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| New Chicago Film
Palace Opening Draws Great Throngs
The Chicago Perhaps World's Most Magnificent Theater Vast Edifice of Balaban and Katz Seats 5,000 People Constructed for Both Films and Largest Road Shows Source: Billboard, 5 November 1921, pg. 5. What is perhaps the most magnificent theater in the world, The Chicago, opened with appropriate ceremonies yesterday evening at 5:30 o'clock. It is the latest venture of Balaban & Katz, movie magnates, who own the superb Tivoli, on the South Side, and other film palaces. The Chicago Theater, a film palace, can be described only in superlatives. For two years the mystery of its formation has been jealously hidden behind barricades of wooden walls, and during that time a sum approximating $4,500,000 has been spent on the vast edifice. Ther are an even 5,000 seats in The Chicago. It is the last call in theatrical beauty, modern features and striking innovations. It is so constructed that the largest road company coming to Chicago could perfom on its enormous stage, which is 70 feet wide and 40 feet deep. The house faces State street opens into the grand foyer, which is 60 feet wide and 96 feet deep. This leads into the auditorium, which widens out to Lake street, the structure being, to some extent, in the form of an L. This great lobby, five stories high, is a jewel box of imported marbles, ivory and gold. Graceful cathedral arches at the top supported by massiv marble pilasters, stained glass panels, decoration in bas-relief, imported tiles and varied tints here and there, are supplemented with costly draperies and rare paintings. Enormous chandeliers drop from the lofty ceiling. If possible, the theater proper is even more majestically appealing than the foyer. Between the foyer and the ac- [pg. 105] tual auditorium runs a stately promenade crosswise and back of the seats, 170 feet in length, the width of the house, from Lake street to Benton Court. Splendid paintings and sculpture by old world masters and soft divans and chairs are here and there in this thorofare. The theater itself is built amphitheater in form, somewhat wider than it is long. What theatrical architects call intimacy is thus provided. It is divided into three floors, orchestra, mezzanine and balcony. Individual boxes at the ends of the balcony run from floor to the lofty ceiling, which is one enormous dome. The architecture and decorations conform to the Louis XIV period and the French Renaissance. The theme of both was taken fromthe Palace of Versailles, France. The furniture is Louis XIV and was made in France and Italy. The seats have air cushions, are covered with silk velour and tapestries and the exposed wood parts are covered with gold leaf. The greatest marvel, perhaps, is the architectural triumph achieved in bringing so many seats so close to the stage. Despite the great size of the theater proper, there are still wide, roomy promenades on three sides of the auditorium. Here, amid paintings, sculpture and imported furniture, one may sit and look at the performance, across grilled railings and beside fluted marble pillars. The scenes attending the opening of the big house were unique in Chicago theatrical history. While the opening was scheduled for 5:30 the crowd began forming in front of the house at 2 o'clock. At 4 o'clock the waiting assemblage reached for two blocks in each direction up and down State street. The police in charge called for reserves and by 5 o'clock the crowd was overflowing into Lake street and down Benton Court. The police reserves were augmented until two hundred patrolmen and thirty mounted sergeants were on the scene. At 6 o'clock the crowd had entirely surrrounded the block in which the theater is located. As time went on the crowd grew restive and the police were kept constantly busy preserving order. And at 10 o'clock last night the crush was so great all over the neighborhood that announcement was made that the theater woudl close for the night and the police began breaking up the blockade and sending people home. The police supervision was pronounced admirable. The playing of the "Star-Spangled Banner" by a fifty-piece orchestra was the first number on the opening program. This was followed by a ten-minute overture, "Capriccio Italienne," under the directorship of Nathaniel Finston. Then came a colorful scene, "From Dawn to Dusk in Egypt." A selection from Faust, with Marjorie Dodge, Cesare Nest and Emanuel List singing the principal roles, was the next number. Jesse Crawford then went to the organ, the largest in Chicago, and played "When Shall We Meet Again?" and a medly of current hits. The ovation accorded Mr. Crawford was greater even than when he opened the Tivoli Theater some time ago. A comic digest, "Bimini Bay," was next given, and afterward a pageant of Chicago. The feature picture of the evening, Norma Talmadge in "The Sign on the Door," followed by a comedy, completed the entertainment. All of the satellites of the Chicago amusement world and many from New York were among the guests of honor. Mayor Thompson sat in a box. Charles H. Wacker, chairman of the Chicago Plan Commission, officially opened the theater. Mr. Wacker expressed himself enthusiastically regarding the men who had the courage and foresight to build the world's finest theater in Chicago, and pronounced it the ultra in science and art. Of one thing local theatrical actuaries are agreed. That is, if Balaban & Katz should conclude at any time to play productions they will have the greatest house in America in which to stage them. The Chicago is directly across the street from the State-Lake, said to be the most profitable theater in the whole country, and a half block from Marshall Field's store. |
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Page authored: 8 April
2001 -
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