History of Chicago. From the earliest period to the present time, Part 137

Author: Andreas, Alfred Theodore
Publication date: 1884
Publisher: Chicago, A. T. Andreas
Number of Pages: 1340

USA > Illinois > Cook County > Chicago > History of Chicago. From the earliest period to the present time > Part 137

Note: The text from this book was generated using artificial intelligence so there may be some errors. The full pages can be found on Archive.org (link on the Part 1 page).

The season closed in November, and a review of the principal bills shows that the regular company of 1849 contained Mr. and Mrs. Rice, Mr. and Mrs. J. H. Mc- Vicker, Mr. and Mrs. D. Clifford, Mrs. Coleman Pope, Joseph W. Burgess, N. B. Clarke, William Meeker, J. H. Warwick, C. H. Wilson. Mr. Beaver, and J. 1). Beckwith, scenic artists. Perry Marshall served as treasurer.

The Museum on Lake Street, already referred to, passed into the possession of Thomas Buckley, in June, 1849, who refitted it. A " lecture room," as it was called, was attached to this place of anisement, wherein

THEATRE

Stage Manager, Mr. N. B. Clarke.

EXTRAORDINARY NOVELTY !

LAST NIGHT Of the Engagement of the Distinguished Tragedian,

MR. MURDOCH

First representation of Schiller's great Tragedy of the

ROBBERS!

Which has been for some time in preparation; wich characteristic Scenery, Appointments, Ansie, &c. - MR. MURDOCH as CHARLES DE MOOR, As performed by him in all the principal Theatres throughout the U. S. A

This Evening, SATURDAY, Nov. 10th, 1849, Will be acted the Tragedy of tho

ROBBERS

Maxamilliam Count de Moor, CHARLES DE MOOR,

Mr. Clifford. MR MURDOCH.

Francis de Moor,

HIS SONS,

Clarke.

Speidelberg,

Switzer,

Grimm,

Shafturle,

Young : 'MeVicker. Libertines, § Warwick. Burgess. afterwards } Robbers; 1 Adams."+ Heman, Shepard, | Daniel,

Roller, Kozenki, Razman,

Yonng Libertines, afterwards Robbers.

Rice. Smith. Beaver. Meeker. Davis. Mrs. Rice.

A Commissary, Amelia,

PAS DE DEUX BY MISSES EMMONS.

The whole to conclude with the Farce of

THE ABIFUL DODGER.

De Rice. Meeker.

Tim Dodger, Quicksilver, Catch, Gradge,

Flighty, Shepard. | Margaret, Beaver.

Miss Helen Mathews.

Emily,

S. Emmons.

The following Songs and Dance incident to the piece. "We're all a Dodging," Mr. Malicher. "Height for a Hu-hand," Miss H. Mothers. Duett and Dance. by Miss Muthours and Ur. MI: Vieler.

On Monday "Evening, Mr. 'Murdoch's Benefit,

Boxes, 50 cts: Pit, 25 cts .; Boxes for Colored Persons, 25 cts Doors open at half-past 6 o'clock; Curre e ! sier at a quarter-past ? precisel ;. JOURNAL'S PRINT 107. LAKE ST .. CHICAGO

---

-----

Mr. McVicker. | Harding, Warwick.

489

EARLY AMUSEMENTS.

entertainments of semi-dramatic character were given. Music, professional dancing, and farces were the princi- pal features. On Saturday afternoons a special per- formance was provided for the benefit of families and school children. This was the beginning of the mati- nee system in Chicago. Among the attractions adver- tised for the Museum were a group of figures in wax representing the Judgment of Solomon and alsò a fig- ure said to represent Queen Victoria.

