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- Elizabeth M. Cudahy

Memorial Library

Loyola University

Chicago

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OBSERVANDA

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VICKEH

NEW

THEATRE

CHICAGO

1891

4

WEBER

LINDEMAN

WHEELOCK

STUYVESANT

PIANOS

The Big Four

CHICAGO BRANCH HOUSE,

The Manufacturers Piano Co.

248 Wabash Avknue.

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While in Chicago strangers cannot find a place to spend an hour more pleasantlj' than by visiting the great

Panorama of the

-^BKTTL-E OF GETTYSBURG. H-

It is called Chicago's greatest attraction by the Two Millions of visitors who have seen it. It is open everj- day, from 8:30 A. M. to 10 o'clock, P. M.

o

TELEPHONE 1040.

USED TO PRINT THIS BOOK IS FROM THE CELEBRATED FACTORY OF

J. K. WRIGHT & CO.

PHILADELPHIA.

E. W.COPAGE,

MANAGER.

We make engravings of | „ r-> /— _

PORTR/JTS, BUILDIflGS,p/\FS, |

TT T7- gr-ry othisr De^seription

By five different processes, making each order by the mode to which it is best adapted in j

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Fine Ban^rj Gooias.^

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ChiekePing Pianos, the Aftistie Standafd of the Wofld.

VlCKiS^,^

Containing a Graphic Historical Sketch of McVicker's

Theatre from its Inception to the

Present Date.

\ — '

W. J. JEFFERSON PRESS,

CHICAGO,

1S91.

ChiekePing Chase Bros. Co., 219 and 221 tUabash Rvenue.

BAUER PIANOS.

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A CRITICAL COMPARISON OF OUR INSTRUMENTS ^jr ^^jr' WITH THOSE OF LEADING EASTERN MANUFAC-

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PRICES MODERATE. TERMS TO SUIT PURCHASERS.

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The Calumet Paper Company will be found all the way from two hundred and sixty-two to two hundred and sixty-eight Fifth avenue, Chicago, Illinois.

B. M. CUDAiiY MI:AiOi<iAL LILKaKV LOYOLA UNIVERSITY

Ctiiekeping Pianos, the flptistie Standafd of the World.

/Ihct^lcher's XTbeatce.

|HEN is remembered the religious, moral and legal warfare waged against the stage for centuries, and in restricted limits still waged, . c) it seems remarkable to an extraordinary degree that the character of its theatres should be one of the chief tests of a community's cul- ture and refinement.

It is one of the wonders of civilization, that the thing most stubbornly opposed by the so-called ethic forces of society, should come at last to occupy a position co-equal with the pulpit and the rostrum, the school and the studio in shaping the intellectual course and determining the aesthetic plane of cor- porate society. This is the result, of course, of the deepening of the moral consciousness and the broadening of the mental vision ; but it is also due to the actual improvement and uplifting of the theatre itself. The educational development of the world, the great advance of thought and the uplifting of the world from ignorance and superstition to a condition of judgment and re- flection naturally gave a forward impulse and upward tendency to the theatre. As society improves all things within societj-'are proportionately benefitted and as the theatre came into easy ways and respected character under the liberal spirit of the times, it expanded from a profession into an art, and whereas truth was its one object before, beauty and goodness have now become its guide and inspiration.

It is true, therefore, that a fair estimate of the intellectual and moral char- acter of a community can be determined by the study and comparison of its theatres, just as of other public institutions and monuments — its aims, hopes and purposes being in large measure indicated by the temples it rears in honor

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of the muses. There is, perhaps, no better epitome of the development of Chi- cago as a city than is presented in the history of McVicker's theatre, an insti- tution that has passed through all the vicissitudes of this city's struggle for supremacy, and by force of circumstances and the enterprise of its far-seeing, confident manager,' has kept up with the city's material growth and intrinsic progress. When, thirty-four years ago, November 5, 1857, the first McVicker's theatre was dedicated to the public, it was accounted the most complete theatre then in the country. It was built at a cost of $85,000, and represented the ideal of its actor-manager, who was actuated by motives far purer than those of a selfish and speculative spirit. As the city grew, and larger ideas came with increase of population and practical interests, Mr. McVicker in 187 1 entirely re-

built his theatre to meet the new demands, making such improvements as were requisite to maintain the representative character of the house. The Great Fire obliterated the structure, but in less than a year there arose from the ashes an edifice greatly superior to its predecessors, the third ' ' McVicker's " being in every respect, within the limitations of that day, a model play house. In 1885, however, taking advantage of newly invented appliances, and seeing opportu- nities to better adapt his theatre to the tastes of the public and the comfort of players, he reconstructed the building in such way that it was admitted to be the most perfectly appointed and completely equipped theatre in the United States or in Europe. The house became celebrated for its beauty and conve- nience, and was studied as a model by theatre builders both in this country and

Chiekeving Chase Bpos. Co., 219 and 221 Ulabash Avenue.

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McViCKER's New Theatre, Opened March 30th, 1891.

