Tales from a Scenic Artist and Scholar. Part 746 – Great Northern Theatre, 1910

In 1910, Thomas G. Moses wrote, “We stocked the Great Northern Theatre for the Schuberts.  They were a fine band of ‘regular bandits.’”

On February 12, 1910, Salt Lake City’s “Broad Ax” reported, “The Great Northern Theatre is now a Schubert House, and in the near future they will redecorate it very elaborately” (page 2).

The Great Northern Theatre in 1904
A later map of the Great Northern Theatre’s seating chart published in the Chicago Blue Book, 1910

Sam S. Schubert, Lee Schubert and Jacob J. Schubert of Syracuse, New York founded the Schubert Organization, in the late 19th century. Although Sam died in 1905, Lee and Jacob rose to become powerful businessmen within a decade.  The Schubert brothers steadily expanded their empire, collecting theaters across the country. Moses began working with the Schuberts as their business empire commenced a dramatic expansion across the country. It is not surprising that the Schuberts sought out Sosman & Landis studio for many of their painted settings and décor, such as the Great Northern Theatre.

Postcard depicting “The Vagabond King” at the Schubert’s Great Northern Theatre, 1910

On February 19, 1910, “The Salt Lake Telegram” reported, “The Messrs. Schuberts announce that next season will have four first-class theatres in Chicago, and will make the windy city a producing center for their attractions second in importance only to New York. At the present moment the only playhouse in Chicago operated by the Messrs. Schubert is the Garrick Theatre. Recently, however, they acquired control of the Great Northern theatre, in which they have already booked a number of offerings this season, and they will inaugurate their management of that house on Sunday, February 20, with their production of the great English spectacular success, “Dick Whittington,” as the initial attraction. The other two theatres completing the list of four Schubert playhouses are both to be entirely new and the work of construction will be begun shortly. Negotiations for desirable sites for those two houses, in the center of the Chicago amusement district, are now under way and should be completed within a few days” (page 18).

By February 26, 1910, newspapers reported that the Great Northern Theatre of Chicago was re-named the Lyric, and subsequently redecorated by the Schuberts. It opened on February 20, with the spectacular production of “Dick Whittington,” featuring favorites such as, Louise Dresser, Ethel Green, Kate Elinore and Sam Williams” (The Daily Times, Davenport, Iowa, 26. Feb 1910, page 14). Decorate in a new color scheme of gray and mulberry, the theater was located on Jackson Boulevard, near State Street. Under control of the Schuberts, the Lyric primarily presented comedies and character dramas, with ushers serving water and selling bonbons.

The interior of the theater shortly after the Great Northern Theatre became known as the Lyric Theatre
Th Great Northern Theatre was renamed the Lyric. From the Chicago “Inter Ocean,” 30 May 1910, page 12

By 1912, however, the name was again changed to the Great Northern Hippodrome. This name change was only temporary, however, as by 1921, it would return to being known as the Great Northern Theatre.

The Chicago Public Library carries a lovely selection of digitized theatre programs for the Great Northern Theatre. Here is the link: http://digital.chipublib.org/digital/collection/CPB01/search/searchterm/Great%20Northern%20Theatre%20(Chicago%2C%20Ill.)/field/theate/mode/exact/conn/and

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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