  will  shortly  appear." 

THE  GREAT  OXFORD 
An  advertisement  in  Figaro  on  May  30,  1870,  indicates  the 
character  of  The  Great  Oxford  Theatre: 

"Under  the  management  of  Charley  Vincent,  who  is 
sole  proprietor,  the  Oxford,  at  the  corner  of  Sutter  and 
Ksarny,  has  become  one  of  the  most  popular  places  of 
amusement  in  town.  The  Oxford  la  regularly  licensed  for 
musical  and  theatrical  performances  --  paying  $500  a 
year  --  and  has  secured  some  of  the  best  local  talent, 
making  up  together  a  company  of  over  twenty  performers." 

Fran  other  Figaro  notices  It  is  plain  that  the  Great  Ox- 
ford was  popular  during  the  short  time  it  existed,  there  being 


&d4   i  adiif 


t'Tf^    v.f        *. 


r.  Q'jn         r^    tr,  f  .^n  ' 


emob   iB  enwo'iti 


brtfi 


.1  eei 


t   Bieoiisb    !.:■ 


'Q     ericf   ^Bctvf 


■■!*     -is  :»>  T'Y     r,.t     :*.V»'-KV 


cicioa 


.■flfrT 


bnn 


'tt.v 


0 


rn    OE  . 


»jtl:t   80" 


'91    ^05  tsM  no 


^•'.  f^  '"i  fi  ** 

•IftVO 


:tt   Bv 


lo    16  ip 


q   eloB 


'r  •••  •cry 


li    j::- 


giixscf 


Xxft  :S. 


.   .at 

mot'? 

•<.w   btot 


208 


occasions  when  "hvmdreds  of  persons  were  unable  to  obtain  ad- 
mission." Admission  prices,  as  in  the  case  of  most  melodeona, 
were  10^  and  15^  and  the  bills  were  composite  affairs  embrac- 
ing the  whole  range  of  variety.  Of  this  theatre  Figaro  on 
June   28,  1870,  v;ent  on  to  say: 

"It  matters  little  whether  times  are  dull  or  lively, 
the  Oxford  is  always  crowded .  How  Vincent  manages  to 
give  such  an  entertainment  and  employ  some  twenty-six 
or  twenty-seven  artists,  and  still  charge  only  fifteen 
cents  admission,  is  a  mystery,  but  somehow  he  does  it. 
It  must  certainly  be  confessed  that  his  performers  are 
no  'slouches.'  Miss  Rose  Vincent  in  the  dance  is  ex- 
cellent; Jake  Wallace  on  the  banjo  is  inimitable;  Vin- 
cent himself  is  ^inapproachable;  and  --  for  further  par- 
ticulars see  programme." 

But  the  Great  Oxford  also  had  a  brush  with  the  law,  as 
shown  in  Figaro  of  December  23,  1870: 

"There  seems  to  bo  something  very  peculiar  in  the 
proceedings  taken  against  Charles  Vincent  of  the  Great 
Oxford  Theatre  —  something  that  would  seem  to  indicate 
that  a  malicious  or  interested  party  is  at  the  bottom 
of  the  affair.  Yesterday  Vincent's  case,  charged  with 
selling  liquors  in  the  same  building  where  theatrical 
entertainments  are  given,  came  up  before  Judge  Sawyer, 
and  that  magistrate  dismissed  the  complaint,  stating  hia 


9000 

I 


nJt   ft 


^  f  i;  v:  .',  ;;:.,■.  lA 


-taq  -'  una   ;e  o 

%»     «wai  ejcf;}  rl  i  b  bad 

:  OVBI    .  5S:  n  1  lo  la 

:    fli.   I'-  R    yi 

la:  irt   eif 


ftixt    Ji'.i 


^i.iAvlWJC       ^    'i  .A  i"*  .i    J^..     'i.i       Jil'J     u»U!iC>ai.i 


209 


reasons  for  doing  so  in  a  sensible  and  well-considered 
extemporaneous  opinion. 

"Ke  said  he  had  examined  the  premises  of  the  Ox- 
ford, and  it  was  his  opinion  that  the  managers  are  not 
violating  the  law,  but  evading  it,  for  the  saloon  was 
attached  to  it  on  the  same  principle  as  saloons  are  at- 
tached to  the  California  and  Alhambra  Theatres.  He 
would  therefore  dismiss  the  d'^fend^nts.  But  no  sooner 
had  Judge  Sawyer  disposed  of  the  case  than  Vincent  was 
again  arrested  for  the  sam.e  offense  (another  night  be- 
ing charged  as  time  of  violating  the  law)  upon  a  warrant 
Issued  by  Judge  Stanley.  The  officer  who  made  the  ar- 
rest informed  Vincent  that  he  would  have  to  close  his 
place  of  amusement,  until  the  case  was  decided,  or  else 
Incur  a  very  heavy  penalty.  We  shall  have  occasion  to 
allude  to  this  matter  more  fully  hereafter.   So  far  as 

we  are  In  possession  of  the  facts,  we  cannot  resist  the 
conclusion  that  there  la  some  other  motive  than  a  disin- 
terested desire  to  promote  the  ends  of  justice  mixed  up 
in  the  matter.  An  animus  has  been  revealed  that  is 
strongly  suggestive  of  personal  malice,  and  the  deliber- 
ate intention  to  persecute." 

It  developed  that  not  only  Vincent  wos  arrested,  but  all 
his  employees  as  well.  Said  Figaro  on  December  27,  four  days 
later: 


ttPii^   bicrow 

Eft  "xal  08        .'1  ..tjam  ttldJ  oi   • 

Jstrt   *o   8t>..-  5e.+B9'ie;t 


210 


"Is  it  justice  or  persecution?  We  say  nothing 
against  the  arrest  of  the  proprietor  of  the  Oxford  Thea- 
tre to  test  the  question  whether  he  is  violating  the  law, 
but  why  arrest  all  the  unfortunate  employees  in  subordi- 
nate situations  before  the  test  in  complete?  These  poor 
unfortunate  people  who  earn  a  scanty  living  at  the  thea- 
tre during  these  bitter  hard  times  are  arrested  in  a 
crowd,  and  ordered  into  prison  ujiloss  they  ceji  give  bail 
In  tho  sum  of  $500  each.  Xo  chs-"ge  of  improper  or  im- 
moral conduct  is  made  in  thesa  cases,  however.  The  sole 
ch£>rge  it  that  the  theatre  ia  so  constructed  that  thera 
is  a  side  entrance  from  the  hallway  or  lobby  by  v/hich 
the  audience  can  pass  into  an  adjoining  saloon  without 
first  going  into  the  street.  The  employer's  arrest, 
in  order  to  have  this  matter  passed  upon,  cannot  be 
objected  to;  but  the  arrest  of  his  property  men  and  other  • 
employees  strongly  resembles  an  act  of  persecution." 

Whether  it  was  ever  determined  that  some  malicious  party 
or  parties  was  behind  this  affair  cannot  be  discovered;  but  in 
any  case  the  Great  Oxford  benefitted  by  the  publicity  —  even 
though  the  patrons  liad  to  be  content  with  ginger  pop  in  lieu 
of  strong  drink.  Shortly?  thereafter  Figaro  discontinued  adver- 
tising-" this  house  for  a  period  of  two  years,  and  when  a  last 
isolated  notice  appeared,  on  January  1,  1872,  the  Great  Oxford 
was  in  the  hands  of  Miss  Amelie  Dean.  Its  ultimate  fate  ia  un- 
known. 


-  H 


•««• 


V--  f    r^,:-\     --■  r   ■  aT-i  ' 


Vf     '-f^  r 


'^.-f."t  :tn  5. 


.!•  T)    r> 


i.<*    a£ 


-r 


"'tv'    vrf    T" 


9<:f      :^r.r;ir..'»       .  "r^c;.'    ''";>'".  "•.^•t    ^  r^-):'.  ^.-t:  -^vr^rf  /*ii       rfhTri    ''i 


-:fe    66.  ';*► 


Y'i^isq 


!  fr,  ^rrr/rr-   m--.;    ■  '•:   '^. 


q  fto 


<ip.  <;'.    fTTR 


X«J     A.A.     '  V     /il^      A*>'  ~      L4.0 


•w 


211 


THE  NEW  LYCEUM 
Late  In  1875,  Englehardt  and  Gardner  opened  the  New  Lyceva 
Theatre  at  Kearny  and  Sacramento  Streets,  announcing  in  Figaro 
on  November  20: 

"This  new  variety  theatre  opens  this  evening  with 
a  full  company  of  excellence.  Among  the  attractions  on 
the  inaugural  programme  are  a  Highland  Fling  by  Mis a 
Georgie  Brooks,  a  banjo  solo  by  Miss  Cherry  Belle,  Matt 
Kelly  in  'La  Statue  Blanche,'  Charley  King  with  his  ban- 
Jo,  the  farce  of  The  Merry_  Cobbler,  Miss  Emma  Cooper  with 
a  violin  solo  and  the  sketch  of  'I  Duo  Prestiditatori . ♦ 
Harry  Thompson  will  deliver  the  opening  address." 

The  New  Lyceum  was  only  four  months  old,  however,  when 
it  changed  hands,  coming  into  the  possession  of  Messrs.  Hock- 
ing and  Peters,  who  renamed  itDopson's  Variety  Hall  and  dedi- 
cated it  to  minstrelsy.  It  is  possible  that  a  man  named  H. 
Dopson  put  up  funds  for  the  purchase  and  remained  behind  the 
scenes  duj^ing  Hocking  and  Peters*  15  months  tenure;  after  a 
brief  period  of  closure,  Dopson  took  the  house  over  and  ran 
It  as  a  first-class  "minstrel  and  variety"  theatre  from  July, 
1876,  until  the  end  of  that  year,  when  all  notices  and  adver- 
tisements ceased. 