THE building, decorating and furnishing accomplished by the following well-known firms : Architects, Adler & Sullivan ; Structural steel work, Albert H. Wolf; mason work, William D. Price; carpenter work, Thos. Clark & Sons ; ventilation and galvanized iron work, Jas. A. Miller & Bro. ; plumbing and electric light fixtures, E. Baggot ; painting and decorating ; Healy & Millet ; Carpets and draperies, Marshall Field & Co. ; seating, A. H. Andrews & Co.; electric lighting, Chicago Edison Co.; ornamental plaster work, Schneider & Kline ; ornamental iron work, W. H. Chene worth Co. ; Tile work and fire-proofing, Illinois Terra Cotta LrUmber Co.; plain plaster work. The Mackolite Plaster Co. and Michael Cyr ; bas-relief panels, " I^a Salle's March Through Illinois " and "The Fort Dearborn Massacre" Johannes Gelert ; principal curtain, "Chicago in 1833," Walter Burridge ; act drop curtain, " Reverie of the Future," Ernest Albert ; stage construction and me- chanism, John Bairstow.

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abroad. In August, 1890, this beautiful temple of art was destroyed by fire, and rumor gave rise to the fear that the patient and long faithful manager, weary of ambition and its cares, and discouraged for the drama, would do no more in the line of his life vocation, but abandon the historic site to commercial uses. But Mr. McVicker soon set doubts and fears at rest, and announced not only that the old landmark should reappear, but that it should be handsomer and finer than ever before. And so, steadfast to his early determined purpose to keep his house the representative theatre, the new home of the ideal was opened March 30, 1891, as one of the most splendid monuments of the progress and development of this wonderful city. There is no counterpart of it in the world, and it is believed no theatre will compare with it in symmetry, in the beauty of its plan, in the chaste charm of its ornamental and decorative work, in the completeness of its appointments, thorough suitableness to its objects, or in its combination of artistic effect with practical service. Remembering the history of the house and the successive steps to its present excellence, one must feel that a great deal of honor is due Mr. J. H. McVicker. As we judge of an author by the quality of the work he produces, or a public man by his deeds, we must judge of a manager by the theatre he builds or directs. The motto ' 'All may follow ; none shall lead ' ' has been adhered to with singleness of purpose and unwavering devotion to the higher aim of the dramatic art. No theatre has been more concientiously managed with the purpose to cater to the best tastes and interests of the people. McVicker' s theatre in fact and in name will be an honorable monument to its founder.

The pride of place that has made Mr. McVicker loyal to Chicago through all the strange and varying experiences of forty years, prompted him to epito- mize in his new theatre the salient history of Chicago. His house is doubly historic, in itself and in its adornment, the most conspicuous and beautiful fea- tures in the art development of the interior being the curtains and panels that tell silent stories of Chicago's wonderful advance from a romantic past. Here hangs the principal curtain, reviving to imagination the Chicago of two gen- erations ago, and there on either side the exquisite panels in bas-relief, one depicting the march of lyaSalle, which was the entrance of Christianity into Illinois, the other symbolizing in a picture of the Fort Dearborn massacre the final struggle of savagery to hold its own against the new civilization of the State. These three works of art in his modern temple evince Mr. McVicker's spirit as a citizen, and inform the public how worthy is the veteran manager and life long friend of the drama and progress to be esteemed by his fellow townsmen.

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I. VENTILATING AND AIR CONDUIT.

3. EXHAUST FAN.

?. THE OLD BELL.

Chiekcfing Chase Snos. Co., 219 and 221 uiabash Avenue.

Chiekefing Pianos, the flPtistie Standafd of the Wonld.

THE EXITS.

The site on which McVicker's theatre stands is fortunate beyond any other in the country, in being surrounded on both sides and at the rear with wide alleys ; and this has been turned to the best possible ad- vantage in the matter of exits. Solid iron stairways run to the ground from every part of the auditorium into these alleys, so that the galler- ies can be emptied at the same time as the parquette and circles, with- out the one jostling the other, be- cause each has its separate doors. Not only this, but the interior of the auditorium is so arranged that every aisle leads directly to an exit, and these are so plentiful on every floor, that there is absolutely no danger to be appre- hended from a rush to the doors, should the house be crowded to suffocation.

THE VENTILATION.

This feature of the theatre leads one naturally to observe another hardly less important, the ventilating and heating arrangements. That was achieved after much thoughtful consideration, by the Jennings process, a novel, and as it has proved to be, a most successful plan. The ventilating machinery is placed in a tower on a high building across the court, where che upper current of air is taken in, forced into the house through apertures in the roof, concealed by a series of pretty ornaments, forming elegant vases or rosettes. The pure air is then drawn downward through the house by means of vast exhaust fans, and passed through vents into the alley. The effect of this system can only be appreciated by those who have experienced it. Take a seat in the gallery or any of the upper parts of the house, when it is crowded, and you will find the atmosphere as fresh and pure in one as in the other. There is absolutely no appreciable difference in this respect between the gallery and the dress circle or the boxes.

The same attention to the comfort of everyone, without distinction of place and price, may be observed. The gallery and upper circles are furnished with the same conveniences as the lower part of the house. Here are cushioned seats and carpeted aisles, retiring rooms for ladies and gentlemen, supplied with

Chiekefing Chase Bfos. Co., 219 and 221 CUabash Avenue.

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ChiekePing Chase Bfos. Co., 219 and 221 CUabash Avenue.

