Thomas G. Moses painted the “Chinese Theatre” attraction for the Midway Plaisance at the 1893 Columbian Exposition. Although it was located a considerable distance from the western gate of the fairgrounds, two distinctive towers easily identified the building. Opposite Old Vienna, the Chinese attraction was exhibit number 35.
Guidebooks advertised it as “Chinese Theatre, Joss House, Bazaar and Café.” The Joss House depicted representations of Chinese life, “dating back 400 years, showing both in scenery and figures their religious beliefs, modes of punishment and general way of living.” There was also a temple of worship included in the attraction.
The Wah Ming Company organized the Chinese attraction, under the direction of a showman from Ogden, Utah, named Col. H. Sling. It was reported that the exhibit was transported to Chicago at an expense of $100,000. Entrance to the bazaar was free, with individual shows and attractions charging a fee – such as the fortune teller and the show. The Chinese theatre’s production was called “God in Heaven” and involved a large cast. Performances were advertised as using “Chinese actors in handsome all-silk costumes.” In fact, it was intended as a traditional Chinese Opera, “imported direct from China.” Males played the female leads. Chinese musicians were also reported as “playing on native instruments” to accompany the performance.
Like many of the foreign attractions, especially those from the East, the displays were meant to amuse the general public and not necessarily educate visitors about other peoples and cultures. China was not really presented as an “advanced” or “civilized” country when compared to its western counterparts.
On November 1, 1893, The Daily Inter Ocean (Vol. 22, No. 220) published an article titled “The Story of the Midway Plaisance.” In it, the Chinese attraction was described in detail:
“A Chinese theater, restaurant, bazaar, and Joss-house combined, in a sky blue structure with red trimmings, attracted people fond of boiler-shop fugues and sonatas with pure Wagnerian motives. The music was too much like a dynamite explosion in a tin shop to be strictly popular. Some of the more hardy came and listened to a Chinese lecture on the beauties of Chinese drama at a slight additional fee, which was being delivered by subscribers in numbers on the installment plan. A small percentage tried it and came away after a session in a state of extreme fret and anxiety to learn whether or not the villain was foiled in the fifth act, which they might see returning in ten days. The religious exercises were so only in name.”
To be continued…
