Chicago By Day and Night

Title: Chicago By Day and Night: The Pleasure Seeker’s Guide to the Paris of America

Location: Internet Archive     Date: 1892

They called her “the Paris of America.” If a visitor couldn’t find a recreation or diversion to satisfy his or her taste, it was their fault, not Chicago’s.

In 1892 all eyes were on the city as it prepared for the Columbian Exposition to open the following year. Guide books galore were published to entice the visitor to not only the Fair, but the fair city. Chicago had a lot to offer and she boasted her wares. One such guide was Chicago By Day and Night and it paints a vivid portrait of life in the city – for those who were able to pay the price or willing to take the chance. (Note: the author of the book is not listed, but is thought to be Harold Richard Vynne. Vynne died in the Cook County Poorhouse Hospital in 1903 of “alcoholic dementia.”)

There are the usual guide book offerings – suggestions on where to stay, recommended restaurants, theaters, etc. But, there are also survival tips for the urban greenhorn. You just don’t see this in today’s Chicago guidebooks…:

PERILS AND PITFALLS

IT is nor insulting the intelligence of the stranger to warn him against the unscrupulous persons who will beset his path,for they are so numerous and make their appearance at such unexpected times and places that the very smartest of us ,all are occasionally in danger of being victimized. There are probably more “crooked” people in Chicago at the present writing than any other city in the Union, and it is altogether probable that this number will be largely increased during the progress of the Fair.

The criminal classes who infest Chicago at all times are extremely varied. The common tough, whose exterior and manner of comporting himself proclaim his worthlessness, is not very much to be feared. Such gentry will be well cared for by the police during the great rush to the Fair. Indeed, it is quite probable that all suspicious or known disreputable characters will be spotted at once and given a chance to leave the city, a failure to avail themselves of which, will result in their imprisonment until the Fair is over. But there are other gentry who are infinitely more dangerous. The term “bunco-steerer” perhaps best signifies their calling. The term bunco-steerer originally meant a decoy, or “capper,” who led or “steered” the confiding stranger against a bunco “lay-out.” Lately, however, its meaning has broadened. By “bunco-steerer” is now meant the oily, genial gentleman who approaches you on the street corners and politely inquires after your health, supplementing this query with another as to whether you would not like a chance to get into any sort of game whatsoever. The bunco-steerer will turn his wits to almost any scheme to make money at the expense of his more honest fellow-creatures. He belongs to the great army of confidence men who prey upon mankind in general and upon gullible strangers in large cities in particular.

The confidence man! Ah, beware of him if you value your peace. He may make his appearance at any moment and in any guise. The very suave and polished gentleman who sits opposite to you at the table in the dining car and chats so delightfully with you as you ride into the city together may be a wolf in sheep’s clothing, with designs on your purse. The very clumsy confidence man who walks up and slaps you on the back with a cordial “How de do, Jones, how are all the folks?” and immediately tries to scrape up an acquaintance, is not to be dreaded except by very green people who have never been in a big city before. It is the polished villain, the polite, well-dressed person who, while preserving a dignified demeanor, nevertheless tries to scrape up an acquaintance and then proceeds to divulge as he will sooner or later a chance by which a little easy money can be made, who is ‘to be feared. A very good rule to go by is to preserve a polite manner to all strangers, but not to enter into confidential relations with any man who hasn’t been introduced to you by some one whom you thoroughly know. The pleasures of a chance acquaintance may be great but they are accompanied by dangers to your purse. If you go into a quiet little game of cards at a hotel it is a “cinch” that you will lose your money, because the men who invite you into it are cheats and will not give you a fair show. They are confederates and the money they show cuts no figure, because they have entered into a combination to fleece the stranger.

The rhapsodical gentleman who rushes up to you and proceeds to tell you glibly of all the people who live in your town has spotted you for a victim. Look out for him. It is easy to account for the knowledge he displays. Such people make a habit of hanging about the hotel and studying the history of every guest. That is how this sleek gentleman succeeded in ascertaining so much about you, my friend. The hotel people watch very closely for such gentry and when one of them is caught he is never given an opportunity to repeat his offense.