Chiekeping Pianos, the HPtistie Standafd of the WoPld.

ice coolers and every comfort that could be desired. The poor man need not be driven to patronize the low dives on the plea that he cannot afford to pay fancy prices for his evening's entertainment. He can secure for twenty-five cents, precisely the same privilege as the man who can afford to pay for a private box. He can sit on a comfortable seat, breathe a pure, wholesome atmosphere, and command a perfect view and hearing of the performance on the stage. The increased altitude of the dome has added greatly to the desirability of the seats throughout the upper part of the house, and the acoustic properties are so per- fect that it is at last possible to enjoy parlor comedy as well as loud rant from the remotest corner of the section known for generations as "the gods."

The " gallery gods" of old daj^s are no longer recognized in modern thea- tres. The place that knew them, and from which they issued their decrees, knows them no more. Mr. McVicker is entitled to the credit of having set an example to all future managers in making that part of the theatre a place where people of humble means may procure wholesome amusement amid equally wholesome surroundings. We have given special prominence to this feature of the house, because it is a highly important one, and should be regarded as a beneficent popular reform.

ELKCTRIC LIGHTS.

In the modern theatre, of course, the air is not vitiated by burning gas, the system of electric lighting doing away wuth one of the former greatest disadvan- tages of the play house. McVicker's contributes still further to the comfort and enjoyment of its patrons b}- an innovation in the use of electric lights that perfectly illuminate the auditorium without dazzling the eyes of the spectators. The incandescent burners are so masked and placed that the light falls over the assembly in diffused, soft glow, and in such way as to offer no interference with the view of people. The chief feature is the entire absence of lights from the proscenium and vaulted sounding board, a most grateful departure from the pre- vailing mode. As before, the lights form an integral part of the decoration, the effects produced being charming, particularly in the ceiling, where the deeply indented squares have for their unique center perforated cones, through which a mellow radiance comes like the reflection of burnished gold.

THE DECORATIONS.

Two things that invite first attention are the striking Egyptian character of the procenium environments and the displ^^cing of the upper tiers of boxes by sculptured bas-relief panels. The eye is at once delighted. The spectacle is a superb one, the tints of the house here concentrating in the highest excellence

ChiekePing Chase Bpos. Co., 219 and 221 lUabash Rvenue.

i-;

ChiekePing Pianos, the Rptistie Standard of the Wofld.

of design. Simple in its general outline, the procenium resembles a large, square frame, with top and side slop- ing to the stage. At the base of this frame, on each side and forming an organic part of the design, are placed the prosce- nium boxes, three on each side, with their massive dividing col- umns modeled after the Egyptian and fine- ly sculptured, and above them the re- cessed panels con- taining the bas-reliefs. These highly artistic panels are companion pieces, one represent- ing LaSalle's triumph- ant march through Ill- inois, the other the terrible Fort Dearborn massacre. The entire surface of the prosce- nium is covered with the mostexquisitely wrought plastic ornamentation, graceful, yet vigorous, with a charming play of surface light and shade. The superb effect of this original and fine proscenium is heightened by the extreme beauty of the color scheme which seems to play over the house, so skilfully worked out has been the symphony of tints and shades. The basis is a deep salmon brown, that gradually diminishes into a delicate pink as it ascends to the ceiling. The eye is at once captivated and soothed, so perfectly in harmony are all the striking effects of this art treasury. Gold and bronze enter sparingly into the ornamentation, and a dark wood wains- coating serves as a strong basic contrast to the whole color scheme that is pre-

ChiekePing Chase Bpos. Co., 219 and 221 LCtabash Hvenue.

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served in the rich carpets, draperies and the red plush of the unique opera chairs. An auditorium more beautiful, balancing charm with dignity and grace with solidity, is hardly to be imagined. There are two curtains, the principal one, of asbestos, weighing several tons, presenting an idealized view of Chicago in 1833, painted by Mr. Walter Burridge, and made complementary to the house decorations ; the other, used as an act drop, being an artistic re- production of a Greek ideal, painted by Mr. Ernest Albert. Both curtains are worthy the theatre.

BELOW THE STAGE.

So much and more the public sees, but McVicker's theatre did not gain its national celebrity from the grandeur of its auditorium alone. Much of its reputation comes from its superiority of conditions of which the general theatre goer is ignorant. It has the best regulated stage of the American theatres, and underneath the stage one finds the same degree of order, regularity and perfec- tion of service as is seen in every other department of the building. This is the labratory, so to speak, where the "effects" we have been noting are evolved-

Chiekei'lng Chase Bfos. Co., 219 and 221 tUabash Avenue.

The celebfated Chase Bpos.' Pianos ean be found only at

AS REGARDS MUSIC

It is the same as in other lines — you will always find it most profitable to do business with the largest concern. We carry the largest stock of goods to be found in the entire country.

WE MANUFACTURE

The Lyon & Healy Harp. The L. & H. Parlor Organ,

The Reed Pipe Organ. The Star Banjo.

The Washburn Guitar, Mandolin and Zither.

WE ARE AGENTS FOR THE

KNABE. FISCHER

New England and Pease Pianos and the Oliver Ditson Publications, and we can furnish any instrument known to musical art.

