Good and Bad.

In nothing does Chicago show its metropolitan character more strikingly than in its amusements. At the head of these stand the theatres, which are very numerous, and some magnificent. Among the theatres of established reputation, are: McVickers, Powers, Grand Opera House, Auditorium, Illinois, and others, which enjoy a degree of substantiality. Besides these there are a number of second-class variety establishments and several third-rate theatres in different parts of the city. There are still other houses which are vicious and should be closed by the police. These places have no rating for decency and are pitfalls to the unsophisticated visitors in the city. Burlesque is the principal amusement here, and is of the lowest order. Absolute indecency reigns supreme. The performers, mostly women of the underworld, are paid to amuse the audiences by kicking up their heels—the higher they kick the more they are paid. The “hooche-cooche” and the “Salome” dances are here given in all their rottenness. Vulgar sayings and gestures are indulged in to a degree that is amazing in this enlightened age. The theatres which provide this class of entertainment are liberally supported by all classes of men and receive an immense patronage from the great throng of strangers constantly in Chicago. Old men and boys of tender years are frequenters of these theatres, and here and there may be found the prostitute seated beside some young boy. The price of admission is low and the performance suited to the tastes of the audience. These places have saloons attached to them which are generally in the basements. The women performers are required to drink with men, and solicit them boldly to buy drink for them. It is a common thing to see these girls stupidly drunk. They are paid a commission on all drinks purchased through their solicitation.

The galleries of these establishments are filled chiefly with boot-blacks, newsboys, and the juvenile denizens of the city, ranging in age from eight to twelve years. The orchestras are made up of amateurs and old men, and furnish a cheap class of music.

The keepers of houses of ill-fame need no better advertisement than the cheap burlesque show-houses of Chicago. The baser elements in man are all enacted here in plain view of the audience and winked at by the police. Arrests are made, and the managers pay fines, but continue the same immoral productions.

Perhaps the most remarkable dramatic establishment Chicago ever had, was launched in the early eighties. It was known as “Grand Duke’s Theatre,” or, it was better known to its patrons as “The Grand Dooks Theatre.” It began its career in a vacant store building on South State street in a very humble way; but with increasing prosperity removed to more suitable quarters. The prices of admission were as follows: Boxes, 25 cents; orchestra, 15 cents; balcony, 10 cents; gallery, 5 cents. The establishment was managed and controlled by boys and its audiences were composed of boys and young men. The company was composed of youths yet in their teens, and the performances were of the “blood-and-thunder” order, interspersed with “variety acts” of a startling description. The house and appointments were primitive, and the stage equally so. The orchestra was made up of amateur musicians, and was placed out of sight at the back of the stage. The footlights consisted of six kerosene lamps with glass shades. Two red-plush lounges, stuffed with saw-dust, and in a sad state of dilapidation served as boxes; while the orchestra stalls were represented by half a dozen two-legged benches, and the balcony and gallery were composed of a bewildering arrangement of step ladders and dry-goods boxes. The manager acted as his own policeman, and enforced order by knocking the heads of disorderly spectators or by summarily ejecting them. The performances were crude, but they satisfied the audiences, and never failed to draw forth a storm of applause, mingled with shrill whistles and stamping of feet. The boys were satisfied. What more could be desired?