LIBRARY OF CONGRESS. |lmif 141. |opgrig!.i Jo. .-^^ -£^/.c jf .,.X.?!.P. UNITED STATES OP AMERICA. % ->tp^— INVALUABLE TO THEATRE GOERS. PHOTOGRAPHIC DI^OP Description and Location FIRST EDITION. ^ A^ ^>^- Published by J. H. HUNTER, PALMER HOUSE. V^- Entered according tc Act of Congre.., in the year 1375. by J. H. UUNTEll. in the Office of the Librarian of Congress. '^.-^ ^$^ >- Table of Contents. Preface. Essay — Why We Love the Play. Argument. Diagram of — Hooley's Theatre. — Academy. — Farwell Hall. — McVicker's Theatre. -Grand Opera House. —The Great Adelphi. — McCormick Hall. Humorous — Scenes at the Box Office. Statistical — Seating Capacity of the Principal Theatres of America. Coming Events of 1875-6 at McVicker's. 7 ' ?. T' ' Preface. Chicago Theatre-goers have long felt the want of a complete, perfect^ and conveniently arranged collection of the dia- grams of their magnijicent Theatres and Halls. It is to 7neet that want, and, we hope, to satisfy it, that this little work is published. Of course the great desideratum was to secure correctness and plainness. This we claim to have obtained. The original diagrams were reduced by the Art of Photog- raphy to an uniform and convenient size, and then by a special new process, transferred to the Lithographic stone. By this method tve present the greatest possible distinctness and clearness, and Perfect Facsimile. Great credit is due to the artists, who, out of a number of coinpetitors, were the only ones to successfully perforin the delicate and difficult work. We refer to Shaiv, the Photographer, and to Messrs. Schober 6^ Co., proprietors of the Chicago Lithographing Co. This edition, we are sorry to say, is limited to a s?nall nwnber of copies. It ivas the original intention to publish it by subscription only, but orders came in from the leading booksell- ers and Hotel news-stands so fast that we decided to place it on sale only with them. Having ?net with such a decidedly kind reception, even be- fore an entire proof could be shown, we are enabled to promise a revised edition each year at the commencemefit of the theatri- cal season. Respectfully, The Publisher. OVE THE ^LAY ^^HE singular fascination which the stage has always exercised, holding ^H ) under its spell every race and generation, from the rudest to the * most refined, has been thought worthy the most serious and sedu- lous inquiry. There is, indeed, nothing in society so deeply rooted, or so independent of taste and fashioning, and the relish for stage entertainment is now as keen and passionate as it was in the remote days when the first actors flour- ished. Without entering very deeply into the matter, it can be shown in a few words that this ineradicable taste is the same as that which finds a grati- fication in the excitement of politics, in following the skirmishings and varying fortunes of a great court trial, or even the lively skirmishing of conversation. These are but so many shapes of dramatic entertainment^ for the most part imperfect and wanting in power, but, so far as they go, otfer glimpses of genuine interest. When a really exciting situation is evolved in any of these arenas, nothing can exceed the avidity with which it is fol- lowed. Time even is annihilated, for the hours fly by like moments, the weight of existence, at least for those on whom it lies heaviest, is lifted off", and surrounding accessories, meagre and squalid though they may be, be- come glorified. But for the mass of mankind, this kind of enjoyment is out of reach. The opportunities are few, the people are busy with more mate- rial interests, and their intellectual cultivation is of a more homely order. Even among the cultivated and opulent class, the dramatic surprises of real life cannot be reckoned on, for everything dramatic is spontaneous, not to be bespoken by the influence of money or rank. An exciting and witty conversation of the give-and-take order is no more to be foreordained by mortals than a humorist can ''begin to be