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Here is the machinery which generates that wondrous force which has become such an agent in the production of the miracles of modern times. How simple it all looks for a giant of such potency — a boiler, some wheels revolving with blinding rapidity, some belts, which you don't need to go too near, certain indi- cators, regulators, annunciators, etc. , and a man with intelligent eyes and clear brain guiding the whole. He can tell by means of certain simple looking in- struments precisely how his forces are operating on the stage or in any part of the theatre. There is no heat, nor muss nor fuss, but somehow one becomes conscious that some mighty power is working to produce all that splendor that is made manifest yonder in the upper spheres. Here are the heating and light- ing apparatus, so important a feature in the arrangements, with the powerful dynamos and the tremendous Heine boilers, the endless machinery of the elec- tric light plants, a region of energy and action, from which has been removed every element of danger to the audience sitting complacently above, watching with interest the ' ' effects ' ' produced from below. Inspecting this medium and then passing up to the cemented chamber under the roof, one gets a compre- hensive idea of the process of heating and ventilating so successfully applied in this theatre. This system supplies fresh air drawn in at an elevation of 70 feet, purified by passing through a spray of cold water, and is warmed in winter by being drawn through coils of heated pipes, or cooled in summer by passing through an ice chamber. There is thus introduced at the ceiling a volume of atmosphere 60 inches in diameter, and moving at the rate of 30 miles per hour. As a matter of course, to secure uniform results, modification in handling this volume of air must be made according to differing climatic conditions. In summer, supplying a cooler atmosphere than is naturally con- tained within the auditorium, the exhaust from the parquette and dress circles is proportionately more efficient than that from the galleries. In winter, when the tendency of heated air to rise must be overcome, the exhaust from the galleries is reduced, and that from the parquette and dress circle correspond- ingly increased, thus establishing under every seat, under all circumstances, an atmosphere free from the taint engendered by a crowded house. The ability to create and regulate these currents whenever desired is a peculiarity of this ventilating system. It supplies and exhausts according to requirements, regard- less of natural conditions. Other modes assisting the exhaust of air upward, necessitate the elevation of the vitiated atmosphere, weighing 50 per cent, more than that supplied, and hence insures its mixture with the pure air, and its re-breathing by those occupying the apartment. This system, exhausting beneath each seat, assists the heavy exhalations in their natural downward course, and removes them at once into the nearest exhaust duct. As used in

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CHICKERING PIANOS, THE ARTISTIC STAN

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A TARTIAT, VIEW OF THE GRAND FOYER AND PROMENAI

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McVicker's theatre it is capacitated to supply a volume of pure air equal to 27 cubic feet per minute for each seat in the auditorium, and to exhaust therefrom 22 cubic leet in the same time. The excess of supply over exhaust is de- signed to prevent the inflow of untreated atmosphere. Estimating the amount of air required by each adult as 1 2 cubic feet per minute, this system is capable of providing double the amount required, and of exhausting one-third more than used. Hence the house is at all times filled with fresh air.

BEHIND THE SCENES.

The working departments of McVicker's theatre afford a singularly favor- able example of perfect method and order, for the reason that nearly all of the people who are at work behind the scenes have been ' ' brought up " in Mr. McVicker's employment, and proceed about their several duties with the pre- cision of machines. It would be a useful experience for some aspiring drama- tist to spend a few weeks in this comparatively unknown region, to discover how large a share of the honors of a success or the vexation of a failure, is due really to the commander of this stage army — the stage manager. And as Dion Boucicault, himself one of the best in the world, remarked rather sadly one day, ' ' There are too few stage managers in the country. ' ' He is not the mere editor of the new play which is put into his hands ; he is in most cases the in- ventor of its most telling effects, and the author is frequently astonished no doubt to find that the great hit he had sought for in the closet comes in not at all at the point he expected, but in a climax or situation which he had never imagined or intended. ' ' The working out of the plot " of a piece is a familiar phrase known to dramatic critics and to play-going people. But to compre- hend what the working out really is they should see the apparently disjointed sec- tions of it scattered all the way from the fly galleries to the place beneath the trap door, every one in command of his particular position and ready for his ' ' cue ' ' — sometimes the tap of a bell, the toot of a whistle, the wave of a hand, or the wink of an eye. There is the property plot, the scene plot, the curtain plot, the gas plot, the trap plot — all to be acquired by the diligent performer behind the scenes, and whose precision and " upness " in his part is quite as essential to the success of the performance as is that of the player who struts in front of the footlights and reaps all the applause.

Among the illustrations presented in these pages will be seen a few sketches of the property rooms and workshops. What is the property room ? It is a little of everything in the amusement world, and is a veritable curiosity shop, containing everything from a doll to a human skeleton, and from a needle to an anchor. The property man of a theatre is, or ought to be, a living encyclopedia