Mrs. John B. Rice withdrew from the stage early in the season of 1850. This event called out many ex- ceedingly kind notices from the Press, one of which we quote. The Gem of the Prairie, under date May 4, 1850, said :

"We noticed some time since the formal withdrawal of Mrs. J. B. Rice from the Milwaukee stage, and took occasion at that time to express our admiration not only of the actress but of the woman, in all the re- lations of private life. Since the opening of the theater here, for the present season, Mrs. Rice has appeared nightly, to the gratification of her numerous friends. We learn, however, it is a pleasure that will be of but short duration, as she has determined to retire wholly from the stage in a very few days. The theater-going public will regret to learn the fact; but the motive which determines her course will doubtless prove satis- factory to all -- a desire to devote her undivided atten- tion to the care and training of her children. This is the first duty in importance, and Mrs. Rice has not for- gotten it in the excitement and applause of the stage. We understand that there is a general wish among her friends to give her, on the occasion of her withdrawal, a complimentary benefit, that shall in some measure ex- press their warm admiration of her talents as an actress,

N. B. Clarke was leading man and stage manager at Rice's, in 1850.

Mr. and Mrs. Barney Williams were here in July, of that year.

James E. Murdoch, supported by Miss Eliza Logan, presented a repertory consisting of tragedy and comedy, during the two weeks beginning July 15.

BURNING OF RICE'S THEATER .- The evening of July 30, 1850, was the most startlingly memorable in the history of this theater. A company composed of Miss Eliza Brienti, Miss Heien Mathews, Mr. Guibelei, Mr. Manvers and a home-chorus, aided by a local orchestra, introduced opera for the first time in Chicago. The event was one, however, which did not call forth a large audience The little theater was far from being crowded. The curtain rose upon the pleasing scene of " La Sonnambula," and all went well, promising a most satisfactory inauguration of this advanced phase of dramatic endeavor. In the midst of the opera, how- ever, the appalling cry of fire rang through the house. The audience started to their feet in terror. No signs of disaster were discernable, and for an instant it was believed the alarm was false. A moment later the warning cry was heard again, and serious injury to many might have ensued, had it not been for the presence of mind evinced by Manager Rice. Hastening to the footlights he cried, "Sit down ! Sit down ! Do you think I would permit a fire to occur in my theater ? Sit down!" and, obedient to his command, the panie-stricken peo- ple paused, half assured by the peremptory tone that all was safe. But, while Mr. Rice was still standing on the

stage, some one from the prompter's place said, "Mr. Rice, the theater is on fire?" The alarm spread, and soon the building was cleared of its audience. J. H. McVicker was on the stage at the time. He began to pull down scenery, hoping to save something ; but the flames spread so rapidly that everybody was driven away. Mr. McVicker hastened to his rooms, a few doors from the theater. Before he could reach there, that building was also on fire, and he was compelled to everything except the clothes then worn by him.

Mabie's circus gave four performances, beginning . go to the Sherman house in his stage costume. He lost May 2, 1849, and Crane & Co.'s circus was here July 2, 3 and 4 of that year.

The cause of the alarm was the burning of stables on Dearborn Street, in the rear of the theater, owned and occupied by J. T. Kelley. So rapid was the progress of the fire that the audience were scarcely in the street before the stage of the theater was enveloped in flames. The firemen labored bravely to suppress the fire, but did not gain mastery over it until one-half the block was laid in ruins. The theater was totally destroyed, in- volving a loss of $4,000 to Mr. Rice. Added to this material annihilation of his property was the interrup- tion of business, and although the sum named seems inconsiderable at the present day, its real character is better understood when we take into account the fact that all things are relative. The disaster was a serious blow to Mr. Rice. It checked a prosperous career by summarily closing the season and disbanding the com- pany in his employ.