EGYPTJAN  HALL 
In  1875  thera  were  two  other  houses;   Grand  Central  Hall 
(presuiiiably  owned  by  the  Lytton  Dramatic  Club),  address  unknown; 


«r   r-,r-rc   ^niJia^  ^'^  .-.-(•? .-.a r:T 


B 


>  -oK 


r  ft-  amT 


•*       r.t 


'W        'ft^ 


C£..3V^ 


nsr 


, .  i  A 


212 


and  the  New  Olympic  Theatre,  at  the  comer  of  Third  and  Mission 
Streets.  The  first  of  these  may  have  been  a  hall  for  private 
theatricals,  but  the  second  was  undoubtedly  a  melodeon.  In 
1877  the  following  houses  opened:  the  Liverpool  Star  Varie- 
ties, corner  of  Pacific  and  Sansome  Streets;  the  Exotic  Gar- 
dens, on  Mission  opposite  Woodward's  Gardens;  Wood's  Museum, 
at  522  California  Straet,  and  Egyptian  Hall.  This  last  named 
place,  at  22  Geary  Street,  has  left  a  meager  record;  it  spe- 
cialized in  "strange  startXlng.  weird.  Incomprehensible, 
ghostlike,  and  mysterious"  perxormances.  According  to  Figaro 
of  February  17,  1877: 

•"This  place  of  amusement  is  to  be  opened  tonight 
with  novel  attractions.  The  hall  is  at  22  Geary  Street, 
a  few  doors  west  of  Kearny,  and  extending  thence  to  Mor- 
ton Street,  having  a  frontage  on  both  streets.  The  stage 
will  occupy  the  Morton  Street  end  of  the  hall,  and  that 
frontage  will  be  used  for  stage  purposes  only.  Egyptian 
Hall,  like  Pacific  and  Piatt's  Hall,  will  be  provided 
with  chairs  in  place  of  fixed  seats.  The  entertainment 
will  consist  of  dramatic  and  other  performances,  in  which 
the  latest  London  sensation,  the  production  of  weird  and 
ghost-like  forms,  will  be  introduced.  The  manner  in 
which  they  are  produced  is  Incomprehensible  but  their 
effect  is  said  to  be  most  startling.  The  opening  piece 
will  be  Haunted  Man,  to  be  followed  by  an  adaptation  of 


U: 


rti   9 


•IJliU! 


lo   'X9a- 


TO    ^\ 


I  Ils.-f 


I^'fon   t' ■ 


:;ne 


nri.t  "i 


regv 


.:,'   cvia 


215 


Faust,  concluding  with  the  laughable  sketch  of  the  Mys- 
terious Inn,  in  which  a  nvunerous  quantity  of  spooks  will 
play  the  very  deuce  with  Mr,  Timid.  In  New  York,  London 
and  Melbo\irne  this  class  of  entertainment,  both  from  itis 
mystery  and  hvunor,  largely  appealed  to  a  family  patron*- 
age,  and  several  rows  of  front  chairs  will  be  reserved 
for  ladles  and  their  escorts.  The  price  of  admission 
is  50  cents," 

During  February  and  March  similar  notices  appeared  in 
both  Figaro  and  the  Fo st ;  then  Egyptian  Hall,  as  far  as  the 
r^vc«r<3  1«  concerned,  was  no  more. 

ST.  ANN'S  REST 
Started  in  1879  and  doomed  to  a  life  of  Indefinite  dura- 
tion were':  Tenth  Street  Hall,  at  Tenth  and  Howard  Streets; 
New  Lincoln  Varieties,  818  Pacific  Street;  Scott's  Varieties, 
Sacramento  and  Kearny  Streets;  Arcade  Minstrel  Hall,  108  Third 
Street;  and  Church's  Athenaeum,  at  25  Geary  Street,  Beginning 
the  same  year,  but  scsnewhat  different  in  character,  was  St. 
Ann's  Rest,-  at  Eddy  and  Powell  Streets.  Smith  and  Butler  were 
the  owners  of  this  entefpriaing  establishment.  Acoordirjg  to 
Figaro  of  August  11,  1879,  it  was  "so  arranged  that  popular 
opera  bouffe  and  comic  opera  can  be  given,  A  new  stage  has 
been  erected  by  T,  Andrews  and  some  excellent  scenery  painted 
by  Q.  W.  Bell.  The  auditoflum  is  made  comfortable  and  invit- 
ing. The  opening  is  announced  for  tomorrow  (Tuesday)  evening. 


©g    i.itf'    W.  ■'■nii'i'l 


«  „..  '•  r, 


■-{■-  ■^.oK 


::.    &<-  ;...-  :'-o.^.l 


;u   ii;:' 


•tol' 


II  .-f 


«Tf 


Dat) 


'*•     '^,-.     frTf?.  f^ 


O 


214 


when  Elchberg'a  charming  conic  opera  The  Doctor  of 
Alcantara  will  be  given  with  an  artistic  cast  seldom 
equalled:  Harry  Gates,  the  excellent  tenor,  as  Carlos; 
the  doctor,  T.  Casselli;  Don  Pompaso,  Alfred  Henderson," 

TIE  CENTRAL 

The  following  were  established  between  1879  and  1884: 
Niblo's  Garden,  at  Hayes  and  Laguna;  The  Odeon,  105  Dupont 
Street;  The  Eureka  Music  Hall,  527  Kearny;  Central  Garden,  at 
the  junction  of  Point  Lobos  Avenue,  Central  Avenue  and  Geary 
Street;  The  Atlantic  Gardens,  on  Bay  Street,  between  Powell 
and  Mason;  Blair's  Hall  (address  unknown);  The  Standard  Dime 
Museum,  807  Market  Street;  and  Yellowstone  Kit's  Indian  Wig- 
wam, 817  Market  Street, 

The  Central  Theatre  on  Market  Street  near  Eighth,  a  so- 
called  legitimate  theatre  owned  by  Belasco  and  Thrall  (later 
Belasco  and  Meyer),  opened  December  22,  1900,  It  specialized 
in  a  garish  type  of  melodrama  which  earned  it  the  sobriquet 
"the  Bucket  of  Blood."  In  many  respects  the  Central  was  like 
the  Grove  Street  Theatre :  it  had  a  stock  company,  its  admis- 
sion prices  were  10;^,  20(z^,  and  30(zf,  with  m.atinoes  on  Satr^rdays 
and  Sundays;  and  it  had  a  relatively  brief  life,  nine  years, 
A  sample  of  its  offerings  would  include  such  titles  as:  A 
Working  Cirl'iL  Wronpis.  No  Wedding  Be  lis  For  Her,  V/hy  y/omon 
Sin,  Way  Down  East ,  The  Old  Homestead.  Shore  Acres ,  and,  sur- 
prisingly, Faust, 


;  r.olf,r0 


07 


215 


The  Central  cast  varied  little  during  the  theatre's  ex- 
istence. Herschel  Mayall  seems  to  have  been  the  leading  man 
for  some  five  years;  then  Theodore  Tamble  succeeded  him.  The 
leading;  women  were  Edna  Ellsmere,  Juliet  Crosby  — w4io  had  ths 
advantage  of  being  a  native  daughter  --  and  Grace  Hopkins. 
James  Corrigan  played  the  comedy  roles  and  Henry  Shvimer,  the 
heavy. 

The  Central  was  noted  for  its  scenic  and  property  effects, 
for  spectacles  and  sensations  like  this  one  reported  in  the 
Post  of  February  18,  1905: 

"He  /i^he  property  man/  has  accomplished  what  many 
imitators  have  tried  and  failed  --  that  is  of  getting  a 
locomotive  on  the  stage  that  is  lifelike  and  real  In 
one  scene  the  engine  is  used  to  cross  the  stage  at  full 
speed,  shedding  a  shower  of  sparks,  dashing  through  a 
mass  of  seething  flames  amid  the  deafening  roar  of  whis- 
tles and  the  clanging  of  bells." 

Occasionally,  however,  the  Central  resorted  to  pure  vari- 
ety.  Said  the  Post  of  January  7,  1905: 

"At  the  Central  Theatre  next  Monday  night  a  decided 
novelty  v;ill  be  offered  its  patrons  in  the  shape  of  a 
real  old-time  minstrel  show.  Musical  jokes,  songs,  spe- 
eisilties>  farces  will  hold  sway.  Dsnny  Halifax  will 
sing  'The  Other  Page  Is  Missing  But  You'll  Have  To  Guess 
The  Rest';   Ernest  Howell,  'Teasing';   Herschel  Mayall, 


}'.  a    5  ' 


e 


216 


'Back  To  Baltimore' ;  and  all  the  other  members  of  the 
company  will  contribute  to  the  evening's  enjoyment  by 
song  or  joke.  Henry  Shiomer,  the  man  who  earns  the  gal- 
lery hisses,  will  sing  'Come  Back,  Baby'  and  will  do 
several  other  things  that  should  show  his  talent  for 
comedy.  Weston  and  Trau,  the  celebrated  eccentrics, 
will  do  a  turn,  and  the  Central  Theatre  boys'  choir  will 
be  heard  in  ballads," 

The  house  also  made  its  contribution  to  special  occasions, 
such  as  the  Fourth  of  July.  On  that  day  in  1905,  Chattanooga 
was  presented.   Said  the  Post' s  announcement  of  this  play: 

"The  piece,  as  is  well  known,  was  taken  ftom  the 
blood'-stained  pages  of  history,  dealing  with  events  that 
happened  in  the  most  beautiful  valley  in  the  world  where 
homes  were  desecrated  in  the  furious  tread  of  war;  where 
heroes  were  made  in  a  day  and  then  wiped  from  existence 
by  a  cruel  bullet;  where  noble  women  sacrificed  noble 
husbands,  sweethearts  and  brothers  to  the  inexorable 
demands  of  war  .  ,  .  The  scenic  investure  will  be  far 
above  the  ordinary  and  will  present,  among  other  views, 
the  Chattanooga  Valley,  the  Bowling  Green  in  Old  Ken- 
tucky, the  bridges  which  were  bathed  in  heroes'  blood, 
and  the  old  mill  by  the  river  which  was  afterwards  con- 
verted into  one  of  the  most  formidable  powder  houses  in 


?iSJ 


^1-iJ    I 


1    oT 


r  r  >\r  'f : ,  - 


30   »r 


•f-tr.--r<'^ 


«  <:•  ij  JO  ^  jl  ' 


':    r  r  » w; 


~iiji     6C( 


X  ni 


anij 


;ia  oalfl  oeuoii 


3VnJ- 


5n 


ax 


217 


the  world.  The  mad  dash  of  a  hundred  brave  cavalrymen 
as  they  sweep  on  to  victory  under  the  protecting  banner 
of  the  Stars  and  Stripes  is  one  of  the  greatest  battle 
scenes  ever  produced  on  any  stage." 

Such  was  the  kind  of  melodrama  usually  produced  at  the 
Central,  although  one  interesting  variation  is  glimpsed  from 
this  advertisement  which  appeared  in  the  Post  of  May  16,  1905: 
"Tonight  and  all  this  week  A  Human  Slave,  showing  misfortunes 
of  a  workingman  and  a  terrible  strike,  with  disastrous  re* 
suits."  Belasco  and  Meyer  did  not  advertise  in  the  rival 
Bulletin  --  a  fact  stated  in  an  article  accompanying  the  fore- 
going advertisement. 