Chickefing Chase Bpos. Co., 219 and 221 QUabash Avenue^

The Gelebi-<ated Chase Spos.' Piahos ean be found only at

of universal knowledge, ready to supply at the shortest possible notice what- ever the imagination of a maker of plays may happen to demand, whether it be the costume of a Greek, Hindoo or Scandanavian goddess, the fire-shovel of Tubal Cain, the arms and equipments of a Crusader, the headgear of a Tyro- lese peasant, a modern pincushion, a set of family portraits, a step ladder for a fireman, or a ladder of ropes for an eloper, a steam engine, a hoop skirt, a pair of old boots, a pair of angels' wings, a tramps' outfit, a suit of armor for a Knight of the Round Table or a beer glass. He is an antiquarian, an historian, a mechanic, tailor, shoemaker, carpenter, blacksmith and every thing coinbined, and the workshop over which he presides is an epitome of the world which is represented nightly in the mimic scene. He is expected to be prepared for all emergencies, and if anything, from a mantel ornament to a town pump or a hedge fence, does not happen to be in his outfit he must contrive it. Among the "properties" in McVicker's theatre are many things of historic value, and not a few interesting relics of bygone days, and actors who have long ceased to tread the boards. The property man cherishes these with special care, and will take pride in shaking out of its recess some worn bit of dress or old sword that this or that actor used when he played a certain part. Get him in a leisure hour and he will grow as garrulous as the grave digger in Hamlet, as he handles these rusty relics. Some of them, again, possess simply a local interest, as for example, the old bell, a picture of which is here represented. It had swung and rung through many changes, tolling no end of funeral dirges and wedding chimes, until it went down among the ruins the night of the great fire, its tongue choked with ashes so it could not even ring its own death knell. The old veteran was resurrected, however, and made servicable once more, and is still to be heard on special occasions, as when giving the cue to Macbeth to say " Hear it not, Duncan," and perhaps also doing duty in a humbler range of work. Another precious treasure of the property room is a grand old side- board of quaint design and exquisite carving, which not infrequently makes part of the furniture of a scene. We have heard McVicker's scenic artist more than once complimented lor his pre-Raphaelistic realism in the production of this "admirable imitation of ancient furniture."

THE FLY GALLERIES.

There is no portion of the stage world more bewildering to the stranger than the "fly gallery" with its myriad ropes and multitudinous pullies, and in McVciker's new theatre the bewilderment would be the greater for there be- ing two of these galleries, whereas most theatres have but one. The importance

Chiekefing Chase Bros. Co., 219 and 221 Uiabash ilvenue.

Chiekciting Pianos, the Ai»tistie Standard of the Woi»ld.

of this department can be real- ized only when there is a pro- duction of more than ordinary magnitude, the spectacular piece with its innumerable changes of scene, offering the best opportu- nity. It seems a marvel how a few men, comparatively, can mas- ter the seemingly interminable intricacies of that vast net-work of ropes and guys, and one be- holds with astonishment great sheets of scenery gliding down and fitting into place, and sees that these operators who stand by the ropes have each a section

I. THE FLY GALLERY. 2. SCENE PAINTING . 3. TRAP ROOM. Chiekefing Chase Bi»os. Co., 219 and 221 Ulabash Avenue,

The eelebfated Chase Spos.' Pianos ean be found only at

of the " fly plot " stuck up before him, and he keeps one eye on that, and the other on the lookout for the signal which is given from below. The whole thing proceeds with the regularity of the works of a clock. The audience in front is looking at the dial plate. They are enjoying the effects produced by a set of machinery more various and complicated than that of the clock maker. It may not, perhaps, enhance the enjoyment of the spectator of some pretty trans- formation scene to consider what an amount of skilled and trained work is em- ployed in its production. Yet to many people, the operations going on behind all the glitter and glory of the scene on the stage would aflford a most enter- taining and instructive study.

From the fly gallery to the trap room is quite a long step, but the two de- partments, far enough apart in point of space, are intimately associated, and here the same discipline, precision and watchfulnesss is observed. Any one can readily comprehend the importance of these requirements in this subterra- nean part of the arrangements.

Midway between these two spheres hangs the paint frame, a spacious plat- form swinging on ropes near the rear of the building, where the work of the scenic artist is brought to completion. This is a moving studio that possesses a wondrous fascination, as well it may, for it has been the cradle of many a brilliant genius, some of the greatest artists of the age having served their ap- prenticeship on the frame, and there learned to produce their choicest efforts.

Artist, mechanic, scene-shifter, engineer, call-boy, prompter, manager, all form part of one compact regiment, whith nightly proceeds with its drill, un- seen by the company which sits down in front of the curtain to enjoy a few hours' entertainment. A small incident is recalled which may serve as an illus- tration, and show the degree of care and solicitude that is paid to the safety of the patrons. One night when the signal was given for the curtain to ring down upon an act, there was a delay of a minute or so, which created some temporary confusion among the people on the stage, but attracted hardly any attention in the audience. They probably imagined some wheels had gone wrong. The cause of the delay was that the man who answers the prompter's summons had that instant been called to answer a more imperative order. It is part of his duty to keep his ears open for the automatic instrument which registers any alarm of fire from the immediate neighborhood. At the very instant the prompt- er's bell sounded the warning signal had been given that a fire had broken out in the Eveyiing Journal building, and the man, true to his duty, had jumped to the danger point. The audience was thus protected without their knowing it. Had the peril been nearer at hand there would have been ample time to have cleared the house without any fear of a panic. The circumstance is men-

Chiekering Chas2 Bros. Co., 219 and 221 Ulabash Avenue.

Tiie eelebi»ated Chase Bkos.' Pianos can be found only at

tioned to point out a fact which it will be well for every one to keep in mind, that the same methodical system prevails in every department of the theatre, and that a constant watch is kept over the safety and comfort of its patrons.