funny now," with success. The most dramatic debates in Congress are those which arise out of some unforeseen incident. Even in a great trial, while allowing -for vulgar curiosity and the mere eagerness to see what every one wants to see, there is an indescribable inter- est aroused when the plaintiff" or the defendant takes the stand for cross- examination. This is caused, doubtless, by the anticipation of the most varied surprises and positive negations. Apart from the stimulant of ordi- nary excitement, the fact of so rare an exhibition going on rouses the dra- matic passion, and causes that intense eagernesss which attends every re- markable trial. So with a debate. So with even the poorest kind of a street discussion or wrangle. This kind of entertainment, then, being rare and accidental, and yet so eagerly sought after, it was discovered that a substitute could be offered, under certain conditions. A reproduction of the dramatic inci- dents cf real life was found to be as interesting as the original, and doubly so when accompanied by the accessories of the stage. Gifted men, either by inspiration or art, soon reached to the secret, and discovered that by due selection and abstraction, dramatic elements could be made to produce more excitable results on the stage than in the chance occurrences of daily life. The '• writing and serving of a play" is thus the result of philosophi- cal thought applied to unregulated accidents, and offers in a limited space and within a few hours, in the most forcible fashion, what in real life might be diluted over years of time and miles of space. We see reflected the most piquant conditions of our life as in a mirror with all that interests our curiosity and passions. There is a tenderness and indulgence even now maintained by the strength of old traditions in spite of the commercial character assumed by theatrical undertakino-s. This feeling has come down to us from the days of the first actors and plays, when early repasts allowed of assiduous attendance night after night in the "pit and boxes," from the time when the fine actor or actress was as con- spicuous a personage as a prime minister, and the night of his finest imper- sonation as important as that of a change of dynasty. It was the intelkctual man that excited enthusiasm, an impression independent of scenery or dress. The sense of the great character, as it were, filled the air It was as the presence of some great potentate. Even now, when Sheridan's comedies are stereotyped and the nio-hts of performance counted by hundreds, there is a mysterious effect of vitality produced. We pass the dooi's of the play-house with a certain reverence. Sir Peter Teazle, .Joseph Surface, and other of his well known characters with all their nature and liveliness, seem to be residing within, their faces look out from lithographs in the store windows, and in them we seem to see an intelligence and harmonious significance, not to be descried in other portraitures. With these remarks we will close, hoping ive have offered the intelli- gent theatre-goer an idea of the reason he loves the play. This little inquiry will show, perhaps explain, the natural fascination which the stage and its associations seem to have for mankind. Photographic Diagrams OF CHICAGO, WQgethQF with DQ^QmpiiQUi LoeMon^ Seating GapMeitytBouF^ ai PeFiarm^nQ©^ #a* THEY ABE INVALUABLE, To tlie Business Man ; because they enable him to state definitely where he wants his party seated. He can therefore send for his tickets, and save his own time. At Home; for there they are especially a useful and convenient reference. To Su"burl>an Residents, who, when sending for seats, will be enabled to state explicitly the location desired. Strang-ers visiting* Cllicag-O will find this work especially valuable. It will not only acquaint them on sight with the location and description, but will be an elegant souvenir of the mag- nificent I EMPLES OF IpMUSEMENT OFCmCAGO. *l Randolfn. St->-eet, .... Between Clark and La Salle. ONE OF THE HANDSOMEST THEATRES IN AMERICA. TOTAL SEATING CAPACITY, 1,200. Evening Performance at 8 p. m. Matinees Wednesdays and Saturdays at 2 p. M. Box Office opens 9 a. m. BLISS WHITTAKER, Treas. STAGE GROUND FLOOR. 