Animals ,  Camille,  Monte  Carlo,  Tomboy  Girl,  Too  Proud  to 
Beg,  and  The  Minister' s  Son  were  staged  at  the  Central  before 
Belasco  and  Meyer  relinquished  the  house  in  November,  1905, 
to  H.  V.  Bishop,  owner  of  the  Majestic.  Under  Bishop  the  pol- 
icy of  the  house  remained  unchanged,  but  the  company  seems  to 
have  broken  up,  and  Landers  Stevens  v;as  engaged  as  leading 
man.  Landers  was  a  brother  of  Ashton  Stevens,  at  that  time 
the  dramatic  critic  of  the  Examiner  and  probably  the  most 
feared  reviewer  on  the  Pacific  Coast.  It  was  generally  under- 
stood that  if  a  production  could  get  a  kind  word  from  Stevens 
its  success  was  practically  assured.  He  habitually  reviewed 
performances  by  his  brother  with  ruthless  savagery,  without 
revealing  their  relationship,   and  this  may  have  contributed 


■^nrr 


■  rfZ!    \- 


\MB 


J& 


,^.0«ii    <3i    Y' 


Ocf'iiiW'Jij  15 


Xbv 


■^d;Je 


0£    fbCfO'Ti 

-Xoq    - 


■CjjUii      t'UJ  iJtJ 


;XSC1 


aif:t   'rr-f2cfo 


*  J  ♦  -v^ . 


■'cr.-^H£    -Jfr. dI.':* 


a  I 


*.'  1      il 


218 


to  the  waning  popularity  of  the  Central.  This  playhouse  es- 
caped destruction  in  the  fire  and  earthquake  of  1906,  but  sur- 
vived poorly  from  the  standpoint  of  gate  receipts.  Melodrama 
had  lost  its  appeal,  and  the  Central  had  nothing  further  to 
give.   Said  the  Chronicle  on  July  5,  1909: 

"Into  the  limbo  of  things  forgotten  has  gone  the 
rough-and-ready  thriller  of  our  youth;  not  so  much  our 
youth,  at  that,  when  you  think  about  it.  Jack  Dalton 
is  a  corpse.  He  lies  hidden  in  the  wreckage  of  false 
situations,  stilted  heroics,  claptrap  flubdub.  Melo- 
drama, as  the  cheaper  houses  know  it,  has  been  socked 
with  a  club  and  then  kicked  in  the  head  •  ,  ,  The  few 
final  faint  gasps  came  here  in  San  Francisco  only  with- 
in the  last  year*  The  Central,  which  used  to  stand  'em 
up  and  pack  'cm  in  before  the  fire  with  such  works  of 
art  as  The  Queen  of  the  White  Slaycs,  Why  Girls  Leave 
Home,  and  that  nifty  exponent  of  frenzied  dramaturgy. 
Bertha  the  Sowing  Machine  Girl,  had  to  turn  traitor  at 
last." 

In  "turning  traitor"  the  Central  had  become  a  house  of 
opera  and  minstrelsy.  Sometime  during  that  year,  without  fur- 
ther notice,  it  quietly  closed  and  the  building  was  razed. 


!'^'• 


?.'i  "(■      -'■  ^.O  13      €'. 


3/ost,     .;?.; 


•':j;i/ 


MT   ;i& 


!  JV 


n.r. 


.    ji*  ;  Uj^  jj  Ji- 


W  IJ 


.  '""■'• 


:ti  vocal  ac 


^noai 


.1.1    "'I 


-■sna    Brrc    r;,.. 


.inli-r-  T\rf:^ 


219 


BIBLIOGRAPHY 


Asbury,  Herbert*  The  Barbary  Coast,  An  Informal  History  of 
the  San  Francisco"  Underworld*  (New  YorkT  Alfred" A «  Knopf, 
I^STT 

Dana,  Julian*  The  Man  Who  Built  San  Francisco  (New  York:  The 
Macmlllan  Company,  1936") . 

Eldredge,  Zoeth  Skinner.  Bep;innlnp;s  of  San  Francisco  (New 
York:  The  Century  History  Company,  1915) • 

Greene,  Clay  M»  Newspaper  Contributions,  scrapbook.  In  pos- 
session of  Mrs.  Clay  M.  Greene,  San  Francisco. 

Hart,  Jerome  A.  In  Our  Second  Century  (San  Francisco:  Pioneer 
Press,  1931)  • 

Jefferson,  Joseph,   The  Autobiography  of  Jefferson  (New  York: 
The  Century  Company,  1897) . 

Lloyd,  Benjamin  E,   Lights  and  Shades  in  San  Francisco  (San 
Francisco:  A.L.   Bancroft  &  Company,  1876 ) « 

McCabe,  John.  "McCabe 's  Journal,  1849-1882,"  manuscript.  In 
Sutro  Branch  of  the  California  State  Library,  San  Francisco 

Neville,  Amelia.  The  Fantastic  City  (Boston:  Houston, 
Mifflin,  1932).  

Ode  11,  George  C»  D.  Annals  of  tjtie  New  York  Sta^e  (New  York: 
Columbia  University' Press,  IGSS")  • 

Rourke,  Constance •  Troupers  of  the  Gold  Coast,  or  The  Rise 
of  Lotta  Crabtree*   (New  York:  Harcourt,  Brace  &  Company, 


Young,  John  P.  San  Francisco^  a  History  of  the  Pacific  Coast 
Metropolis*  (San  Francisco:  S.J.  Clark  Tdbliihing  Company). 


Work  Projects  Administration.   Theatre  Research  Project. 

Buries que »  San  Francisco  Theatre  Research  Series,  Vol.  XIV 
(San  Francisco,  1939). 

,  Tom  Maguire,   San  Francisco  Theatre  Research 


Series,  Vol.  II.  (San  Francisco,  1938), 

^^  Minstrelsy,  San  Francisco  Theatre  Research 

Series,  Vol.  XIII  (San  Francisco,  1939). 


QlSl 


Y:i'i:.yK>uiddi6 


■  \ 

-J : 


-TXtm 


■-(■"     '-'r.  rV-     r-c!.f> 


■.■«!')   ooz.to,iRi'H.  ncS  il^.. 


■•■••   ^  „«,» 


.Hi' 


» :       :  t.'jiii'iiM 
s>(io'  -a.^l2  :fToY  vjqV!.  odi  1c  \     ^Q  ^0  f>3rro:0    xSIoLO 


'7T!'^:^r 


•  jOSf,oT:1     rioi^eesH     eicftOJ^T       .jicii^flnctRlni/x'jA     .'?-:^;-:^^o'-'^     -rfioV; 
VIX   .loV    »8eli©2  i-toijJDEoH  Sicteo/IT  oo-'.ioxu-'j'?  .  a 

riotPsaoH     9i;J;*i5riT     ooeloni'T"?  n^d     ^^JlifJ •''<-•'■'  kjo T  , 

.(«Sei    tOdeionnfd   nlTii    i/jX   ,ToV'  ,ftd.H?>3  ' 


NEWSPAPERS  MD   PERIODICVLS 
(Published  in  San  Francisco) 


220 


Alta  California 
American  Courier 


Argonaut 


Bulletin 

Call 

Chronicle 

Daily  Dramatic  Chronicle 

Daily  Dramatic  Review 


Ejcaminor 

Fi  garo 

Golden  Era 

News 

Pacific  Monthly 

Post 

Variety 

Wasp  and  News  Letter 


O'^S 


-,  ^ 


INDEX 


221 


184 

L.'169,  174 


Absent  Minded  Beggar ,  The , 
Ackerman,  Charles 

Edward,  97 

Irving,  190 
Adelphl,  The  (Theatre)  157-185 

I,  57 

II,  57 

III,  66,  67 

Adjle  (V/oman  animal  trainer)  170 

After  Dark,  14 

Alabama^  163 

Albani,  12 '> 

Alcazar,  12  3 

Alcedos,  The,  173 

Alhambra,  98,  209 

Allen,  Viola,  160 

Allfontina,  or  the  Blonde 


Atalanta,  Or 


The  Female  Athlete 


Crocodile ,  44 
Comfort; 


45 
of 


Home ,  162 


All  The 

Almond,  Tom  (skater  and  dancer) 

175 
Altar  o£ 


Friend 
Althea  Sisters, 


3hip. 
151 


The*  160 


Amber ^  Maude,  149,  151 
American  Tlieatro,  82 
Anderson  (Steel  and  Anderson) 

99,  101-103 
Andrews,  T.  213 
Angel  of  Midnijgjit,  The,  197 
Animals ,  217 
Apel's  (Mozart  Hall)  18 
Appel  (Deputy  Sheriff)  201 
Aragon  (Female  High-V\fire 

Artist),  169 
Arcade  Minstrel  Hall,  213 
Archer,  H.R.  60,  64,  65 

May,  183 
Arion  (Bicycle  stunt  man)  169 
Arlington  (McGraw  and  Arlington) 

12  4 
Arlist,  George,  162 
Armstrong,  Kate,  23,  25,  26 
Arnold,  J.C.  70 
Around  The  World  in  Eighty  Days , 

183 
Arragona  (Artist)  30 
Asbury,  Herbert,  110 
Ashcroft  (actor)  21 


77 
Athenaeum,  206 
Atlanti,  Miss, 
Atlantic  Gardens 
Aug,  Edna,  152 


,  207, 
40 


213 


The,  214 


Bachelor ' s  Home ,  A,  173 
'*3ack  To  Baltimore"  216 
Badaroc'co,  Signor,  147 
Baker,  V/.F.  21 
William,  12  2 
Baldwin  (Theatre) 


13,  106,  135 


Balmour,  Louis,  101 
Bamford,  21,  77 
Banker's  Daughter,  The,  199 
Barbara  Fidgety,  150 
Barbary  Coast.  The .  110 
Barducci,  Signorino,  147 
Barrett,  Edward,  52 
Barrett,  Edward,  113 

Sylvia,  182 
Barry,  10 

(SuDorvisor)  91 

C,  ?/.  83 

Jimmy,    170 
Bashful  Youth  o_f  the   rOiinc ,   The 

102 
Hayes,    Nora    (Emma  Goldstein) 


152,  173 


Beach,  Captain  (Man-Fish), 
Beaumont,  Lottie,  6 
Beauty  Shop.  The .  151 


169 


126 
217 


Beckett,   Harry,    42    • 
Beggar   Student.   The , 
Bclasco"i    (David) ,    214, 
Bell,    Cl.W.,    52,    213 
Bella  Union,    27,   28,    34 

107,    110 
Belle,    Cherry,    41, 
Bennett, 

George 
Berlin  Sisters,    148 
Bernard,   Barney,    149,150,151 

(Oro,   Bernard   and  Oro)    173 


George  K 
W..    189 


44,    ^ 
,    IBS 


70, 


11 


QL 


ft.r 


INDEX  (Cont'd) 


222 


Bernhardt,  Sarah,  165 
Bertha,  The  Sewin,":  Ma( 
218 


Machine  Girl, 


Beupre ,  Colonel  Edward 

(The  French  Giant)   175 
Bevell,  Edith,  186 
Bianchis,  The,  2 
Bijou  Theatre 


Billee 
of 


Taylor , 
51 
205 


lM-144-a 

or  the  Reward 


Virtue , 


Bingham,  Wed, 

Rose,  205 
Bishop,  H.V.,  217 

H.v;., 154-156,  160-164, 
179-181 
Bissell  (William  and  Bissell). 