Contributory to the general provisions for safety is the elaborate electric key board, by which the lights of the house are controlled, and from which signals can be delivered to any department. This is one of the most perfect boards in use in theatres, and is so thorough in its workings, that any given light in the house can be regulated without interfering with other groups. Moreover, every part of the theatre has been made as nearly fire-proof as it is possible to make structures of this nature. In fact, McVicker's theatre should be the model to which theatres hereafter built should be made to conform. Though this build- ing has the very rare advantage of being free upon all sides, with spacious alleys at the sides and rear, in contact with no other building, the principles of construction applied and the devices, such as the exterior iron stairways, for the safety of patrons, should be enforced as far as practicable, in all new theatres. During the nearly forty years Mr. McVicker has been in management, he has been watchful and studious to promote the good of his patrons, and each successive step toward the present faultless house has been made with increased benefits to the public. The first theatre, 1857, was erected at a cost of $85,000 ; the remodel- ing in 1864 cost $25,000 ; the rebuilding in 1871 cost $90,000; the new theatre opened in 1872 cost $200,000 ; the remodeling in 1885 cost $145 000, and the cost of the edifice now open to the public brings the total amount expended by J. H. McVicker in establishing and maintaining the leading theatre of the country to a figure but little short of one million dollars. The house is most emphatically what its name proclaims it to be — McVicker's theatre. Its founder has been its active and devoted director through all these eventful years, and has been unswervingly faithful to the high principles of management that actuated him in the beginning, when management was a much more responsible and mean- ing office than it now is. lie has adhered to a definite policy without regard to the ephemeral criticisms that often divert others from their best aims ; and this adherence to a wise conservatism in management, that has sometimes pro- voked the impatience of true but perhaps injudicious friends, has kept Mr. Mc- Vicker continuously one of the most successful managers in the country, and the only one who has been able to meet all reverses with sustaining resources and hold his theatre steadily in the front under his own uninterrupted manage- ment. McVicker's is the best known theatre in America today, and is as much the leading theatre of the West as it was in 1857. What it has been in the past it will continue to be in the future as long as it is directed and controlled by its veteran manager, the last but one of the old and fine school of actor-managers to which the American stage owes an inestimable debt of gratitude.

Chickening Chase Bpos. Co., 219 and 221 Uiabash Rvenue.

ChiekePing Pianos, tbe Hftistie Standafd of the World.

THE ROSEVELT GRAND ORCHESTRAL ORGAN.

Among the recent additions to the many perfections of McVicker's theatre none are of more importance than the^ Grand Orchestral Organ, built by the celebrated maker, Frank Rosevelt, at a cost of over six thousand dollars.

This grand instrument, in addition to its value as an adjunct in stage effects, can be utilized on special occasions in conjunction with the orchestra, rendering possible a class of music not generally given except in the grand opera houses of Europe and one or two opera houses in this country. The instrument will rank as one of the most complete in all the modern appliances, having a full electric action, controlled by a key board in the orchestra, the propelling power being supplied by an electric moter.

The principal construction of the organ is located on the east side of the auditorium, immediately over the private boxes, and by an ingenious -device of perforating the ornamental plaster work of the proscenium, the full tones of the music can be distinctly heard while the instrument is entirely concealed from view.

THE NAME E:.h3 I C T IS KNOWN

TME V)rORl.D OVER.

And at once suggests Honorable Dealing, Honest Workmanship and a faithful fulfilling of all Promises aud|Guarantees.

EASY PAYMENTS IF DESIRED.

PIANOS

TO

RENT

Tj j^^^ 233 STATE ST.

ChiekePing Chase Bpos. Co., 219 and 221 CUabasli Avenue.

The eclebPated Chase Bpos.' Pianos ean be found only at

HDclDicker 8 Bew theatre.

SOME OF THE PRINCIPAL ATTRACTIONS WHICH WILL APPEAR AT THIS THEATRE DURING THE SEASON OF 1891-1892,

Commencing Sunday, July 5th, and every evening, including Sunday, with matiness Wednesday and Saturday, until August 2 2d.

THE GREAT ROMANTIC PlAY FROM A RUN OF" 169 NIGHTS AT THE BOSTON THEATRE.

"THe SOUPAN"

Below are a few of the attractions which will follow The Soudan.

SARA BERNHARDT, JEFFERSON & FLORENCE,

THE MERCHANT, MARIE WAINRIGHT,

THE COUNTRY CIRCUS, CARMENCITA, GEO. F. MARION, THE LlLIPUTIANS,

HANLON'S SUPERBA, MADM. RHEA, DENMAN THOMPSON, IN THE OLD HOMESTEAD. ROSE COUGHLIN,

And other prominent American and European attractions, which will be announced in due season.

Chickefing Chase Bpos. Co., 219 and 221 CUabash Avenue.

Chiekefing Pianos, the Artistic Standafd of the WoPld.

SONG OF THE NO.

My dress is of fine polished oak.

As rich as the finest fur cloak.

And for handsome design,

You just should see mine- No. 9, No. 9.

I'm beloved by the poor and the rich

For both I impartially stitch.

In the cabin I shine.

In the mansion I'm fine- No. 9, No. 9.

I never get surly nor tired,

"With zeal I always am fired ;

To hard work I incline,

For rest I ne'er pine- No. 9, No. 9.