But even great calamities have their humorous phases. A story is told at the expense of a somewhat noted character of those times, whom the chronicler re- fers to as Mr. B. From the Journal of that period we quote the following:

" Mr. B. and a small party of jolly English friends, who had been dining out, concluded to patronize the opera that evening, and Mr. B., whose rotundity was considerably better filled with the sparkle than the rest, and their esteem for the many virtues which are ex- . had taken a front seat, and was saluting the song and emplified in her private life."

sentiment of the occasion at every 'wait,' with un- bounded applause, by clapping his hands and vocifer- ating 'bravo! bravo!' Presently, like an electric shock, came the cry of 'fire!' The audience started suddenly for the doorway, though their retreat was checked to good order by Mr. Rice, who was on the stage at the time. Then all was confusion, and each member of the company, in endeavoring to save the properties, was rushing backward and forward across the stage. Meanwhile our friends outside had missed their comrade, and thinking perhaps he might have been injured, one of them stepped up to the boxes, just as the fire was bursting through the end of the building, in volumes, and Rice was crossing the stage with a side- scene on his shoulder. There sat Mr. B., solitary and alone, on the front seat, in perfect ecstacies at the per- formance, shouting 'Bravo! bravo! the most splendid imitation of a fire I ever saw!' "

The public sympathized ( ? ) with Mr. Rice in his loss, and a movement was made to give him a complimentary benefit at the City Hall. The members of the opera company, and those who could sing of the regular com- pany, volunteered. The profundity of the alleged sympathy was manifested by the numbers-who re- mained away from the concert ; for when the receipt- were counted, it was known that the munificent sum of sixty dollars had been taken at the door!

The opera company visited Milwaukce, where a brief season of their so-called Italian opera was given. The lines were rendered in Italian by those of the party who could speak that tongue, and in English by those who could not.

490

HISTORY OF CHICAGO.

Mr. Rice took the majority of his own stock to Mil- waukee, in August, and played to light business until January, 1851, when he terminated his labors there. Mrs. Mossop was with Mr. Rice at Milwaukee in September.

Meanwhile, undaunted by the destruction of his Chicago house and the wretched returns for his Mil- waukee endeavors, Mr. Rice at once set about building a theater in this city. A lot on Dearborn Street, south of Randolph, wherein Launder's livery stable formerly stood, was purchased, and arrangements at once made . manager. to construct a brick theater. The building was eighty by one hundred feet in size.

Prior to the opening of the Milwaukee Theater, Mr. McVicker, Mr. Archer, and other members of the company started on a provincial tour, hoping thereby to relieve present pecuniary distress. They played at Aurora, Naperville, St. Charles, and other towns, return- ing to Chicago August 19. Mrs. Coleman Pope went to Boston and Miss Mathews to New York,

An incident is related by Mr. McVicker which illus- trates the trials of those days. The price of admission in country towns was but twenty-five cents. While in St. Charles one of the citizens waited on Mr. McVicker, who was regarded as manager, although the company was a commonwealth affair, and said, "See here, my family is five in number-the old woman and three children ; the oldest eight and the youngest four. So I think you ought to let me see the show for a dollar." Mr. McVicker assented. The next day his patron re- turned, and said, "See here, your show put my. boy asleep, last night, and he didn't see any of it ; so I think you ought to give me back a quarter." McVicker argued that he had received but twenty cents each; but the man silenced him by saying, " Well, I know; but its worth twenty-five cents to carry a boy home when he's asleep !" The quarter was refunded.

TREMONT HALL was fitted up after the burning of Rice's Theater, and used by local and traveling com- panies. This hall was located in the Tremont House, and was a large dancing-room, facing on Lake Street, over the dining-room of the hotel.

The Bateman children, Kate and Ellen, then but five and seven years of age respectively, first appeared in Chicago, at Tremont Hall, November 18, 1850, and gave three performances. The opening bill embraced a wide range of characters. The precocious girls were supported by a company in comedies, and gave costume scenes from " The Merchant of Venice," " Macbeth," and " Richard III." The plays produced were, "Old and Young," with Kate in the quadruple role of Matilda, Gobbleton, Hector, and Tuffington, while Ellen impersonated Peter ; and "Swiss Cottage," with Ellen as Natz Teik, and Kate as Lissette. The length of this entertainment alone is sufficient to exhaust the strongest actress, and when the youthfulness of these marvelous children is considered, it becomes painful to contemplate. The following evening the bill was re- peated. November 23, at a benefit performance, there were given a scene from " Macbeth," and the plays " Paul Pry," and " A Day after the Fair."