173 
Black,  Crook,  36,  52-53,  73 

Company  (l^ew  York)  69 
Black  Flag,  The,  14 
Blaine,  James  G.,  112 
Blair's  Hall,  214 
Blake,  W infield,  150,  151 
Block,  Adele,  151 
Board  of  Holiness,  85 

of  Pxiblic  Works,  97 

of  Supervisors,  186 
Boardman,  True,  184 
_Bpccacoio,  51,  52 
Boge'i,  Glaus,  162 
Boggs  (Boggs  and  Hayward)  173 
Bohemian  Girl, ■ The,  53 

Bonion  (Eonlon  and  McGinley) 

119 
Boone,  Colonel  Daniel,  126 
Boston  Quintet  Club,  91 
Bostonia,  112 

Bostv/iok  (Property  man)  82 
Boucicault,  Dion,  14,  24,  103 


Beav 


Bouvier, 

Bower  of  

B  ov/e  r  y  "theatre 

197 
Boy  Detective, 
BradyT^Vllliara 
Braham,  Louis, 
Brandon,  Belle, 
Bree  se ,  Edmund , 


14 
Alfred,  158 

ty.  The,  71 
(Wfew  York) 


39 


The,  85 

rr,  6 

207 
55 
92 


Brewer,  Maggie,  37 

British  Blondes,  42,  44,  45 

Original,  43 

Pacific  Theatre,  45 

Pretty  Blondes  in 

Blue  and  Jolly 

Combination,  73,  74 

Rod  Stocking  - 

Blue  Garter 

Blondes,  73,  74 

V/ar,  41 

Victoria  Loftus,  77 

Lydia  Thompson,  42,  44 
Broken  Heart s ,  174 
Broken  In,  76' 
Erool?s,""G.,  2  06 

Canterbury  Hall,  205 

Miss  Georgie,  211 

Jame  s ,  29 
Brown  Brothers,  The  Pour,  183 
Brown,  James  A.,  85 
Browne,  Bothwell,  176,  178 

Gaiety  Girls,  176,  178 

(Manager  Theatre  Comique) 
207 
Bruno,  Gus,  112 
Brusie,  Judson,  151,  152 
Bryant,  billy,  174 
Bucket  of  Blood,  The,  214 
Buckley ,~Nea;~37 ,  62,  66-81, 
S3,  84,  206 

New  Varitiea,  67 

Theatre,  37,  72 

Melodeon,  80  :,0 

Variotios,  20666b 
Burbank  Theatre  (Los  Angeles) 

160 
Bur ge  s  s , 
Burnett, 
Burtine, 
Bush  Street 
Butler,  213 
Byrnes,  John,  5 
Byron  (Henry  James) 


Cool,  124 
63 


A. 

i;.r 


,  (juggler)  12£ 
Theatre,  106 


103 


Cady,    152 

Cahen,    Henry,    152,153 


'(J^ 


INDEX   (Cont'd) 


223 


Calahan,  Helen,  173 
California  Quartet,  The,  107 
California  State  Band,  185 
California  TYieatre,  13,  34, 

42,  43,  97,  209 
Callaghan,  Joseph,  160 
Callan  Comedy  Company,  107 
Camille .  165,  166,  217 
Campbell,  27 

Police  Judge,  151 
Campbello,  143 
Can'-Can,  68 

Canterbury  Hall,  204,  205 
Cantor  (Eddie),  177 
Caprine  Paradoxes,  128 
Captain  Bassington,  l60 
Carloton,  V»ill,  151 
Carlotta,  Millie,  ig? 
Carton, 
Cartwright , 
Casino,  The,  142, 
Casselli,  Tom,  51, 
Cavallci'la  Rus t icana , 


Jimmie ,    33 


Charles,    162 
170 
214 
147 


214-218 
69 
Band ,    128 


Celeste,  Mme . , 

Central  Garden 

Central  Theatre, 

Challenge  Dance ,  The 

Chant  iclee'r^'St  ring 

Chapman's  Hall,    204 

Charter  Oak  Hall,    99,    100,    101 

Livery   Stables,    99 
Chattanooga,   216 
"Cheer   Up  Mary"    180 
Chelsey,   Herbert  B,    177 
Chene,   M.   Forest,    124 
Cherry  Belle,    41,    44 
Chicard,    21 
Chimes   of   Normandy,   The 


50 


Chimney 
Chinese 
Chinese 

Chiquita  (Midget) 
("The  Cuban  Atom" ) 


Corner,  The,  55 
Servants.  207 
Theatre,  The,  205 


171 


("The  Living  Doll")  177 
Chispa.  195 
Chissold,  Lotta,  88 
Christian  Union  Mission, 
Chvirch,  Mr.  J<,  206,  207 


lU 


Churchill,  Winston,  159 
Church's  Athenaeum,  207 
Chutes,  The,  168-191 

C  om:o  n.7  <'R  3  a  liy ) ,  184 

PiJJiTiD.'o,  185-191 

Free  Theatre  (Casino)  170 

Milan  (Italy)  169 

New,  175-183 

Restaurant,  190 

-Zoo -Aquarium-Vaudeville 

Theatre,  186,  187 
Cibbor,  Colley,  195 
102.  183 


Cinderella.  102,  183,  196,  197 
or  The  Little  Glass  Slipper, 
102  ' 

Circassian  Slaves,  or  The 


Turkish 


Harem,  71 
The 

A, 
59 
104 


,  177, 
94,  95 


Circle  Swing, 

Circus  Belle , 

Clapp,  Lewis, 

Clark,  Carrie, 

Clarke,  Harry  Corson,  93 

Clayton,  George  P.,  14 


178 


Sadie 
Cleaves 


173 

Prank, 


65 
Cleopatra  Up  To  Date ,  176 
Clinton  (ClinFon  and  Pagan) 
Clodocho  Troupe,  68,  69 


84 


C lough. 


W.  J.,  88 


Cogill  (Cc^ill  and  Cooper) 

57-60,  62,  63,  67,  74, 
Cohan,  George  M.,  183 
Cohen,  Master  Leonard,  X'iO 
Cohn,  Meyer,  112 
Cole,  Prank,  6 
Colujnbus  At  ThG  Midwinter, 

128"  " 
"Come  Back  Baby"  216 
"Come  Down  Ma  Evenin' 

150 
Comedia 
Comique 

32, 
Con 


148 


Star" 


Dell'  Arte.  31-32 


C\-.rers, 


Theatre , 
206,  207 
The. 


28,  29,  31, 


150 


Constantino,  Harry,  131 
Contented  Woman.  A.  162 


Convict.  The 


Cooke ,  Pope , 


,  106 
80 


OP  r 


t-PJ 


INDEX  (Cont'd) 


224 


Cooper  (Coi^lll  and  Cooper)  57- 
59,  50-62,  63-67,  74,  148 

Miss  Erma,  211 

Jame  s  Penimore ,  188 
Corbett,  Jim,  170 
Corbyn,  Sherry,  43 
Corrigan,  James,  215 

Police  Officer,  55 
Cotton,  Ben,  11,  21,  112^  I42 

Adeline,  11,  112 
Co\artwri";ht  (Cortwright  and 

Hawkins  Minstrels)  106 
Covent  Garden  (London)  39 
Crabtree,  Lotta,  71 
Crane,  W.H.,  161 
Crawford,  F.  Marion,  159 

J.C.,  151 
Cremore  (Theatre)  107-109 
Crime,  or  Foiled  At  Last,  71 
Cr_isi_s,  The,  156,  15"9: 
Crosby,  Juliet,  215 
C\ii7miings ,  Attorney  E,M.,  201 
Curi,  Adele,  ]i30 
Curtis,  Allen,  151,  152 


Dalgiessh,  Kate,  195,  200 

Dalton,  Jack,  218 

Daly,  iiu;;ustin,  159 

Dampierre,  Mamie,  120 

Dane,  Kenry  C«,  91 

Dark  Clouds.  Or_  The    Sh_adow  of 

Guilt  ,"T^: "  ■ 

Dashaway  amateur  Dramatic ' 
Association,  203,  204 


Davis,  John 


M.  64.  65 


Owen,  181 
"Days  of  '49,  The"  33 
Dead  To  The  World  ^  67 
Dean,  1^.33  Amelie,  210 
de  Angel is,  Jeff,  74, 

Johnny,  45 

Natalie,    173 
D'Est,   Marie, 

31ue   Garter 

(lllnstrels) 
de  Forrest,   Kal,    150 


76,  79,  206 


(Red  Stocking, 
Blondes)  73,  74 
73 


120 

166 


De  Long,  George,  93 

Dolorme,  159,  140 

de  Kolta,  Bautier,  121 

de  Marion,  Ida  Eisencr, 

D'Orny,  Josephine,  2 

De  Souchet  (playwright) 

de  Witt ,  Mme . ,  189 

de  Yo\;ng,  Charles,  21,  88-90 

Dearborn  Theatre  (Chicago)  160 

Doets  (Deets  and  Don)  148 

Demon  (Bicycle  stunt  man)  185 

Derondo,  Miss,  126 

Desmond,  Mollie,  65 

Desperado  (stunt  man)  186 

Dickens  (Charles)  84 

Dill    (Kolb   and  Dill)    145,    149- 

151 
Dillon,   Ben  T»,    151,    152 

John ,    65 ,    66 
Dirigi   Clui>,    112,  121 
P-25JL9£  of  iilcantara.   The 
Don    (De'ets   and  Don)    148 
Donahue,    Peter,    1 
Don  Ce_sar  De  Bazan.    94 
Donizetti  ,"53 
Donnelly,   Edward,    162 
Donovan,   Hike,    76 
Dopson,   H.   211 
Dopson's  Variety  Kail,   211 
Djnible  Esphelle^   38 
Double  Wiiirl,'l86 
Douglas,   Blanche,    93 


214 


Captain,  205 
Downey,  Governor 


John.  G. 


203 
Down  The  Flume  (Chutes  "ride"  ) 

177 
Doyle,  Charles  A.,  90,  91 


159 


Hall,  55 


Drew,  John, 

Druid's 

Drunlcard'  3  Dauglitcr . 

Duch  TRand   and  Duch) 

Duggan,    P.J,, 

193 
Dumont , 
Durand, 

33 , 


Rose 


Prank,  129 
(Painter  and 
38 
206 


The,  39 

iTo 


Durand) 


[nsisn 


cJ8I 


,'  ^'  •*,  .o'  '     Tj^'T'T 


OS  I 


I 


INDEX      (Cont'd) 


2P0 


Earleston,  168 

Eastwood,   Frank,    162 

Eddie,  El  Nino,    74 

Ede,  V/illiair.,    156 

Eden  Musee,  144_a 

Edison  (Thomas  Alva).  171 

Edmonds,  Claarles,  14 

Edwards,  (Fire  Commissioner)  8 

Prank  CJ.  (Chairman  Fire 

Commissioners)  91 

(Howe  and  Edwards)  183 

J.  21 
Effendi,  Hollan,  40,  41 
Egyptian  Hall,  211-213 
Eiohberg,  (playwright)  214 
El  Capitan  (Ferry  Boat)  77 
Eldridge,  Press,  73 
Election  Be ts ,  183 
Elite  Theatre  (Portland,  Ore.) 