There are two bits of advice which if followed closely will probably save the unwary stranger from all harm. In the first place never enter a place you would be ashamed to have your family at home know you entered; and in the second place never sign any papers or lend any money or valuables at the request of strangers.

Among the devices for snaring the wayfarer’s honest dollar is the “snap” auction sale. Passing along a leading thoroughfare one encounters a big shop flanked on the outside by two well dressed young men who are doing all they can to attract custom. Inside, a red-faced auctioneer is expatiating on the magnificence of the plate and jewelry he is offering for sale. Don’t be deceived by the plate and jewelry. It would probably be expensive at $5 a ton. Nevertheless, the auctioneer is eloquent. It is possible,too, that he may exhibit for a moment a really valuable watch or ring, only to deftly conceal it and substitute a worthless one for it as soon as somebody shall have made a bid. Scattered about among the spectators are numerous “cappers” who, whenever an article is put up, bid a few dollars against each other. As soon as a stranger makes a bid of any sort the article is promptly knocked down to him and handed over. When he gets away he discovers too late that he has been duped.

One has not space at command to cite all the methods by which the unwary are fleeced out of their wealth. Besides, new and treacherous schemes are constantly being invented. It is impossible to tell what plot the genius of the confidence man will strike next. These shrewd geniuses have even gone so far as the selling of banana stalks to farmers for seed. It must not be supposed by this that all Chicagoans are dishonest, although many foolish people who contrive to get fleeced generally go home uttering loud cries at the greed and dishonesty of the big city by the lake. But as long as there are geese to be plucked there will be rascals looking out for the chance to do the plucking. Take reasonable precautions and you stand in no danger. But make merry with chance companions in questionable resorts, and, unless Providence has taken you under its especial charge, you will go home a sadder, wiser and poorer man.

The Little Theatre in the United States By Constance D’Arcy Mackay

Title: The Little Theatre in the United States by Constance D’Arcy Mackay

Location: Google Books     Date: 1917

The Fine Arts Building in Chicago is one of my favorite places to visit. This is just one of the reasons…

The Little Theatres of Chicago

Chicago, the largest city in the West, has three Little Theatres, each one having a strong note of individuality. Taken separately they represent three distinct types of theatres. Maurice Browne’s pioneer Little Theatre represents the repertory art theatre; the Workshop Theatre represents the localistic experimental theatre; the Hull House Theatre with the Hull House Players represents the sociological type.

Of these theatres Maurice Browne’s Little Theatre was the first to be established in 1911-1912. It is located , on the fourth floor of the Fine Arts building on Michigan Avenue. Its charming interiors white outlined in gold, and there are dark green seats. The auditorium is long and narrow. The seating capacity is ninety-one.

From the day of its founding Mr. Browne, in the face of seemingly insurmountable difficulties, has held to the idea for which this Little Theatre was established. It was not as easy to make a success of a Little Theatre in 1912 as it is in 1917. There was no public ready and waiting for the non-commercial fare Mr. Browne had to offer. He had to fight the early prejudice that labeled a Little Theatre “Dangerous! Beware of Highbrowism.” It is a thousand times easier to succeed with the Little Theatre today than it was when Mr. Browne first sought to establish his. People have become used to the idea of Little Theatres. They are no longer looked upon as jsljange and impractical.

Maurice Browne’s Little Theatre is thus described by its founder: ” It is a repertory and experimental art theatre producing classical and modern plays, both tragedy and comedy, at popular prices. Preference is given in its productions to poetic and imaginative plays, dealing primarily whether as tragedy or comedy with character in action. . . . It has for its object the creation of a new plastic and rlrythmic drama in America.”