After the burning of the theater, dramatic affairs naturally waned for a time, and nothing of importance transpired subsequent to the departure of the Batemans.

RICE'S SECOND THEATER .- John B. Rice completed his second theater in January, 1851. The buikling stood on Dearborn Street, between Randolph and Wash- ington streets, eighty feet front by one hundred in depth. It was of brick, with cornices of galvanized iron. The cost of the structure was $11,ooo. Those who devised and erected the edifice, under Mr. Rice's supervision,

were: J. M. Van Osdel, architect; C. & W. Price, masons. and Updike & Sollett, builders. The stage scenery and drop curtain were painted by J. D. Beckwith ; the stage machinery by Morris & Watson. The orchestra was under the direction of Mr. Le Brun.

The company contained Mr. and Mrs. Rice, Mr. and Mrs. McVicker, Mr. Hann, Mr. Warwick, Mr. Archer. and Mr. and Mrs. Gilbert, the latter being also dancers. Mr. McVicker at this time became Mr. Rice's stage

Manager McVicker, in his lecture entitled " The Press, the Pulpit, and the Stage." relates an incident of the days which taxed both the ingenuity and the ability of actors to their utmost. He says:

" In Chicago, during my time, some good old days have passed. No manager was ever more loyal to his patrons than J. B. Rice, who built the first regular theater in this city in 1847. His companies were necessarily small, but he expected each member to be competent to act many parts and set the example by doing so himself. He would act two or three important characters in a play, and if numbers were wanted he would throw a black cloak over his other dress and act the mob with a spirit that would appal the villain of the play. . He was a general actor and thoroughly under- stood the requirements of his profession and how to surmount difficulties. He would argue and convince an ordinary star that it was better to hang William, in the drama of ' Black-Eyed Susan,' from the limb of a tree than from the yard-arm of His Majesty's ship- when he had no ship in the theater. In time I became his stage manager. On one occasion 'Othello' was to be given, but when night came I learned that the lead- ing man who was to personate Othello had gone out to dine with a party of gentlemen at a suburban hotel, and could not possibly be back in time to commence the play. Rice was a stickler for giving his audience the play the bill announced, and as I had heard him say he had acted everything in Buffalo, I went to his room where he was dressing for the Duke, and withnut letting him know the situation I said: . Mr. Rice, did you ever act Othello?' He looked up with a pride which can only be appreciated by a professional when able to say that he has acted an important Shaksperean character, and replied: 'Yes, in Skaneateles.' 'Well,' said I, 'now you shall have a chance in Chicago,' and then I told him how matters stood. He expostulated-would rather dismiss the audience-but he had made me his manager and I would be obeyed. Othello was announced and the audience must not be disappointed while it was in my power to give the play. He desired me to apologize to the audience, but I argued that would only attract attention to his weak points, and the audience would discover them soon enough. I did not believe in ad- vance apologies. He dressed for Othello ; I, in addi- tion to Roderigo, with the aid of wigs and robes, as- sumed the characters of the Duke and Desdemona's uncle, and the play went on, Rice acting Othello and swearing at the leading man. He knew most of the lines and, like a well-trained actor, had the faculty of omitting that which he did not know in a pleasing man- ner. Ile labored through three acts, when the absent Othello appeared upon the scene. I told him to pre- pare to finish the play, and I notified Rice that I had no further use for his services that night, as Mr. McFar- land would finish the part. He was thankful and re- signed, and so the audience had two Othellos, one for the first three arts weighing about two hundred and forty pounds, and for the last acts one weighing abont one hundred and fifty pounds. A short time since my

----... ---

491

EARLY AMUSEMENTS.