84 
Elleford  (Elleford  and  Hall) 

83 
Elleford,  W,  J.,  193 
Elliott,  Lottie,  77 
Ellis,  Officer  John,  28 
Ellsmere,  Edna,  215 
Emerson,  Billy,  133-142 

Gertie,  150,  151 

John,  162 

Standard  Theatre,  69 
Empire  Stock  Company,  93 
Englehardt  (theatre  manager) 

211 
Etzeltine  Sisters,  77 
Eureka  Theatre,  204 

Music  Hall,  214 
Ever 3,  George,  173 


Fagan  (Clinton  and  Fagan)  84 
Fairy  Godmother,  The,  173 
Fallon,"  Anita,  1^3 
Faneuil  Hall  (Boston)  15 
Fatal  Bond,  The ,  85 
Fatal  ^i£.  The  ,  71 
Faust,  14]2,  148,  213,  214 
"Fays  .  The  .  40 


Pelllni,  Signer,  2 

Female  Congress  of  Beauty_ 

Pest,  (scenic  artist)  82 


] 


Fiddle-de-dee 


Fields  TWeber 
112,  124  , 


149 
and  Fields) 
149,    150,    15? 


Fi.'^iting  The   Flames.  _0r 
The   Fireman's   Christmas 


ive 


,    182 

Fillmore  Arcade 

Chutes,  185 


Company,  184 


E,  A. 


145-153 

147, 
148 
Theatre  Company 


Fischer, 
Fischer's  Cafas 
Concert  Hall, 
Fischer-Rebman 

153 

Fischer's  Theatre,    145-153 
Piske ,  Mrs.    (Minnie  Maddm) 

154,    162 
Fitzpatricks,   The,    174 
Fit z Simmons,   Robert,    169,   170 

176,    188 
Mrs.    188 
Florence    (high  diver)    185 
Flynn    (Plynn  and  V/alker)    112, 

128 
Officer,   55 
"Follow  The   Crowd  on  Sunday" 

152 
Forget-Me-Not .  1A4 
Forsaken,    83 
Foster,   George,    60 

John,    64-66 
Found  Ashore  .   Or    T^\e  Shoo -Fly 
Can-Can  On  The   FarraTTones, 

57 
Fountain,   ITie 

116,    117 
Pour   Lovers .   The i   40 
Fox    (Fox  and  Long)    148 
Foy,   Eddie,   i24 
Fra  Diavolo,    53 ,   127' 
Trance,    Sid  C.   62-68 
Franklin,    J.    L.,    63 
Pranks  Brothers,   83 
French  Maid,   The,    148 
Trench "Spy.    The,    197 
Fri?a[lahder,'S.  H.,    150 


(molodeon) 


ia 


INDEX      (Cont'd) 


226 


Prohman,    Charles,    159 
Fryer's   Circus,    114 
Puller    (Hallen  and  Puller)    1B3 
Pulton  Street  Chutes,    176,184 


Game  of  Chance ,  _A_.   173 
Gardner    (Theatre  Manager)   211 
Gates,  Harry,   51,   214 
Geezer,   The,    150 
German  arid  English  Opera 

Company,  123, 

Opera,  136 

Stock  Company,  123,  136 
Georgia  Minstrels,  200 
Gilbert,  Frederick,  93 

(Gilbert  and  Goldie)  112 
Gilbert  and  Sullivan,  51,  53, 

54   99   125 
Gillette,  'v/illiam,  162 
Gilmoure,  J.  H.,  160,  161 
Girl  in  Blue.  110 
Gleason,  Professor,  204 
Globe  Theatre,  28,  29,  46, 

London,  195 
Glover,  Ed,  64,  65 
Goetting,  Charles,  107 
Gogill  Brothers,  107 
"Going  to  the  Ball"  43 
Golden  Colored  Wedding ,  138 
Golden,  John,  188 
Golden  V/est  Trio,  The,  173 
Goldie  (Gilbert  and  Goldie)  112 
Goldstein,  Emma  (Nora  Bayes) 

152 
Gordon,  Eleanor,  160 
Gorman,  George,  175 
Gould,  Howard,  161 
Graham,  Gertrude,  162 
Grand,  The,  182 
Grand  Central  Hall,  211 
Grand  Grotto  Temple,  49 
Grand  Opera  House,  13,  79,  154- 

159,  166,  182,  205 
Grant,  Coley,  166,  175 

Maurice,  175 
Grazier,  Arnold,  173 


Great 
Great 


O'Neill.  The.  14 


Oxford  Theatre,  The, 
207-210 
Greenbaum,  Will  L.,  179,  181 
Greyaon,  Miss  Helen,  65 
Grove  Street  Theatre,  192-202 

214 
Guaso  Onega  Yalig  Yea,  Miss, 
121 


Hac^ett,  James  K.,  155-157 

Haines,  Josie,  14 

Half  an  hour  with  Judge 

Louderback,  123 
Halifax,  Danny,  215 
Hall  (Elleford  and  Hall)  83 

Miss  Lucille,  122 
Hallen  (Hallen  and  Puller) 

183 
Hallinan,  John  J.  76,  107-110 
Haraden,  Harry,  198 
Handel-Haydn  Society,  88,  91 
Happy  School  Days,  178 
happy  Uncle  John,  68 
Marino h,  Lize ie,'  !d 06 
Harmony  Hall,  204 
Harrigan  (Harrigan  and  Hart) 
68 

Ned,  41 
Harrington  Reynolds  Company, 

92 
Harris,  Charles  K.,  112 

George,  51 
Harrison,  William  Greer,  14 
Hart,  (Harrigan  and  Hart)  68 

John,  70 

(More land  and  Hart)  69 

(Murphy  and  Hart)  174 

Sadie,  175 
"Harvest  Moon"  173 
Haswell,  E.  S.,  192,  194,  199 

Eugene  6,  14 
Haunted  Man.  212 
Hawkins  (Courtwright  and 

Hawkins)  Minstrels,  106 
Haynor  (actor)  21 


i8.r  .p.vr.  .  ..7  ir 


?ei-^3.r  ..-^  ;> 


oii    ;ixX;;l    <DnjJ 

i,  .■ 

SSI  , 

^0 

-roi   . 

p  o       ■» 

V-d    ^i 

(ioaH  bnjB  rjiiy.iiifiK)    • 


*\' 


cd     i  j'l 


aox  . 


8«, 


INDEX      (Cont'd) 


227 


Hayward    (Boggs   and  Hayward)    173 

Hazel  Kirke,    6,    195 

Hearts  Aflame .    160 

Heath    (Mclntyre   and  Heath)   138 

Miss  Emma,    59,    65 
Held,   Anna,    148,    171 
Helter-skelter.    150,    186 
Henderson,    (Mgr ,    Lydia 

Thompson's  British  31ondes) 
42,    43 

Alfred,    180,    214 

Isabel,    173 

Kitty,    64-66  .>  ' 

Henrietta.   The .    160 
Henry,    L.   M.,   50 
Her  Brother' s   Clothes,   188 
Herman    (prestidigitator)    152 
Hermsen,  Harry,    150 
Heme,   Miss  Panny^   37 
Hickey,   Dan,    170- 
Hickman,    Pear 1^/184 
Hidden  Hand,   rfie ,    11 
Higgins,  Davic[    (playwright ) 

162 
Hig:h  Fly.   130 
Right,    Pearl    (The   American 

"^Anna  Helfl'' )    171 
Hinrichs,   August,    147,    148 
Hippotheatron,   204 
Hittel,    J.S.    (historian)    89 
Hobson,    Irene,    183 
Hocking    (Hocking  and  Peters) 

67,  211 
Hoff,  180 

Hoffman  (local  niusj.cxun)  52 
Holty  Toity.  150 
Holden,  E.  J.  151-167,  192-199 
Holland  (actor)  107 
Holleston,  Prank,  199 
Hollis,  Loraine,  143 
Holt,  Alf,  174 
Honan,  Edward,  110 
Home  Prom  Sea,  or  A  Living  Lie, 

67 
Hope,  Flossie,  150,  151 
Hopkins,  Grace,  215 
Hopper,  De  V/olf,  150 
Horticultural  Pavilion  Hall,  48,49 


Houghton,  1^6,  159 
Howard,  Bronson,  166 


Miss  Frankie,  83 
Street  Theatre 


181,  199 


How  Baxter 
Howe  (Howe 


Butted 


and 
Howell,  Ernest, 
Hoy t ,  ( p laywr  ight ) 


14 

In, 


179 

Edwards )    183 
215 


Human  Slave 


A, 


217 


Huii:p t y -DuiTjp t y  on  a  Farm.    120 
Hiir  ly -Bur  ly ,    lF5 


I  Duo  Prestiditatori.   211 


123,  147 
183 


A., 
80 


Tl  Trovato're  _ 
Imhaus ,  Louis 
Inchcape  Bell, 
Independence  Hall 

(Philadelphia)  15 
Inez,  Mile.  (Pretty  Blondes 
in  Blue  and  Jolly 
Combinations)  73,  74 
In  Arkansas ,  181 
Ingersoll,  Col.  Robert  G., 
88 
Mi zz our a,  IGl 
The'  Palace  of  the  King, 


In 
In 


-TFoTT^n 


In  The  __ 
lolanthe 
I.  0.  U. 


V/eb  .    66 
53, 
151 


54 


—  *  f 


IrJ-sh  Attorney.  _The , 
Irl"sh  Exile.   An, '^00 


26 


Irish 


Iron?5;rif 


Jubilee , 


ix 


Ji. 


'he 


The,    177 
Half-Bree". 


71 


Irving,   Henry, 

Isabel,    155-159 
Is  Marriage   a  Failure?, 


177 


Jack  Shepherd.  85 
Jackson,  iir.  and  Mrs,  Harry, 
173, 
Peter,  198 
Jackson  Street  Circus  Lot,  47 
James  Boys,  The ,  85 


INDEX   (Cont'd) 


228 


James  Boys  of  Missouri.  The . 