The Little Theatre is supported by a membership of  some 400 people who pay an’ annual subscription of ten dollars, and by the sale of seats to the general public. The subscribers who pay ten dollars a year are admitted to all performances of the Little Theatre Company without charge, and to all other entertainments given in the Little Theatre at half price. Admission is one dollar. So admirably have the finances been managed that the Little Theatre, which began with an indebtedness of $10,500, was able to pay off fifty-five per cent, of its debt after three months’ work. And this work included the production of plays produced primarily for love of art and not for love of gain. The plays were simply and beautifully staged at surprisingly low cost. It is an eagle’s feather in the cap of Mr. Browne that eighteen performances were given—and well given—in his tiny theatre for a total of $868.62!

The staff and players at the Little Theatre number . approximately thirty-five people. The company is semi- ‘ professional. All those who have completed two years’ consecutive service with the theatre receive a small salary averaging ten dollars weekly. During the first three and a half years of the Little Theatre’s existence no salary was in excess of sixteen dollars and fifty cents a week.

The Little Theatre produces plays by European and ‘ American authors. One-act plays and three and four- act plays have been produced in about equal numbers.

Among the greatest successes of the Little Theatre have been the remarkable production of Euripides, The Trojan Women, which antedated Granville Barker’s and other “art” productions of this time-defying drama; the beautiful and reverent Christmas mystery play done in silhouette; and from the point of view of scenic art Maurice Browne’s The King of the Jews, and Maurice Baring’s Catherine Parr. Mr. Browne is stage director as well as moving spirit of the Little Theatre and C. Raymond Johnson his art director. Mr. Johnson has designed the investiture for all of the Little Theatre’s most significant productions.

The Trojan Women was a triumph for the Little Theatre because it brought the vasty deeps of that ancient tragedy into a small playhouse onto a small stage and yet gave the illusion of bigness. There was fine breadth and sweep to the acting; the poses of the chorus were plastic and pictorial. Its stern simplicity was far more moving than Granville Barker’s more elaborate production.

 The Little Theatre produced The Trojan Women during the season of 1912-1913. It was the first production of this play in America. It was revived by the Little Theatre Company during the season of 1913-1914. In the course of both these seasons it was played in several other American cities by the same company, who revived it again during the season 1914-1915, and toured the country with it from the Atlantic to the Pacific Coast.

The Trojan Women had one scene throughout: A massive stone wall lost to view beyond the line of the proscenium arch, formed the background. This stone wall, jaggedly cleft in the center, showed the sky beyond. Not only were the massive squares of stone that formed the wall played on by different lights as the play proceeded; but the sky beyond the jagged cleft changed gradually from the intense blue of full day to the softer colors of dusk, thus giving differentiation. The red of the flaming city also flared beyond this cleft, and characters entering or leaving the scene stood out in dark silhouette against the fiery background. It was a scenic triumph made possible largely through its remarkable lighting.

The Christmas Mystery Play was given totally in silhouette, with the figures of the New Testament story moving in flat shadow bas-relief against the curtain. This shadow play was lit from the back. The slightest miscalculation of distance or of lighting would have wrought havoc with it; but it was from first to last superbly done. Looking at it one felt that this was perhaps the only way in which the story of the New Testament could be told without offense. The characters were not substantial flesh and blood, but figures of strange mystery, moving as in a dream.

Mr. Johnson’s work as a colorist was seen to advantage in his costume effects for Maurice Browne’s King of the Jews. Here color became a symbol, as in the harsh red and gold of the Roman guard. The costume of Judas, a sinister muddy green combined with muddy lavender, gave his vivid red hair and beard a startling effect. Caiphas was curiously effective in purplish gray and ochre. The Little Theatre is fortunate in its decorations. The banquet hall scene, designed for Maurice Baring’s Catherine Parr, was memorable for its greenish- blue banquet table and greenish-blue high-back banquet chairs set against the background of heavy bluish-purple curtains. These curtains parted to display a flat Rein hardtesque wall of apple green. §till another strange and regal effect was attained through a Little Theatre design of purple banquet chairs and table placed against the background of dark green hangings that parted on the flat wall flooded with yellow light.