attention was called to this incident by an old play- goer, who had just witnessed Salvini as Othello, say- ing : ' Mack, Salvini is good, but no Othello has ever satisfied me since I saw Rice and McFarland in the part. That was a realistic Othello-a fine, noble look- ing one in the first part of the play, and a thin, cadaver- ous one at the end, making it appear as if the Moor had lost flesh when his domestic troubles began. Salvini cannot reach that point of excellence.' Chicago has grown so rapidly that the primitive and mature days of the drama 'tread upon each other's heels,' and I am frequently asked by the old play-goers, who now feel like retiring before the play is over, if we have as much fun at the theaters now as in the 'good old times ?' We do, but of a different kind. Much of the mirth in new places is of a personal character, a familiarity be- tween actor and audience, which disappears with age and large populations. Early impressions cling to us ; the flavor of a peach is better during the first decade of our existence than when we are three-score. The peach is as good, perhaps better, but we have lost our taste, and frequently blame it on the fruit. So, with many, the good old days of the drama are those of youth and familiarity, and can be found now by those who emi- grate to Dakota, Leadville, or New Mexico ; but those who remain at home will, upon observation, find that in all its appurtenances and comforts, in all its illusions and effects, in all that makes the theater attractive, the stage of to-day exceeds its forerunner in brilliancy as much as the electric light outshines the tallow dip."

The new house was opened to the public February 3, 1851. The curtain rose upon the assembled com- pany, who sang the Star Spangled Banner, after which Mrs. Rice delivered an address prepared for the occa- sion, but of which no copy is extant. The bill contained three plays : "Love in Humble Life," "Captain of the Watch," and "The Dumb Belle."

Mrs. Rice, it will be noticed, for a time resumed her place upon the stage, this year, as leading lady.

Mrs. Louisa Mossop, who had for several months been starring, was married to Mr. John F. Drew, at Albany, N. Y., January 26, 1851.

After the death of Dan Marble, Mr. McVicker con- ceived the idea of purchasing from his widow the plays and costumes of the "great Yankee comedian," and during the winter of 1851 carried it into effect. In this move he was heartily seconded by Mr. Rice, who kindly set apart a week which was wholly devoted to the production of the plays, in which Mr. McVicker assumed the Yankee characters. Meeting with a success which was as flattering as, perhaps, well deserved, in the ren- dition of the new comedy parts he had assumed, Mr. McVicker resolved to retire from the stock company and venture before Eastern audiences as a star. His popularity in the West was acknowledged, and the Press of this city bestowed upon him the warmest praise. The last months of his stay in Chicago were devoted to hard study and careful preparation. He appeared nightly in a round of comedy parts that would astonish modern actors, but attained so marked a degree of suc- cess in them that adverse criticism was almost unknown. The undertaking proved a wise one, for Mr. McVicker soon became a favorite in Eastern cities. The New York Mirror, in August, 1851, remarked : " Mr. J. H. Mc- Vicker, formerly of the Chicago Theater, who has been playing an engagement at the National, in this city, has made himself highly popular at this house, and very deservedly so. He is a man of talent, and will become the best representative of Yankee characters on the

stage, if we are not much mistaken." Mr. McVicker continued as a Yankee star in this country until 1855, when he went to Europe, playing twelve weeks in Lon- don. He then returned home and assumed the manage- ment of the "People's Theater" in St. Louis, which position he continued to hold until, in 1857, he returned to Chicago to build his first theater.

In March of 1851 the old and vexing question of high license came up again. It was now fixed at S25 per month. As it was no inconsiderable tax upon Mr. Rice's resources, he presented a petition to the City Council asking a reduction of only $5 per month from the sum he was then paying. The prayer of the petitioner was not granted ; whereupon the Daily Journal took occasion to inquire of the Common Council whether or not it wouldn't be well to confiscate Mr. Rice's property at once and be done with it.

Among the leading plays which in that month held the boards, were "The Drunkard," played March 26, on the occasion of a benefit being tendered to Mrs. Mc- Vicker, "The Jewess," on the 27th, "Carpenter of Rouen " and "Beacon of Death," " Lady of the Lake," " Macbeth " and others.