Japanese  Night Inp^ale  .  A,  160 
Jardin  Mabillo  (Paris )7  20,  21 
Jasper .  177 
Jeffries.  Jim,  170,  188 


Jessie 

Jesuit 

Jewess,  The ,  95,  96 

Joe  Bowers t  or  California  in 

»49,  80 
Johns,  Effie,  106 
Johnson,  Jack,  185, 

Jennie,  60,  65 

"Professor"  27 
Johnstone,  Samuel, 
Jolson,  Al,  178 
Jonah  in  The  Whale . 
Jones  Tstage  director)  151 

Kitty,  65 

Sissieretta  (Black  Patti) 
Jo ah  Whit comb,  183 


Street  Goons , 138 
Church,  100 


188 


143 


52 


169 


Jub  i  Ic  e 


ae 


38 


Just  from  Syracuse ,  183 


Kalloch,  Rev.  Isaac 


S.,    88-90 


Kathleen,   or  The    Pride   of 

Kilrouge .   40 
Kathleen  Mavourneen,   102 
Kaufman,"  Al,    185 
Kealy,    "Doc" .    183 
Kearney.  Denis    (Workingraan' s 


Party)    99 


93 


176 

142 


Keene,    James  A4,   92, 

Kelly,   Matt,   211 

Kelly  and  O'Brien's   Comedy  Co., 

107 
Kendricks,   Captain. 
Kennedy    (mesmerist) 

M.A.,    51,    52 
Kenplcr,   Prances    (dancer)    175 
Kerr    (Kerr   and  Wilshire )    174 
Kotchcll,    Stanley,    185 
Khedive   of  Egypt,    171 
Kllrain,    Jake,    188 
King,    Charley,   211, 


King, 
Kin2,dom 


181,  182 
a  Child, 
I)ark,   A. 


A, 
55 


199 


Kiss    in  

KleinTSlcctricai  Theatre)    182 
Kocian    (Bohemian  violinist) 

176 
Kohler    (Wax  Works)    100,    101 
Kolb    (Kolb   and  Dill)      145-151 
Kolta'a  Marvelous   Illusion, 

122 
Koster,    Joseph,   33 
KrauR    (Kraus   and  Allen's  Band) 

19 
lading,    John,    112 
Kushy    (actor)   139 


La  Boheme .  147,  180 

La  Fiivovlta.,    147 

^a  Danso  de  Nuit"  172 

La  i"''il_le_  Du  Tambour  Major, 


51,  52 


Porza  del 
Grande  Duchc_ _ 
Lista  (dancefT 
Mascotte ,  51 
"tino,   Jiiia,  34 


Destine,  147 
52 


iC 


172 


La 

La 

La 

T^ 

Xa 

La   Sclie.   Mile,  .    119 

"La 


Statue  Blanche"  177 
Lambardi  (Italian  Opera 

Company)  147 
LanlcershLni,  J.  B.,  97 
Lass  That  Loved  a  Sailor,  A, 

12r~ 
Latimer  (artist)  158 
Laval' nic,  Carrie,  66 

Prank,  65,  72-74,  76,  79-81 
Laver  (architect)  9,  91 
Law  and  Justice ,  63 
Leach .  John  C.  65 ,  66 


Leah.  Miss 


Loah  KI9  sLSh.ria , 
Ee  ar  yT^Tonuny , 

Le 


Eleanor, 
162 
112 


193 


3athe£  Stocking  Talcs, 
Ta  V  il;  t ,   W.B,,   21 
H.L.,    143,    144 
Le   Claire,   Alex,    59,    60 


188 


^r 


INDEX   (Cont'd) 


229 


Le  Claire,  Harry,  77 

Miss  Nellie,  59,  60 
Leed,  Alice,  40 
Leighton,  Mr^»  .  W,  G.,  2 
Leon  (female  impersonator),  136 
Leonard,  Miss  Annie,  83 

50 
59 
169,  172,  174 


A, 


172 


Lester,  Louise, 

Levantine,  Fred, 

Levy,  Edward  P., 

Llpjit  Eternal,  166 

Lightning  Striker .  _ 

"Lily  of  the  Nile"  172 

Lincoln  Graiiimar  School,  97 

Lincoln  Varities ,  New,  213 

Lingard,  41 

Little  Christopher.  148 

Little  Egypt,  110,  171 

Little,  J.  Z.,  82 

"Little  Sweetheart  Mine"  180 

Liverpool  Star  Varities 

(Theatre)  212 
Living  Pictures 


Loftus,  Victoria 


Blondes)  77 
Logan,  John  A, 


The,  75 
iBritish 


112 


London,    Jack,    162,    188 
Long    (Fox  and   Long)    148 
Lord   Strathmore .    94 
Lo  r  r  aine,   139,    14 C 
Lottie    (a  tug-boat)    78 
Love    Potion. 'Tlie  .    53 
Love   Under  Difficulties.    120 
Lubelski,    Tony,    152 


Lucia,    148 


Luck2; 


Stone ,    The 


152 

0.    A, 


Lunt,    "professor" 
Luproil,    George,    68 

Pauline ,    68 
Lydon,   E.    F. ,    201 
Lyce\ira  Music   Hall,    204 

Theatre,   211 
Lynch,    Nellie,    152 
Lytton  Dramatic   Club,   211 


4.    5 


MacDov/ell,  Melbourne, 
MacGregor,   Ilelen,    92 


188 


MacVickers,  Frank,  163 
McCabe,  J,  H.,  33-36,  33 
McCarthy,  (Rickey  and 

McCarthy)  70 
McCarthy,  Mayor  P.H.,  187 
McCloskey,  J.  J.,  62,  82 
McCreery  (Swor,  IlcCrecry 

and  Swor)  173 
McCree ,  Junie ,  188 
McCue's  Hall,  204 
McCue,  Jim,  101 
McFarland  Richardson  Case , 

The.  40 
McGinley  (Bonlon  and 

McGinley)  ISCf 
McGraw  (McGraw  and  Arlington) 

124. 
Mclntyre  (Mclntyre  and  Heath) 
138 

McKenney  (partner  of  J,  J. 

Steele)  103 
McKittrick  (Ass't  Fire 

Engineer)   91 
McLellan,  G.  M.  S.  (playTvright) 

162 
McNair,  Robert,  106 
Macart,  Fred,  169 
Mack  (Stahl  and  Hack)  51,  52 

William  B.,  162 
Maddon,  Mary,  162 


Maeder , 

Fred 

G., 

79, 

80 

Magnolia.  75 

Maguire , 

,  Tom, 

,  21 

,  22, 

36, 

38, 

43 

Maguire " 

'  s  Opera 

House 

,  30, 

,  34 

36, 

42 

Mahara  (Mammoth  Colored 

Minstrels)  129 
Majestic  Tlieatre  Stock  Company, 

154-160,  217 
Man  From  Macy's,  The,  183 
Man  of  Gold.  The  ."TQ5.  106 
Manliattan  Company,  162 
Marble  Heart,  The .  83 


Marino,  Pietro, 
Marion,  Sam,  83 
Marked  for  Life 


171,    185 
62-65.    112 


Ma'rkesburg,    Professor,    168,    172 


INDEX   (Cont'd) 


230 


Market  Street  Railway  Company, 

17 
Market  Street  Theatre,  99-111 
Markham,  Pauline,  77 
Mario -Dunham  Family,  169 
Marriage  By  Lantern  Light ,  127 
Married  Masher's,  'ThQ .  107 
Marshall' s  Japanese  Tourists, 

Jugglers,  Equilibrists, 

Acrobats,  Tumblers,  Gymnasts, 

and  Prestidigitators,  181 
Marston,  Fannie,  50 
Martha,  146 
Martlnetti,  Mme .  Desiree,  32 

Jullen,  32 

Paul,  32 

Phllllppe,  32 

Troupe,  30-33 
Mascagnl's  Minstrels,  94 
Mascot ,  The ,  127 
Mascotte"  Tburlesque)  170 
Ma3on,"~Tplaywright )  123 

John,  162 
Mass,  James,  80 
Master  of  Arms ,  The .  94 
Matrimonial'  Venture,  174 
kaurit'is  (Maurltis  and  Ode  11 '  s 

Happy  Goons)  120 
May  Blossom,  200 
May,  Ida,  37,  82 
Mayall,  Herschel,  215 
Maynard,  Harry,  108, 

Jack,  108 

Brothers,  108 
Mazejjpa,  34-36,  77 
Meade,  J.  A,,  50 
Mechanics'  Pavilion,  193 
Menken,  Adah  Isaacs,  34 
Mephistopholes  and  (^ueen 

of  Snow.  79 
MerTe ,  Martin  V.,  166 
Merrifiold,  Officer,  55 
Merry  CobVler,  The,  211 
Merry  Strikers.  The .  178 
Mestayer,  Charles,  H«,  83 
Metropolitan  Baptist  Church,  86 


Hall,  86-92 
Temple,  86, 


88 


Metropolitan 

Hall-Theatre  Republic,  86,  87 

Theatre,  32,  47 

Theatre  Musee,  90 
Meyer,  214 

Albert,  128,  129,  130 

Brothers,  114 

Charles,   125,    127,    128 
Middle  ton,   Eimna,    120 
Mldv/ay  Plalsance,    110,    111 
Mignon,    147 
Miller ,   James,   39 

John  C,    122 
Millward,    Charles   A.,    96 
Milton    {.:ise   and  Milton)    173 
Minister's   Son,   The,  217 
Mite,   Major 7^72 
Miz^ali,    162 
Moneybags  ,    195 
Monjie   Uarlo,   217 
Wonte  CrTs^o.    92,    200 
Montgomery    (actor)    177 
Moore,   George   T.,    60,    64-66, 
73 

Halllc,   51 

Virgil,  182 
Mooser,  George,  146 
Morant  (actor)  107 
More land  (More land  and  Hart) 69 

A.  C,  70 
Morin,  Madame  Pilar,  148 
Morosco's  Amphitheatre  or 

Howard  Street  Theatre,  5 

Grand  Opera  House,  15,  14, 
182 
Morosco,  Leslie,  181 

Oliver,  160-162 

Walter,  5-8,  11,  13,  14,  114, 
195 
Morosco's  Stock  Company,  13 

Royal  Russian  Circus,  114 
Morris,  Robert,  160 
Morrison,  Lewis,  142 
Morse,  F»  F.,  50 
Morton,  George,  65 
Mother's  Crime,  A,  83 
Moths,"  93 

Mozart  Hall,  18-26 
Mozart  Minstrel  Hall,  21 


6SI    t^SX    , 


VZl 


fi  {.^  r 


INDEX   (Cont'd) 


251 


Mulcahy  Twins.  The.  68 
Murphy,  (M\irphy  and  Hart)  174 

Jlmmie,  41,  42,  206 

Joe,  21 
"Musical  Flower  Garden"  175 
Musgrove  (ITusgrove '  s 

Australian  Players)  164 
Musketeers ,  55 
"My  Coo -Coo  Baby"  152 
MZ  Wife ' s  Mother,  177 
Mysterious  Inn,  213 
Mystery  of   A  Handsome  Gat,  The . 