5ii|Mglf* The Model Star Theatre. Hahted Street, near Madison. TOTAL SEATING CAPACITY, l.OOO. Evenin? Performance commences at 8 P. M. Matinbes Wednesdays and Saturdays at 2 P. M. Box Office opens at 9 A. M. South Side Ticket Office at MoPherson's Cigar Store, Tivoli Garden JOHN MUIR, TREA8. ^ Madison Street, . . . Between Clark and La Salle. THE MOST CONVENIENTLY LOCATED HALL IN THE CITY. TOTAL SEATING CAPACITY, 2,O00. GROUMD FLOOR. M'^.VlCKER'S 3IADTSON STREET Uox OrntE OPKN rnoM A. M. to s P. M, The Pri»ci/>al Theatre of Chicago. C. S. HFDFIELD, Treas. PERFORMANCE COMMENCES AT 8 P. M. " FIRST BALCONY Theatre BETWEEN STATE AND DEAKIJOKN. Total Seating Capacity, 1850. MATINEES SATURDAYS, AT 2 P. M. BEATS CAN nE SF,ri?nED SIX DAYS IN ADVANCE. GROUND FLOOR. (^mw^ #^efa ffaist* CLARK STREET, . . . OPrOSlTE SHERMAN HOUSE. TOTAL SEATING CAPACITY, 1,200. KKF.T.Y & I^EON'S MIX.STKELS. Performance WILUAM W.XRUEN, Treab. p. M. Matinees \yedaeaday.s and Saturdays, at 2 P. M. Box Office opens at 9 A. M. fte Ureal Dea^'born Street, . . . Cor. Monroe. LARGEST AND MOST POPULAR HOUSE IN THE WEST. TOT^^L SEATING CAPACITY, 2,200. Evening rerformance commences at 8 P. W. F. DAVIS, Treas. Matinees Wednesdays and baturdays, at 2 P. M. Box Office opens at 10 A. M. ■ ^ mmz"! 1^7^07 f7«| ;«;?k';/«l'g^«|/gw>l/tf|«'itf/|9ir-i'gt'^ i^^^«'liw^»7|^w|w»[«^|g/^>g i |g.- '|CT??rla8tCT | al|.i»iaigi»|».«|iB|>M|ag|»l ' ij«7iMtMi.-j|^ia-|ff»H^.-»|ff7|n>|a'|jg] iHUMummnzHziiii] l'»!'^'«l'" j<>g|w|<»iwln <| OT|.t!)g!i»|/y|ff^|w|.!t!te| ^/|a7lg!4w Wk«!/-'|.V-'I.Vii«'|.'*^l ^*|-'*l^l .N^ llll - # w E I fi^ i ijW^r. — ■* ibj J8 so Silii --■/^ R;-/1 r- |- ^;/>|a|i7 ^a^|/ 5|^<]5R GROUND FLOOR. i, nw mt NORTH CLARK STRhET, . . . . CORNER OF KINZIE. TliEJ IL.>VFIC3-EST 11^^11.31. IIT TTME! "WEST. TOTAL SEATING CAPACITY, 2 350. Box Office open at nightf Seats can b« secured during the day at Jansen, McClurs & Co's, 117 State Street. 'i <5ENES AT THE KOX O^FIGK. Hotels, railroads and steamboats are proverbial for aifording fields of observation for the student of liuman nature, who has an appreciation of the humorous, but for ridiculously absurd questions, roth in variety and quantity, they are excelled 1'y the box office of a popular theatre. All who have spent an hour at one of the«e little dormitories during a riish for some specialty, will agre*' that it was more entertaining than any ordinary play. What a much enduring man the ticket seller must be. 1 he qualifications for such a position are numerous. He must be honest, of course; he must be polite and obliging, or woe to him on his benefit night He must be patient above all things. He must be attentive, exact, methodical; meek, yetaftable; prompt, yet deliberate; firm, yet persuasive. A lively imagina- tion is requisite, also a humorous turn of mind, for he has occasionally to make evasive replies, and these must be given pleasantly. If he has an appreciation of the ludicrous, he must not show it, of course, or 'twould offend. The following are a few of the most ludicrous experiences of one of Chicago's most popular theatre treasurers. " Mistir, has he commenced to speak yet ?" " How much is it right, down by the desk?" ''Mistir, where do youre seventy-five cent seats rank?" "How much is youre parkeetur ?" '' Seventy-five in balcony, parquette, one dollal'. Pass in your money," is the quick reply. One young sport Avanted a '' small number on the fly" (meaning a front seat on the side). One old lady asked: "Is this one of thim Quane Victoria's plays?" *'No ma'am, we give them during the holidays," was the answer. '' Wull, ye now, sure that'll be foine ; an it's mesilf will make Dennis bring me an the childers." Another lady of the same nationality evidently thought it was a bank, as