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.
[End of news article]
|
|
Page compiled: 8 April 2001
|
|
|