Nabob s .   The.   129 

Nash,    Jolly,   124 

Nast,   Thomas,    91 

Nathal,    Louis,    50 

Nellie   The  Beautiful  Cloak 

Mode  1~^81 
Never  De spair ,   144 
New  Hippodrorie    Pavilion,   204 
New   Lincoln  Varities,   213 
New  Theatre,    The,   205 
Niblo's   Garden    (New  York) 
42,    68 

(San  Francisco)    214 
Nickelless   Nickelodeon,    186 


Nielsen,   Alice,    112,    113,    179 

No  Weddinp:  Bells  For   Her,   214 

NoeT7  Joseph,    162 

North,   Bobby,    152 

Norton,   Miss   Jessie,    193 

Norv/orth.,    Jaclc,    152 

Nugent,    J.    C,    184 

Nup;.6;e t s  .  or  Lost  and  VVo n ,  82 


Oakland  Trio.  Ths .  Or 


Rat 


Catcher' s  Daughter , 
Oakley,  Robert  0.,  84 
Oberon  Hall,  147 
O'Brien  (Kelly  and  O'Brien) 

107 
O'Connor  (architect)  9,  10,  91 


Odell  (Mauritis  and  Odell) 
Ode 11' 3  Happy  Coons,  121 
Odeon,  The,  214 
Offenbach  (coiiiooser)  51 
Old  Homestead.  The,  214 

"192 

"Theatre,    Now,    212 
Troubles.    68 

dancer)    127 


121. 


Olympic 

O^Malley's  

OraeVie    TTur k  i  sh 

Omnibus   Railroad  Company, 


1 


17 


OHte ill.  James,    92 
O'Neil,    Nance,    95-97 
O'Neill,  The.    14 
O'Neill. The    Great 

T55  ,  or  ocven  Yi ^ 

Sing  SinK,  83 
One  Touch  of  Nature 
One  Word 


14 
ears  in 

26 


79 

On  ParadQ .  173 

Opera  in  a  Kitchen,  173 

0<Ramey,  Georgia,  151,  152 


Oro  Brothers 


Orphoum, 

132, 

lb7, 
Osbourne 


123, 

173, 
200 
Henry, 


4, 

125, 

175  , 


171,  173 
129-131, 

178,  183, 


102 


George,  105 


'Other  Page  is  Missing;,  The 
But  You'll  Have  to  Guess 
the  Rest" 

Ouida  (Louise  de  la  Ramee ) 

Our  Boys.  103,  104 

Our  Married  Men,    128 

174,  207 


93 


Outcasts.  The 


Outtrin,  Miss  Irene,  180 
Overland  Circus,  39 
Over  The  Garden  .Vail,  177 
Owen,  Margaret  Dale ,  93 
Oxford  Theatre,  The  Great, 
206-210 


Pacific  Melodcon,  28,  29,  35 
Theatre,  27-47,  57,  Gl,  70, 
212 
Thoatre,  New,  27-29,  31 


-INDEX  (Cont'd) 


232 


Painter,  33  38 

and  Durand,  33,  38 

William,  35 
Palace  Opera  House,  204 
Pantage 3  Theatre,  187 
Paraders ,  The ,  151 
Parisian  Life ,  or  Scenes  in 

Paris,  69 
Park  Theatre,  202 
Parker,  Lew,  37 
Parson's  Chicken,  The,  173 
PasVia  Pasha,  l44 
Passion  Play  (Oberammergau) 

171 
Patti  (Mme.  Adelina  Pattl) 

126,  136 
Peachy,  John,  151 
Pearce,  George,  41 
Pearl,  Miss  Mabel,  73 
Pearl  of  Savoy,  11 
Pek,  Ah,  205 
Pennsylvania  Steam  Fire 


Engine 
People '  s 


Company 
Palace , 


Number  12,  2 
The .  204 


Theatre .  14 


Perkins,  Walter  K.,  166,  183 
Persecuted  Dutchman.  The ,  55 
Per sis, The ,  or  Come  And  See  It 

Patching  Brothers,  175 
Peters  (Hocking  and  Peters) 

67,  211 
Pettit  (Pettit  and  White)  74 
Phoites  Burlesque  Company,  120 


Pinafore 


Piney 
Pirri, 


51-53,  77, 
162 


Ridge,  A, 
0  3  of  Penzance 


99,  128 
51 


Antonio 


Pixley  (Stanley  and  Pixley)  107 
Piatt  and  Brooks,  33 
H.,  39 
29,  31 


Piatt,  Charles 


H •  B  • ,  28 , 


Piatt's   Hall 
212 
Players ''  Club 


4.  29.  31 


The .  163 


^p^ahgptas,  102,  103 
Peiletlni,  Si^^norino,  147 
Pousse  Cafe.  150 


Powers,  Lulu,  124 

Price,  Professor  James  W,,  182 


.,  The, 
'an  Tan,  T7B 


14 


Johnny,  99 
Prince  of  Ulster 

Pr".ncc3. 

^incess  Theatre 

(ffelbourne)    193 
Pringle    (Richard  and   Pringle) 

200 
Protective   Order   of   Seals,    99 


Queen  of  the  White   Slaves, 

The .    218 
Quo   Vadis   a   la  Mode..    178 
Quo  Vass    Iss?   150 


Ra£-Time   Reception,   A, 
gainbov/.    The  .  Ig9" 
ft and,    fRand  and  Duch) 

Sally,    171 
Ranl<in,    Aj^nes,    96 

McKee,    96 


173 


170 


Rat cliff o .E.J. 


96 
38, 


41,    45 


Rattler,    Lew,    37, 

Reals,    Grace,    160 

Red  GnoMO .  197 

Kedline,  Annie  ("She  is  as 

broad  as  she  is  long" )  177 
Red  Man's  Hall,  55 
Red  Stocking-Blue  Garter 

Blondes,  73,  74 
Reed,  107 
Raid,  Margaret,  14 
Re illy,  James,  107 
Re no Id 3  Brothers,  70 
Republic  Theatre,  3b-98 
Resurrection,  94 
Reveille  (trained  horse)  35 
Reynolds,  Harrington,  92,  93 
Rhodes,  Charley,  33 
Rico  (actor)  152 
Rico  (OrOj  Rice  and  Oro) 

171 
Rlcliard  III.  195,  196 


.  i>,  t*.-.k/^i 


M 


U    »};•• 


INDEX   (Cont'd) 


233 


Richard  and  Pringle's  Georgia 

Minstrels,  200 
Richards,  Albert,  169 
Rickey  (Rickey  and  McCarthy)  70 
Riddle ,   George ,  72 
Right  Man ,  The ,  142 
Rigol'eTto.  TI7 

Riiey  (Ass't  Pire  Engineer)  91 
Rip  Van  Winkle ,  55 
RTsareTli  Brotriers,  39 
Ristori,  Madame .  97 
Robber's  Wife, 
RobTns 0 n .  Yanke e 


The,    40 
'49 


50 


Rohn,    Charles,   180 

Roland,      Baby  Ruth,    148,    172 

Roly-Poly,    151 


Romeo  and 
Rorab'ack" 


Juliet.  92 


Prank,  50 
Rosedale.  192-194 
Rosenthal  (pianist)  92 
Rounder,  Th£*  '^^^ 
Rovinp;  "Jack,  or  Saved  from  the 

Wr?ck.  82 
Royal  Russian  Circus 

(Morosco's)  114 
Royal,  The,  206 
R,  U.  I.,  183 
iRusselT,  George  P.,  21 
Russell,  Helen,  151,  152. 

Lillian,  149 
Russian  Court  Orchestra,  169 


Salisbury,  lionroe ,  162 
Salvation  Army,  85 
San  Carlos  Opera  Company,  179 
Same  As  Last  Season,  66 

73 


Sanford,  Miss  L'ju, 

San  Francisco,  A  History  of  the 

Pacific  Coast  I.ietropolis, 
88,  39 
San  Francisco  Athenaeum, 

Minstrels,  21 

(Quartet,  122 

Teachers'  Mutual 

Aid  Society,  92 
Sanger,  Miss  Bertie,  122 


Santa  Glaus,  or  The  VJar  of  the 
Passions   -"^^^even/re ,  Hate, 
Jealousy.  Gold  and  Crime ,  70 

Saratoga,  55 

Sargent,  A.  A.,  121 

Sarony,  Gilbert,  120 

Sawyer,  Judge,  208,  200 

Scenes  on  Tar  Flat,  68 

Scenic  Railway,  185 

Schlott's  (Orchestra)  49 

Schmidt's  (Orchestra)  49 

Schmitz,  Mayor,  89,  158 

School  for  Scandal.  45 

ScTTreiner,  Hubert ,  63 

Scott-Siddons,  Mrs.,  88 

Scott's  Verities,  213 

Sea   of   I^oe,   The ,    103 

Sea  Wolf,   The,    162,    163 

Sear,    John  P.,    75 

Secret   Pane  1 ,   A,    177 

Se'llon,  Charles,  180 

Seenean,  Professor  Adolph, 
121 

Senator.  The,  161 

Serap;lio,  or  The  Palace  of 
Pleasure ,  69 

Serrano,  Hollena,  65 

Seymour,  Charles,  206 

Shakespeare,  24,  92,  143 
195,  204 

Shamus  O'Brien.  14,  199 

Shaugr'aun ,  The  .  195 

Sheep's  Foot,  The,  197 

Shenandoah,  166,  181 

Sheriff  and  the  Widow,  The, 
188 

Sherman,  Professor,  127 

Sherman  &  Clay,  135 

Shick,  John  T.  and  Company, 
177 

"Shine  On,  Harvest  Moon"  152 

Shoo -Fly  Can-Can,  37,  38 

Shore   Acres .   214 

ShimeV,    Henry,   215,    216 

Silver  Kin^!;.  The.  106 


Simms,  WTlliam, 
Simonoff,  Julie 
Orchestra)  169 


102 
(Riissian 


Court 


cec; 


OV    ix-d^'^ 


yy  ': 

OCX 

)    e»;J 

^^l 

1^;  ' 

VVf 

.a' 

lA 


;c 


ve 


V.V* 

.(-■7 


•v  O  J.        ^  Jj  'iO  ti  .Jiil»  %£v 


INDEX   (Cont'd) 


234 


Simpson,  D.  C,  65 
Sinbad  the  Sailor,  75 
SkatlHg-Tink,  The>  ^38 
Skeantlebury,  MTl,  67 
Somers  (actor),  139 
Sorg'a  Orchestra,  107 
Sosman,  Fred,  183 
Spanish  American  War 

Veterans,  95 
Sporting  Duchess,  The,  93 
Spriggs,  Harry,  33 
Stahl  (Stahl  and  Mack)  51,  52 
St.  Ann's  Rest,  213 
St.  Belmo,  Signor,  122 
St.  Clair,  Miss  Cecily,  83 

Violet,  129 
St.  Cyr,  Miss  Cecily,  69,  70 

77 
St.  David  (a  lodging  house) 

17 
Standard  Dime  Museum,  The, 
214 

Theatre,  134 
Stanley  (Stanley  and 

Pixley),  107 

Judge,  209 
Steele  (Steele  and 

Anderson)  99,  101,  102-107 

J.  J.,  104,  107 
Stengler,  Jack,  170 
Stevens,  Ashton,  154,  155, 
162,  217 

Emily,   162 

Landers,  217 
Stewart,  Nellie,  164,  166 
Stockbridge,  Henry,  160 
Stockwell,  L.  R.,  95,  97, 