It was a dictum of August Strindberg’s that no.Little Theatre with a small stage could ever present outdoor scenes successfully. The Chicago Little Theatre has shattered this idea by a design made by its art director for a midsummer wood. This design was recently exhibited in New York. It showed a scene flooded with the bluish white of moonlight. There was a shallow stage and a back drop of faint bluish white. In the center of this back drop was a great creamy midsummer moon, round and low-lying, just coming up over the rim of the midsummer dusk. One great dark branchless tree trunk soared up beyond the proscenium arch, and was lost to view. To look at this scene was to feel that in a moment Titania and her fairy revelers would appear. It was of magic loveliness, yet simplicity itself.

Mr. Browne’s Little Theatre has been a potent influence in the art of the West and its players, many of whom are now appearing in other Little Theatres, are spreading the non-commercial gospel for which he stands.

The Theatre; Its Early Days in Chicago By James Hubert McVicker

Title: The Theatre; Its Early Days in Chicago: A Paper Read Before the Chicago Historical Society, February 19, 1884 By James Hubert McVicker

Location: Google Books     Date Published: 1884

James McVicker (1822-1896) was one of Chicago’s foremost theatrical managers. At the time of his death, the McVicker’s Theater was the oldest in the city, although it had burned to the ground twice. The first McVicker’s Theater (located on Madison near Dearborn) was built in 1857 and burned in the Great Fire of 1871. The former actor was undeterred and rebuilt his theater on a grander scale.

In this excerpt, McVicker relates the story of theater in Chicago’s earliest days. 

James Hubert McVicker

Doubtless there are now living in Chicago those who were present at the first theatrical performance given in the city, but dates are seldom in ” our memory locked,” and hence I have found it impossible to fix the exact time, yet for all purposes of history it will be sufficiently marked.

The original of this first application for a theatrical license, together with others covering a period of nine years from 1837, were found in the only vault belonging to the city, which withstood the flames of October 9, 1871, and are the only authentic records bearing on the subject of the early amusements of the city which I have been able to avail myself of. Among these applications is one asking for a permit to erect a ” show of flying horses,” and that the application should be in keeping with  the show, it is addressed to the M-A-R-E of Chicago. No response from his Honor is on record.

The first public entertainment, of any kind, to which an admission fee was charged, and of which any record can be found, took place on Monday, February 24, 1834, but a few months after the Pottawatomies had consented to give up their land to the white man. On the 18th day of that month the Democrat contained this advertisement: ” Ladies and gentlemen are most respectfully informed that Mr. Barnes, professor de tours amusants, has arrived in town and will give an exhibition at the house of Mr. D. Graves, on Monday evening next.” This entertainment was given in two parts : the first being feats of the Fire King; the second a display of ventriloquism and legerdemain, which Mr. Barnes said were original and ” too numerous to mention.” The performance commenced at early candle light and the admission to it was fifty cents. While the classic tragedian would not admit that this entertainment was in any way connected with his art, and might claim that it should not be blended with a history of the drama, it must nevertheless be accepted as a starting point, even if his professional pride receives a snub. The second recorded performance was given June 11, 1834, when another ventriloquist, Mr. Kenworthy, according to the Democrat, delighted the inhabitants. On the 1gth of June of the same year a concert was given by Mr. C. Blisse. Entertainments, shows and circuses preceded dramatic performance, of which the first mention bears date May 29, 1837, when Messrs. Dean and McKinney applied to the Council for a license to “open a theatre in some suitable building for the term of one or more months as the business may answer.” The authorities were asked to make the license payable weekly, but the request was denied and the Council named $100 as the amount, which sum must have dismayed the applicants, for they abandoned Chicago, and no dramatic performance took place under their management.