I am easily purchased by all,

"With installments that monthly do fall ;

And when I am thine.

Then life is benign- No. 9, No. 9 To the Paris Exposition I went. Upon getting the Grand Prize intent; I left all behind. The Grand Prize was mine- No. 9, No. 9.

'WTlieeler & VlTilson IMfgr- Co.

185 AND 187 WABASH AVENUE, CHICAGO.

Chieketring Chase Bkos. Co., 219 and 221 UUabash Avenue.

UCMDV C Mil I CD DIAMfl TB:^ I'IANO^OB' the musicians. SOSWabashAv.AnditoriumbldK. nLliril ■• mILLLnrlAllU J.I^ M ah an, Manairer and General Western Bepresentative

Comfort, Luxury, Safety and Quick Time

Assured to all whp travel West, Northwester Southwest from Chicago, over the

CHICAGO, ROCK ISLAND & PACIFIC R.R.

For tickets, Maps, or Information, apply to nearest

Coupon ticket agent, or to

E. ST. JOHN, JOHN SEBASTIAN,

GENL MANAGER. GEN. TICKET PASS. AGENT.

OFFICES, CHICAGO, ILL.

Chiekeping Pianos, the Hptistie Standaird of tbe Wofld.

d^^

■y^^

Chiekening Pianos, the Aftistie Standard of the WoPld.

UTTERMILR ToIIjET gOSP

XME T>URESX AND BEST XOIJLEX SOAF>..

^^^^^^:^	\
lit flDaF^es
tbe Skin Soft
anb TObite.
"~T]_ -- ~ o^ — '	\

IflneyceHet)

for tbe Completion.

Fac Simile Full Sized Package. NONE GENUINE UNLESS PUT UP AS ABOVE.

C Sold by All Dealers in Fine Toilet Articles.

.^^

^

THE TRADE SUPPLIED BY

THE COSMO CO., 2237 COTTAGE GROVE AVE.

OR WHOLESALE DRUGGISTS.

ChiekePing Chase Bpos. Co., 219 and 221 CUabash Avenue.

The eelebnated Chase Bnos.' Pianos ean be found only at

ChiekePing Chase Bpos. Co., 219 and 221 tUabash Rvenue.

Henry p, ]\/\iller Pianos in Chicago.

NEW AND ELEGANT WAREROOMS

%hz IBillcp

"THS FIANO FOR THS ;«VUSICIAHS."

USED FOR TEN CONSECUTIVE YEARS AT THE

Music Teachers' National Association Concerts and the State Association Meetings.

NEW YORK, PENNSYLVANIA. NEW HAMPSHIRE, INDIANA, KENTUCKY, OHIO, Etc A rnique Record which no other Piano has.

HENRY F. MILLER PIANOS

ARE X'SET) IN CONCERTS THIS SEASON BY

FRAULEIN ADELE LEWING. MISS NEALLY STEVENS. MR. WM. H. SHERWOOD^ CHICAGO;— MRS. DR. LOUIS MAAS MR. CALIXE LAV \LEE, BOSTON;— FRAULEIN EMMY EMERY, MR. ANTHONY STANKOWITCH, MR. HAMILTON J^RR, PHILA- DELPHIA;-MESSRS. ANDRES & DOERNER, CINCINNATI;— MR. HENRY WAL- LER. LOUISVILLE;— MR. E. R. KROEGER, ST. LOUIS;— MR. HERMAN, EMIL ZOCH, MINNEAPOLIS.

More than 200 Profess'oual Pianists have used these Pianos. Among the most prominent maj-be mentioned Dr. Louis Maas, Mr. Edmund Neupert, Chevelier DeKontski, Mr. Cardyle Petersilea, Mr. John Francis Gilder, Mr. S. Leibling and Mr. Gus- TAV Salter. Marked improvement in construction, superior tone color, and a general artistic treatment of the piano in manj- ways have given these instruments a leadership among the finest pianos of the world. All desiious of purchasing the best piano of the present time should give the HENRY F. MILLER a careful inspection at the new ware- rooms at the Auditorium.

SOS ^XT" abasia jPLventxe;.

HENRY F. MILLER PIANOS

J. L. MAHAN,

Manager .^nd General Western Representative.

The celebi<ated Chase Bpos.' Pianos ean be found only at

JlU

This theatre uses the WEBER PIANO. Warerooms 248 Wabash Ave.

Opera Glasses for rent at stand in foyer. — Fountain in foyer supplied with Silurian Water (office, 89 Wabash Avenue. Telephone 2571.) Stevens' Famous Art Gallery is in this Theatre Building. Take elevator.

266 AND 2680WABASH AVENUE.

HNSON S. HOPKINS. ^^'^"'''^^''^ ^'"^ IPl^O^S,

PREsi DENT AND GEN . MGR. ^^^^^lXCa.nte:ls, Gratcss and. Tiles.

It is our aim to supply the BEST Goods to be had iu this market, and at the same time our

department of medium and low priced Fire Places cannot be excelled.

Inspection invited.

Chickeiting Chase Bfos. Co., 219 and 221 CUabash Avenue.

Chiekefing Pianos, the Rptistie Standard of the WoPld.

THE CLEANFAST

BLACK STOCKINGS

ARE THE

STRONGEST and BEST.

