CHAPTER IV.TWO UNIQUE PLAYHOUSES.
TheMadison Street Opera House and the Park Theater, which were briefly mentioned in the preceding chapter, are two resorts that may be regarded as occupying a unique position in the amusement roster. The Madison Street Opera House gives two performances daily and its manager, the veteran Colonel Sam T. Jack, is reputed to be coining money. The size of the audiences that fill Col. Jack’s theater twice a day is attributable, possibly, to the fact that the house is devoted entirely to the presentation of burlesque. Companies of more or less merit appear from week to week, and in order that they may secure a “date,†it is necessary that they possess a number of shapely women in the cast. An artist would probably call the costumes of the ladies who appear at the Madison Street Opera House artistic.Certain it is that if they were constructed on any other plan than that of the present one they could not possibly convey a more liberal view of “the female form divine.†Indeed, there was one engagement that included the presentation of a series of classic tableaux, in which the complete suits of skintights that the ladies wore, were if anything more attractive than no costumes at all. No drinks are served in the Madison Street Theater itself, but it is situated over a large saloon which is easy of access by means of a staircase leading directly into the parquet. It is needless to say, perhaps, that the nature of the spectacular gems to be seen on the Madison Street Opera House stages are strongly calculated to produce thirst—especially in a masculine audience. Not very long ago the ChicagoMailundertook to “roast†the Madison Street Opera House, and to stigmatize its performances as improper. Mr. Jack at once sued the paper for libel. If a jury should have a notion to visit the theater it might materially assist in the rendition of a verdict in accordance with the facts.
The Park Theater, situated on State Street, in the “Levee,†or “Tenderloin†district, is even more democratic. Drinks are sold and consumed during the stage performance, and smoking is allowed. This is a favorite resort for “bloods†who, having come to town for fun, propose to see all there is in it. A party of three or four who purchasea box may, if they choose, enjoy the society of the actresses who will visit them between acts and have a pleasant, social time. It is within the bounds of decorum to invite the fair performers to drink, and if an acquaintance so auspiciously begun should be carried to even more agreeable lengths, why, who is going to complain so long as the City authorities permit its open programme? Not the manager, surely. He is there to see that his guests have a good time and will exercise all his efforts to the procurement of that end.
There are several wine-rooms upstairs, and in these one may enjoy atete-a-teteand a bottle of champagne with his chosen charmer, if his inclinations (and his pocketbook) will permit him to go to that length. An amusing feature of theregimeat the Park is the system whereby the actresseskeep matters straight with “the house.†Under the rules, each “lady†is allowed a percentage on the money received for drinks that she causes to be purchased. She carries a memorandum book and pencil, and jots down every cocktail or whiskey straight that her admirer (for the moment) may purchase. After the “show,†when the audience departs, she goes to the bar and tallies up with the barkeeper. A balance is struck at the end of the week and the money paid over. An idea of the informality of the performances at the Park may be gathered from the fact that when James Owen O’Connor played there awhile ago, a lot of boys went about in the theater selling stale cats, cabbages and other garden produce to the audience—the same to be used for the purpose of pelting the actor! Anyone who wishes to see a “tough†audience and a “tough†show will find what he wants at the Park, which seems to be entirely within the idea of police regulation, nevertheless.