March 6, 1852, F. S. Buxton, a prominent man at Rice's was given a benefit. at which " The Cricket on the Hearth," and a farcical afterpiece satirizing the woman's rights question were played, Mrs. Coleman Pope taking the leading female characters. Mrs. Pope's benefit, March 29, was the occasion of that lady's ap- pearance as Nina Sforza, in a tragedy of that name, and as Mrs. Lyonel Lynx, in " Married Life." The ability of an actress in those days was tested in so cru- cial a manner.

Susan and Kate Denin were complimented by a benefit, under the especial patronage of Mayor Gurnee and one hundred citizens, April 24, after a successful engagement at Rice's.

The theater was given up to vaudeville entertain- ments for a time in May. On the 17th of that month Mrs. Warner, the tragedienne, began a round of· legiti- mate dramas-" Winter's Tale," Macbeth." " The Hunchback," " Ingomar," and "The Stranger." The supporting company included Mrs. J. B. Rice, Mrs. Coleman Pope, Mrs. Frary, Mrs. Marble, Mrs. Farron, Mr. Buxton, Mr. Hann, Mr. Warwick, and Mr. Samuel Myers.

Miss Julia Dean, supported by H. A. Perry and Mr. Dean, her father, opened a season May 31. The same evening Mr. and Mrs. McMillan, comedians, made their first appearance in Chicago. Mr. and Mrs. Dan- forth were engaged at that time as dancers.

The Democrat of June 14, 1852, paid the following tribute to Mr. Hann, on the occasion of his benefit and last appearance, at that date: "Mr. Hann has now been for two years Mr. Rice's leading stock actor, and dur- ing that time has won his way to a popularity and ster- ling reputation which is seldom the lot of a stock actor to enjoy. He is preferred by many to most of the stars who visit us."

Mr. Hanley succeeded Mr. Hann in the company.

The sensational drama is not a modern incubus upon art. As early as July 7, 1852, a play called " The Cattle Stealers," introducing trained dogs and partially trained actors, was given at Rice's. Various changes were rung on this combination plan, and the imperson- ation of an ape was successfully achieved by one of this company, which was managed by Messrs. Cony & Taylor.

Benjamin DeBar began a star engagement here July

492

HISTORY OF CHICAGO.

22, supported by M'lle. Valle. Among their plays were: " The Disowned," " Esmeralda," "Peter Wilkins," and " The Bronze Horse."

Joseph Parker, the comedian, was at this house in July, and Mrs. Julia Bennett, the genteel comedienne, played a star engagement during August. Mr. Coul- dock was also billed for a short season, in Shaksperean tragedy.

J. H. McVicker returned to Chicago, as a star, August 31, 1852, in "The People's Candidate," with "a first-rate political stump speech and patriotic song," supported by Mrs. McVicker, Mrs. Rice, and the full company. The Democrat of September 8, said :

" Mr. McVicker's engagement has proved very suc- cessful, and he may now be considered one of the most attractive stars we have. The theater has been crowded. But while we admit ' Mac' to be a host in himself, we must say that he has received no little aid from the ap- pearance of his wife. Although she is not starred in the bills, she has hosts of admirers. Her voice is not powerful, but there is a sweetness of tone that entrances the hearers, while the depth of feeling she transmits to language leads them to believe they are gazing at reality.

The number of stars then traveling was very small. Miss Dean made her appearance here as often as three or four times a year. Mr. Neaffie, the tragedian, appeared October 21, 1852, and J. B. Roberts November 8. "The Corsican Brothers" was a popular success with both of these actors, and their repertory included "Ham- let." " Macbeth," and leading tragedies.

Need help finding more records? Try our genealogical records directory which has more than 1 million sources to help you more easily locate the available records.

History of Chicago. From the earliest period to the present time, Part 137

Author: Andreas, Alfred Theodore Publication date: 1884 Publisher: Chicago, A. T. Andreas Number of Pages: 1340

Author: Andreas, Alfred Theodore
Publication date: 1884
Publisher: Chicago, A. T. Andreas
Number of Pages: 1340