25

CENTS AND UPWARDS.

NEVER FADE OR CROCK.

NEW LINE SILK AND FANCY STOCKINGS

Complete Assortment for Men, Women and Children. SOLD Only at 107 STATE STREET.

Send for price list. Mail orders promptly filled. OPTICAL EMPORIUM

—OF—

-'-LMANASSE-^'

S8 Madison St. (Tribune Bldg.)

THE VALUE OF

SPECTACLES

Depends on the skill of the optician. We are skilled and have the Spectacles, Opera and Tourists' Glasses, Mi- croscopes, Telescopes | Barometers, Drawing Tools, Photographic Outfits.

Magic Lanterns,. Ar- tificial Human eyes.&c.

BRINK'S EXPRESS CO.

130 to 138 W. Monroe.

Telephones 1754 and 1764.

PACKAGi^S ID cts. TRUNKS 25 cts.

WILL L. THOMPSON & CO.

fIDusic publiebere.

Miaical Merchandise.

PIANOS- ORGANS

Cheapest cash Pia- no house in America.

259 WABASH AV. CHICAGO.

S.\TISFACTION GUAR.\NTEED PIANOS RENTED,

OR MONEY REFUNDED. REPAIRED AND" TUNED.

A. P. BRINK, SUPT.

88 "Washington Street.

SHONINGER

PIANOS.

First Class iu every Respect*-^^-'*^'^

,-»..-• .-^.--•Manufacturers Prices- NEW PIANOS FOR RENT.

22s STATE ST

CHICAGO.

„V;';oTkB. SHONINGER CO.

ESTABLISHED 1850.

Chiekefing Chase Bi»os. Co., 219 and 221 UUabash Avenue.

ADELINA PATH

AND

THE KIMBALL PIANOS

W. W. KIMBALL CO. Chicago, December i6, 1889.

CHICAGO, ILL

Gentlemen:

It gives me great pleasure to testify to the merits of the New Kimball Piano. It has a wonderfully sweet and sympathetic tone and supports the voice in a most satisfactory manner.

Sincerely yours,

ChiekePing Pianos, the HPtistie Standard of the Wofld.

. A GREAT NOVEL . . .

= =^

JEROfflE ^^

I2EASTER,

Bv L2ILLIAN S0MMERS,

F=OR HOR DMIL-V BREMD

AUTHOR OF ^ — AND

THE \JNPORUL-MR RUBL.IC, FOR SALE BY ALL NEWSDEALERS.

I — I — I

r

HIS Book

*^

I 75 Monroe St. PRINTING AND new°^'^^

PUBLISHING COMPANY, temperance

DAILY THEATRE ###,S«*####I|. PROGRAMMES ^^'»9'9'»^'»%'9^

are issued from this establishment for the principal thea- tres in Chicago. As a means of advertising they stand in the front rank. Railroad, Insurance, Hotel, Book and Job, and Commercial printing of every description neatlj^ and promptly executed.

W. J. Jeffepson .^^^1^^^.^ Pointing and

Publishing Cowipany,

I 75 Monroe St.

ChiekePing Chase Boos. Co., 219 and 221 UUabash Avenue.

J. K. Stevens & Son,

Leading Photographers^

McVicker's Theatre Buildinc

15

OUR GREAT SPECIAL OFFER

Fifteen Photographs in ^ Styles ^3.00.

15

RECEPTION ROOM.

Stevens & Son, Photographers,

McVICKER'S THEATRE BUILDING.

This Studio Does the Largest Business of any Gallery in the United States.

DONT FAIL TO VISIT

J. K. Stevens & Son's

Photograph Studio

lIcVICKER'S •.• THEATRE '. • BUILDING

STAIRWAY TO Orl.KATINC. ROOM.

STEVENS & SON'S STUDIO,

All the rage. Photographs from .Stevens & Son, McVicker's Theatre Building. Fifteen iu three styles f3r $3.00.

We desire to call attention to a new feature of our business. Owing to our enlarged quarters and gre at- Ij' increased facilities, we have decided to offer a special inducement in the shape of a LIFK SIZE CRAYON For «5.00. No better work is or can be done, and we guarantee a first-class portrait in every respect.

The most popular ga'lcry m the city. The best work and lowest prices. Stevens it Son, McVicker's Theatre Building.

Stevens & S m guarantee their work to be the best iu the city at any price, a-ul give fifteen in three styles for $3.00.

The best work, courteous treatment and p^pu'ar prices have .secured f jr Stevens & Sou, :\IcVicker's Theatre building, the largest photograph business done by a-ij' one gallery iu the Unite! States.

Bvir-FJS

'"'c,ur.::'''^'ion.""'JI!-"''' ,V!J'''''>s>uZ',^j-'.'<9o. I

J

''' "^j'; -"-''ki!:' "'-«' ;::"r' '""";;. '*'^^""r /

Ite ^""'5 'f,,;,' '"■"■" '^n'"''",'""''"'- /

AFOLLL1NEOFCH1CKEHIN6,CHASEBR05.. WlS5NER*"°MATHUSHEK &50N PIANOS always in stock

GA3H-0e MOMTHLY PAYMENT^.

f RAtIK H. KING. Manager 219-221 WABASH AVENUE AND^LV/5 BLDG.

./£> 1

^ms^

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