she wanted to send some money to her old mother in Ireland. Then tlieie's the everlasting old gentleman, who will insist on telling the ticket seller of the immense superiority of theatres and actors when " he was a boy," and will not depart until he has been allowed to eulogize all the actors and actresses of the last century, which, you know, is ^o enter- taining to those waiting their turn. One slightly inebriated rustic wanted the treasurer to put him to bed. Still another, sober, but more stupid, plants his index finger on the box- sheet with a *' Mee>tur, what be this? list of prices ?" "No, sir, diagram of the house." " Is this a hotel?" " No, sir, it's a boarding house." " And how much is lodgings for a single man?" "Chairs one dollar, boxes ten dollars." "Jerusalem ! Dollar to sleep on a chair and ten dollars fur a box I I can buy a bed fur that," and oft" he goes to look for cheaper lodgings, while those behind him hope he may be bunkoed before he gets home for keeping them waiting. Another, wlio found by the sign over the window that seats up-stairs were cheaper, asked: *'Is the doings as grand up there as down-stairs?" A frequent question of the countryman is : " Mister, on which side do the players get ♦hicke.st ? Gimme a ticket so I can see 'em all." And often, after he has been inside a few minutes, lie will rush up with a ''Mister, gimme a run of the doins" (a prog'-amme). Not long ago a well-known citizen was poring over the diagram, and seeing a line rnther faint asked : "Is there any back to this seat?" Another asked for the ''tally sheet" for Friday's matinee. On being told there was none, he said : " Better take in your bill, then. It say.-<, Thursday and Friday and Saturday matinee." The mm who always gets a bad seat is a sore trial to the box-office keeper. He is a well-known character there. He comes onlv on state occasions, when there is a grand rush, and he invariably ai-rives just as the curtain is about to i-ise. He takes his place in the line, calmly awaits his turn to interview the ticket man, and never seems to think tliat any one else is waiting to be served. " Have you any good seats, sir?" he begins, and then, with rising irritation, '• I never had a good seat in your theatre in my life. Where's your map." " We don't seli by the diagram at night ; only in the daytime, sir." "Well, where have you got seats?" *' In various places — parqutte, dress-circle, balcony. " Have you any about six seats from the orchestra on the center aisle, end seat ?" " No, sir ; but I can give you a few twelve rows back." "Thai's too far." " Can give you third from the front." "That's too near. Have j^ou any end seats on i\\Q side?" "No?" " What have you in the dress circle?" '• Fourth row in the center." " Don't want that. What have you on the side?" "Third row on the side." ''Which end of the row is nearest or farthest from the stage?" Any post in the way ?" " I think nor, sir." '• Which side is it on ?" " Either side, sir?" " Can you see all the sage?" " Nearly all of it, sir." " Whicli side is the most acting on, and the principal scenes?" " All about alike, sir." " How is it in the balcon}^ ? Well, I don't like the balcony. But it'3 just my usual luck. Here, give me the best you have. I'll take one seat." During all this time those in line, not knowing the cause of delay, are mutterino; maledictions on that "infernal slow ticket seller," " wonder why he aint discharged," kc. Such a customer as the above is generally given a seat — well, where he won't trouble any body else; at least 3^ou will always hear him !