 

 

In this vault was found the following application, which is undoubtedly the first in reply to which a license was issued :

“Chicago, October 17, 1837. The subscribers respectfully petition the Honorable the Mayor and Council of the city of Chicago for a license to perform plays in said city. They respectfully represent that this establishment is intended to afford instruction as well as amusement; that they are encouraged and patronized by the leading portion of the inhabitants of the city, who are interested in their success; that they propose to remain here during the winter and that they make no calculation to receive more money in the city than what they shall expend during their stay and therefore they trust that in offering a rate for license these facts may be taken into consideration. Isherwood & McKinzie, the petitioners, request this license for six months, if agreeable to the Board.” The Council fixed the rate at $125.00 for the year, which amount the petitioners paid, while protesting that it was unjust to ask so much.

The first home of the overtaxed drama was the historic Sauganash Hotel located on the southeast corner of Lake and Market. During September, 1837, its proprietor, John Murphy, had vacated it, to move into his new house on the west side of the river and Isherwood & McKinzie converted the dining room of the Sauganash into a temple where Thalia, Melpomene and Terpsichore found their first Chicago home. The room was provided with rough seats for about two hundred persons. The floor was level, and a few common chairs were placed in front for ladies and their escorts. Mr. Isherwood, one of the managers, is still living; and, until within the past five or six years, occupied the position of scenic artist of Wallack’s Theatre, New York. He painted the first scenery known to Chicago. I wrote him with the hope of reaching some exact dates, but as he has only memory to rely upon, I learned nothing but what I had obtained from others ; though he replied in a very interesting letter, ending thus :

“In concluding this rambling, epistle, I could almost say with King Lear ‘ you do me wrong to take me from the grave.’ I am eighty years of age, and, with best wishes, remain yours truly, H. Isherwood.”

Photo Credit: New York Public Library Digital Gallery, Digital ID 99215; Photographer, Fred D. Foss

The Story of a Theater by Lyman Beecher Glover

Full Title: The Story of a Theater by Lyman B. Glover

Book Location: Internet Archive    Date Published: 1898

A wonderful history of early theater in Chicago, Hooley’s and its evolution into Power’s Theater. Includes recollections by many early actors such as Joseph Jefferson, for whom Chicago’s “Jeff” Awards is named.

It was my fortune to begin writing of the Chicago theaters about the time that Harry J. Powers was first engaged in a minor capacity at Hooley’s. Thus when it happened, after a long course of years, that Mr. Powers, having become master where he once served, invited me to prepare an unpretentious souvenir of this historic house, it seemed an obligation of old friendship and, therefore, a pleasant duty to comply with the request.

The result is offered without apology, since  where there is no pretense there can be no occasion for excuses. Wishing to preserve from oblivion fugitive memories of this famous theater, and signalize not merely its change of  ownership, but also a complete reconstruction, a souvenir of this casual and informal nature was thought to be appropriate.
Perhaps some flying threads and thrums have been rescued and woven together in such a manner that they will be available, one of these days, for some one more apt and patient than I am in the work of writing history. No doubt errors have crept in, which is not strange, since there is no complete repository of facts relating to any of the Chicago theaters upon which one may draw. The chief dependence is and must be upon memory, reinforced by such memoranda as have escaped the envious tooth of time. Nothing is affirmed or promised, therefore, except a few facts and sentiments garnered to honor a theater which has earned an entirely unique reputation. There is no attempt to be literary, profound, or exhaustive. I simply dwell casually upon the record of dear old Uncle Dick Hooley and his achievements in this house, because they are worthy of attention, and for the reason that they form an important chapter in the theatrical history of Chicago. Now that a second chapter in this record has been commenced by Mr. Hooley ’s successor-in-trust, Harry J. Powers, it seems appropriate to bring the old and the new together in these pages, and thus with a sentiment of tender regret for the past that has drifted away from us, and of hope for the future, which promises so much, I wish the manager and the patrons of Powers’ Theater all happiness and good fortune.

L.B.G.