198 
Stone  (actor)  177 
Storms,  Charley,  33 
Streets  of  Cairo 

(a  spectacle),  110 
Streets  of  New  York.  The, 

r53,"T:95 

streets  of  San  Francisco, 

THe7~40 
Strogoff,  193 


Stromberg,  John,  150 
8tronr,heart  the  Trapper,  71 
Stuar'u  Stock"^ oapan y , 

Ralph,  93 
S tuber,  Fred,  l'/^ 
Suaretti,  Mile.   (Troupe  of 

Aerial  Wonders)  120 
Sullivan,  Sir  Arthur  Seymour, 

51,  53,  54,  99,  124 
Sullivan,  Chief,  16 

John  L. ,  188 
Sultan  ("The  Untamable 

Lion")  176 
Svmmier  Dream,  A.,  174 
"Susan  Simps on'^s  Sister" 

(a  sketch)  60 
Sutton^  Maude  (and  Company) 

183 
Sweetheart,  55 
Sweet  Nell  of  Old  Drurj, 
"   T63^^5~" 
Swor  (Swor,  McCreery  and 

Swor)  173 


Tamble,  Theodore,  215 
Taming  of  Helen,  The,  160 
"Teasing'^  "515 
Telegraph  Hill  Observatory 

and  Concert  Hall,  116 
Tempest,  The,  92 
Ten  Days  IrTFairyland,  173 
TentlTS^reet  Hall,  213 
Terrible  Test,  A,  83 
Terry  (a  machinist)  8  2 

Charles,  162 
Theatre  Comique,  29,  31,  32 
Third  feneration.  The,  177 
Thomas,  Axigustus,  161,  163 

R.  P.,  132,  137,  138 
Thompson,  George  C,  68 

Harry,  206,  211 

Lydia  (British  Blondes) 
42,  44 
Thome,  Edwin,  141 
Thornton,  Miss,  180 

Richard,  160 


y.. 


^O       ,t>t(t>p 


,  ;i.^'  >• 


^•'"-•awi 


•vfl 


nCr       ,   'f. 


INDEX   (Cont'd) 


235 


^,  217 

diver)  185 
and  Trau)  216 


163 


Thrall  (theatre  ovmer)  214 
Three  Fast  Women,  40 
Through  bj  Daylight.  14,  62 
Thurston,  Howard,  152 
Ticket  of  Leave  Man,  The, 

7i,  105 
Tigress*  The,  143 
Tilt on,  Lucille,  183 
Tittle,  May,  104 
Tivoli,  50,  53,  102,  112,  ^ 

113,  179 
Todd,  J.  H.,  199 
Tolstoi  (Count  Leo)  94 
Tom  Bell,  the  Highwayman 

of  California,  61 
Tomboy'Girl,  217 
Toodles,  55 
Too  Proud  to 
Towers  Thigh 
Trau  (Weston 
Travelle  ( shadowgraph 

"king")  183 
Travers,  Reginald, 
Tree,  Beerbohm,  93 
Trescott,  Virginia  Drew, 

188 
Trip  t o_  Africa ,  A , 
Trips  to  the  Moon,  40,  61 
Trxombo,  Colonel  Isaac,  132, 

137,  138,  140 
Tucker,  Sophie,  188 
Tucker's  Academy,  2,  4 
Tuers,  Johnny,  206,  207 
Twentieth  Century  Bloomer 

Minstrels,  170 
Twenty-Ninth  Street  Music 

Hall  (N.  Y.)  149 
Twins .  The,  184 
Twirly-Whirly,  176 
Two  Pompeys,  The,  207 


Uncle  Tom's  Cabin,  173,  198 
Under  the  Qas  Light ,  103 
Under  the  Red  Olobe,  150 
Underland  Circus ,  The ,  39 
Union  Hall  1-17,  195 
Urban,  54 
Fred,  126 


126 

40, 


U.  S.,  152 


Vail,  Olive,  150  . 
Vargas  .r  Sign  or,  147 
Venus  end  Adonla^  143 
Verdi  (Giu-sepps) ,  147 
Verin  Eintract  (a  building) 

55 
Verne,  Jules,  183 
Victims,  ^xe,  55 
Victoria  Ka.ll,  206 
Vidal,  Ohaii^'lctte,  3.50 
Vienna  Gardens,  116,  117 
Vigoreux,  Elizabeth.  183 
Vincent,  Charles,  45,  207- 

209 
Miss  Rose,  208 
Vining,  Nellie,  41 
Vinton,  Darrel,  193,  195,  200 
Visit  to  a  Widow.  A,  173, 
Volks  Hall  (San  Francisco) 

204 
Von  Der  Mahden,  L. ,  103 
Voyage  in  a  Baloon,  A,  137 


Wages  of  Sin,  The,  195 
Walen,  Johnny,  173 
Walhaia,  Max,  73 
Walker  (Flynn  and  Walker) 

112,  127 
Walking  for  Dat  Cake.  68 
Wallace,  Ida  37 

Jake,  206,  208 

Ramsay,  180,  181 

the  Lion,  179 
Wallack,  Lester,  194 

Walter,  Gustav,  112,  113, 
116-118,  120,  122-124, 
128-130,  195,  200 

Ward,  Carrie  Clarke,  199 
James  M. ,  14,  62,  64,  65, 

67,  103,  195,  199 
L.  P.,  27 

Warfield,  David,  149,  150 


^a'L 


w. ; 


•.Vl* 


>.!  •  J. 


^)    !.!■ 


•;W 


INDEX   (Cont'd) 


236 


Waring,  Miss,  197 
Warner,  Billy,  60,  64-66 
Wass,  Henry,  20 

George,  20 
Watanna,  Onoto,  160 
Wat sen,  Harry,  173 

WajV'  ^SHLQi   -^^^t'  214 
Wa;«?  of  the  'yVes_t,  The,  184 
We"alT;h  a.iri  Poverty,  73 
Web  "of  Oi'^t.e ,  The,  60,  61 
Weber~'('VeTer  aha  Fields) 

112,  12-.3,  149,  150,  152 

Lisa  (Burlesque  Troupe)  42 
Webster,  Benjamin,  26 
Welcome  or  Mistaken  Identity, 

83 
Welston,  Henry,  65 
Wessels,  George,  123 
Weston  (Weston  and  Trau)  216 
Wetter  (actor)  107 
Whirl-I-Gig,  150 
White  iPettit  and  White)  74 

Billy,  80 
Whitmark  (actor)  138 
Who  Goes  There?  166 
Why  Girls  Leave  Home,  218 
Why  Women  Sin,  214 
Wigwam  91,  112-131,  195, 

Concert  Garden,  112-121, 

Garden  Theatre,  121 
Wilcox,  Ella  Wheeler,  162 
Williams,  Mollie,  80,  82 

(Williams  and  Bissell) 
173 
Willig  (Manager  Theatre 

Comique)  207 
Willis,  Prank  E.,  90,  91 
Wilshire  (Kerr  and  Wllshire) 

174 
Wilson's  Hippodrome,  204 
Wilton  Brothers,  175 
Winter  Garden,  48-56, 

102 
Winter  Gardens  (Berlin, 

Hannover,  Paris)  48 
Wise  (Wise  and  Milton)  173 
Woman  Against  Woman ^  195 


Women ' s  Rights,  or  the 
Emperor' s  Dream  of  the 
Naked  Truth,  39 

Wonder  (trained  horse)  77 

Wonderful  Egyptian  Mystery, 
The;  101-2 

Wonders  of  the  Age,  66 

Wood,  George'H. ,  123 

Woodward,  John,  36,  38,  39, 
42,  44,  45,  57,  56,  60, 
61,  63,  67,  68 

Woods,  Henry,  65 

Wood's  Museum,  212 


Woodthorpe, 
197 


Miss  Georgia, 


Woodward's  Gardens,  186,  212 
Working  Girl'  s  Wrongs,  Jk,   214 
Workingman's  Party,  99 
World's  Pair  (1893  Chicago) 

110 
Worrell  Sisters,  35 
Wyatt,  107 

H,  C.  (of  Courtwright  and 
Hawkins  Minstrels)  106 
Sisters,  183 


Yea,  Miss  Gusso  Onega  Yang, 

120 
Ye  Liberty  Playhouse 

(Oakland)  155,  160 
Yellow  Hat.  197 
Yellowstone  Kit's  Indian 

Wigwam,  214 
Young,  Cyril,  193 

Fannie,  83,  102,  199 

John  P.,  88,  89 

Professor,  20 
Ysaye  (Eugene)  171 


Zamiel,  75 
Zoel,  Marie,  71 


3-3 


iilS 


,  fti^-^c-.n 


;.iyje..3 


-,  *     »•  ff^.t^   •  I'll/"' 


7 


-<i6=V 

it)    i  RisssoW 

'  ■■    ■      r.    .  .^'[^j 


■ '  •  "■    ■■.-.  r 


,-^it;.A   .;-;iU.-J   ..^o^.    -.:.  ,j^  rraXjisO 


',•'''-■ 


nl  8' 


iaia  br;B   eniffilXiW) 


't^.-'fT    i^iBansM)    s^-^^^-^W 


'-'^■^    V  -  *■  r,"       ■•,'.  ■     ■■■-         ■■  r  f  ftff 


XVi 


,  . .  ...    -iS  noiliV/ 
-  ^^    ,neSisC  TactcriW 

r-.|Qjj  :-     .'.'■}  f'f  fj"?     ^tbV: 


JV     ..;xi:  :)X 


iRrrjr/fi 


ERRATA  —  FAMOUS  PLAYHOUSES,  Part  3,  Vol.  XVII 


PAGE 

LINE 

I7T  TEXT: 

SHOULD  READ: 

25 

19 

comtumacious 

cor\tumacious 

36 

24 

first   a  series 

first  of  a  series 

51 

12 

Hallie 

Hattie 

52 

5 

a  ir.an  ho 

a  man  who 

71 

15 

January,   The  Ticket 

January,  revived  The 

112 

3 

(1884  -  1886) 

(1884  -  1896) 

122 

g 

Seenean*  s 

Seeman's 

124 

6 

above     customary 

above  the  customary 

154 

16 

dircle 

_circle 

141 

15 

has  been  settled 

had  been  settled 

162 

18 

Majestic  announced 

Ma'jestic  announces 

183 

15 

vreated 

^created 

188 

22 

probably 

probable 

195 

13 

Decmeber 

December 

199 

21 

conpany.  Included 

company  included 

221 

Barrett,  Edward,  52 

Barrett,  Edward,  55 

224 

Dalgiessh 

Dalgleish 

225 

Found  ...  Parrallones 

Pound  ,,,  Farallones 

230 

Hallie  (Moore) 

Hattie 

231 

"Other  Page  ..." 

"O'^er  Page  ..." 

235 

Seenean 

Seeman 

235 

Voyage  in  a  Baloon,137 

Voyage  in  Balloon, 

Ticket 


215 


138