>ay : " I never got a good seat at a theatre in my life." Moral. — If you want a choice of good sweats, get them, or. with aid of these diagrams, send for them in the daytime; then you will find the ticket seller at leisure and only too willing to answer fill inquiries, and to accom- modate you in every manner. Many theatre-goers, of course, cannot do this for various reasons, and to those we would say, make your enquiries brief. The box-sheet is not shown at night. State how many and location esired, and you will get what you want if they are left after the day sale. standing in front of the box office of McVicker's one day last season, a week before some grand spectacular piece was to be presented for public favor, the writer was thus accosted by a weazend-faced, piping-voiced Son of Erin. " Thes ees McKeever's ? " " Yes, sir." " Patsy Reardon told me he was after reading in the Tribune as how yes wanted some foine looking min." Of course I referred him to the ticket-seller, who told him to go to the stage entrance to make his application. Scarce a moment had elapsed before a great big Kentuckian, with a voice like a bull, and who was on the same errand, enquired of the ticket-seller : — " Say, you ; be this Mocwol'.oeker's ? " '' I want a job on this new play of yourn I " The treasurer of a tlieutre, in close proximity to one of Chicago's big hotels, is ( onstantly surprised by rustics who want, in addition to their '' tickets fur the show," " a bed fur me and Betsy, and a good squar break- fust in the mornin'." How many times has the ticket-seller of a minstrel troupe been asked: '* Mister, be them real niggers, or only painted?" Some enterprising livery man had one day plentifully bestrewn the lobby of theatre with handbills ; two Englishmen happened to see them when making enquiries for seats. After consulting one another in a low voice, one asked the treasurer for '*an 'orse and buggy," wanted to drive around, " often 'eard of Chekargo at 'ome, yer know." The treasurer referred them to the direction on the handbill, adding that they " had better have a buffalo in their buggy, as it is very cold," where- upon they looked thunderstruck, and one spoke up, " But I say, old fellow, cawnt we 'ave an orse, you know ; ain't used to driving these blawsted buf- faloes in our country, you know." PRINCIPAL Theatres of America, AncL tTtetr SecLtirtg Cctpctcity . Authentic, Correct. Compiled Expressly for this Publication. New York. Barnum'8, 6,150 German Stadt, . - - - 2,520 Academy, 2,3G0 Grand Opera House, .... 2,060 Booth's, 1,825 Bowery, 1,730 Olympic, 1,700 Wal lack's, - - - .. - - 1,650 Wood's, 1,375 Fifth Avenue, 1,375 Union Square, .... 1,250 Tony Pastor's 1,100 Comique, ..... 1,000 Brooklyn. Academy, 2,400 Park, ..-...- 1,100 Hooley's, 1,000 San Francisco. The California, .... 1,780 Maguire's 1,250 Cincinnati. Grand Opera House, - - - 1,680 Robinson's, 1,500 National, ..... 1,450 Wood's, 1,400 Pike's, 1,375 Lrouisville. Macauley's, - - - . . 1,885 Libraiy Hall, 1,250 Wasliingfton. National, 1,700 Comique, - - . . . . 1,250 Ford's, 1,150 Cliicago. McCormick's, 2,350 Great Adelphi, 2,200 Farwell Hall, - . - . 2,000 McVicker's, 1,850 Hooley's, . . . . 1^200 Grand Opera House, ... - 1,200 Academy, - - . . - 1,000 Myers', 1,000 St. Louis. Ben De Bar's, .... 1,675 Comi(iue, 1,550 Library Hall, .... 1,325 Olympic, 1,300 Deagle's, 1,020 Memphis. Opera House, ... - 1,450 Memphis Theatre, ... - 1,200 New Orleans. Grand Opera House, . - - 2,170 St. Charles, ... - - 2,150 Academy, 1|650 Varieties, .---.- 1,350 Globe, 1,250 Philadelphia. Academy, 2,350 Chestniu Street, ... - 2,200 Fox's, 2,150 Grand Central, .... - 1,800 Wal. iut Street, .... 1,750 Arch btreet, .... - 1,575 Wood's, 1,050 Baltimore. Ford's, 2,000 Holliday Street, . - - - 1,575 Front Street, 1,500 Boston. Boston Theatre, - - - - 2,875 Music Hall, 2,500 Globe, ...... 2.150 The Howard, 1,T80 Tremont, l.'^oO Museum, l,\bQ Cleveland. Opera House, .... 1,550 Theatre Comique, ... - 1,125 Academy, 1,100 Montreal . Theatre Royal, 1,450 Opera House, - - , - 1»020 SEASON OF 1875-6. MCVICKER'S. BAhRY SULIAVAN, EDWIN BOOTH, LOTTA, JOSEPH JEFFERSON, MBS, D. P, BOWEBS, EMILY SOLDENE ENGLISH BIBLESQIE OPEBA MAGGIE MITCHELL, KELLOGG ENGLISH OPEBA, EDWIN ADAMS. LAWBENCE BABBETT, JANAUSCHEK, FBENCH OPEBA BOUFFE, CLABA MOBBIS, BOSSI—The Celebrated Italhin Tragedian, JOHN T, BAYMOND as ''COLONEL SELLEBS,"