Part 495: William A. Brady’s “All ‘Round Chicago,” 1905
In 1905 Thomas G. Moses wrote, “Early in May I did a Wm. A. Brady’s ‘All Around Chicago,’ a big show at McVickers. Another $3,600.00 contract.” Moses was referring to “All ‘Round Chicago,” a musical review with a plot that involved an English Army officer escorting a king of the Cannibal Islands around Chicago. The king has lost his jewels, and the detective William Slinkertin traces them through various locations to the last act.
“The News Palladium” commented, “An enormous musical production and extravaganza is ‘All ‘Round Chicago,’ which William A. Brady presented at the McVicker’s theater for the first time on any stage last Sunday night. It is a show utterly unlike anything ever before seen in Chicago. It is a show of Chicago, about Chicago, for Chicago, and it undoubtedly pleased Chicago. It is the biggest and most enthusiastic first night audience at McVicker’s Theater this season. Hundreds of people were turned away, unable to secure admittance” (3 May 1905, page 3). The article continued, “The show is in twelve scenes and each one of them represents a well known part of Chicago. The fun starts at the well known restaurant, the College Inn, which is faithfully reproduced and introduces well known Chicago types. Other notable scenes are Michigan avenue boulevard, the lake by moonlight, the interior of the Auditorium on the night of the fancy dress ball, the board of trade, the new post office, and many other well known sights. The play is staged magnificently, 100 people being employed in the ensemble numbers.”
The “McHenry Plaindealer” reported, “The scenery is especially attractive, and as the play progresses the audience is taken to the College Inn, to the Auditorium, that lake front near the Annex, on State street, opposite the new post-office and onto the stage of McVicker’s where a burlesque of ‘Way Down East’ is the convulsing feature” (McHenry, Illinois, 18 May 1905, page 4). It was in the auditorium scene where twelve authentic Moulin Rouge dancers imported from Paris appear to perform their famous can-can, or “dance in the air.” The “McHenry Plaindealer” described, “The girls, who are garbed in exquisite Parisian gowns, lie on the floor, stick their feet up in the air and go through all the motions of a dance. The effect is charming and the girls are rewarded nightly by six or seven encores” (24 May 1905, page 8).
The musical “All ‘Round Chicago” was advertised as “a scenic musical skit” and “a topsy turvy in two acts” (The Times, Shreveport, Louisiana, 7 May 1905, page 14). It opened on May 1, 1905 and written by A. Baldwin Sloane and Frederick Rankin. The “Minneapolis Journal” included an article titled, “ALL ROUND CHICAGO” HAS MANY SONG HITS on May 20, 1905 (page 10). The article gave a detailed account of the songs: “In the long list of ‘hits’ in ‘All ‘Round Chicago’ are three or four songs which have made particularly fine impressions. One of these is ‘Oh, Mr. Moon,’ sung by Nella Bergen and the chorus of men. Another is ‘The Cute Little Cannibal,’ in which the entire company is heard, Frank Hatch singing the solo. Others are Dan McAvoy’s ‘I’m Looking for That Man’ and ‘Dear Old Chicago For Me,” in which each member has a verse and the chorus comes out strong on the ensembles. The greatest hit of all, however, is the ‘Song of the Nations,’ in which the entire company takes part. There are the cute little Johnny Bulls – eight of them- and they sing ‘God Save the King’ in fine fashion; then follow the eight Gastons that speak for France; Ireland is represented by Laddies in green with shillalahs and shamrocks and Irish top hats; then there are Japs, eight boys in pink and green and eight soldiers in the uniform of the field; then eight dear little German kinder in wooden shoon and with big pipes. Last of all Columbia attended by the Rough Riders and assisted by Miss Dixie comes to finish the play and right rousingly do they do it. The strains of ‘The Stars and Stripes’ swell out with the chorus of 150 trained voices, the augmented orchestra and the magnificent pipe organ which is one of the glories of McVicker’s. This song makes an inspiring finish to the play.”
This novelty was further described by the “McHenry Plaindealer:” “There are a row of little ‘Johnny bulls’ lustily singing ‘God Save the King;’ a group of French boys lifting up their voices in the ‘Marseillaise,’ a roughish lot of Irish lads shouting out ‘The Harp that Once Through Tara’s Halls,’ a row of funny little Germans singing ‘Die Wacht am Rhein,’ Jap boys and Jap soldiers droning out ‘chop-stick’ music” (24 May 1905, page 8).
Of the lead, the “Butte Daily Post” published, “Jim Corbett is surely making good on stage. He is playing in a new production in Chicago, called “All Round Chicago,” and he is the hit of the big cast. He sings a clever song during the action of the piece and it is discovered that he has a voice, not a wonder, but enough to carry him along” (Butte, Montana, 12 May 1905, page 12). Less than a month later, this celebrity’s big personality caused the early close of the production.
The “Butte Daily Post” reported, “Jim Corbett has disrupted the company playing ‘All Round Chicago’ in that city by having trouble with the principal members of the troupe who have given their notice, and the show which has been a big success, closes Saturday night. He threatened to punch the head off Dick Bernard and, it is said that as Corbett is not in a hospital it is pretty certain he did not try it. Corbett is getting a big roast for the way in which he has acted and the end is not yet. Now that the ex-champion has become an actor it seems he will not allow anyone to tell him anything about the business, but he wants to tell the rest how they should play their parts. The closing of the show will be a loss to manager Bill Brady who spent big money on the production” (Butte, Montana, 9 June 1905, page 13).
Fortunately Corbett and Lick Bernard, who had the “little row” patched up their differences with the two explaining that the papers were incorrect about the story (Butte, Montana, 19 June 1905, page 7). The show, however, remained closed just the same.
Moses had designed and painted other Brady productions, such as “Under the Southern Skies” and “Pretty Peggy.” William Aloysius Brady (1863-1950) was an actor, dramatist, producer and manager. Among those personalities who he managed included Wilton Lackaye, Helen Hayes, Henry W. Dixey, Mary Nash, his daughter Alice Brady and James J. “Gentleman Jim” Corbett the heavyweight prizefighter. Throughout the course of his career, Brady produced over 260 shows and built two New York theaters (The Playhouse and the 48th Street Theater).
To be continued…
