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Behind the Curtains

THE AUDITORIUM BUILDING IN 19TH-CENTURY CHICAGO

& Theater Industry Labor Structure

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Detailed Description of the Story

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Primary Source: Hawley, Hughson. “The Auditorium Building Now Being Constructed in Chicago, Illinois.” Harper’s Weekly, July 2, 1887.

Analysis of the Source

Prior to its grand opening, the Auditorium Building garnered significant attention as newspapers and magazines featured captivating illustrations of the theater in their publications. This widespread coverage generated a buzz throughout Chicago, attracting interest and excitement from various corners of the city. The anticipation surrounding the Auditorium Building not only showcased the architectural marvel it was set to become, but also highlighted the rich cultural experiences it promised to offer, further solidifying its status as a highly-anticipated addition to the vibrant urban landscape of Chicago.

Primary Source: Adler, Dankmar, and Louis Sullivan. Adler and Sullivan’s Auditorium Building Design. 1888. Ryerson and Burnham Art and Architecture Archive, Art Institute of Chicago.

Part of the Manuscript Collection on this website

Analysis of the Source

This cross-sectional representation of the layout showcases a sophisticated integration of hotel and office space, strategically arranged around a 4,000-seat theater. The design and construction of the Auditorium stand as a remarkable testament to theater architecture's multifunctionality.

Louis Sullivan a prominent figure in the Chicago School of architecture, served as a mentor to Frank Lloyd Wright, and inspired the group of Chicago architects who later became renowned as the Prairie School.

Dankmar Adler trained as an engineer and hired Sullivan in 1879 as his office foreman.

Origin and Construction of the Building

Primary Source: Pridmore, Jay. The Auditorium Building : A Building Book from the Chicago Architecture Foundation. San Francisco: Pomegranate, 2003: 25.

Contemporary Photo of Sullivan's Ganz Hall

Analysis of the Source

These intricate foliate designs symbolize the meticulous efforts put forth by the architect in creating an ambiance of luxury and elegance. Each detail of the design was conceived with a keen eye for sophistication, reflecting a desire to create not just a building, but a work of art that would resonate with patrons, elevate the theater-going experience, and leave a lasting impression on the cityscape.

Theater and Stage Design

Final Construction

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Adler, Dankmar, and Louis Sullivan. Adler and Sullivan’s Auditorium Building Design. 1888. Ryerson and Burnham Art and Architecture Archive, Art Institute of Chicago.

Labor in the Theater Productions

The research underscores the role of the Auditorium Building as not only an architectural marvel but also a crucible for the evolving labor relations and structure within the theater industry. It highlights the shift in theater culture, the stratification of audiences, and the subsequent impact on labor relations within this industry, presenting a nuanced understanding of how these factors intertwined to shape Chicago's vibrant cultural landscape.

Theater Industry Overview

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Primary Source:

Kiralfy, Imre. Imre Kiralfy’s Grand Historical Spectacle “America.” In Two Acts and a Prologue and Twenty-One Tableaux. Music by Angelo Venanzi. G. Routledge and Sons, 1893.

Part of the Spectacle Collection on this website

Analysis of the Source

This source is a printed program for Imre Kiralfy's production titled "America." It is a document that provides information about the production, such as the acts, tableaux, and music. Overall it states–in the libretto and the illustrations–that America is amazing.

From this source, we can learn that the Auditorium Theatre in Chicago hosted large-scale theatrical productions like Kiralfy's "America," which was specifically made for Chicago's World’s Fair in 1893.

The program suggests that the theater was a venue for extravagant shows and played a significant role in the city's cultural scene.

Imre Kiralf (1845-1919) a well-known 19th-century producer and writer primarily known for writing about burlesque and spectacle productions. He is also a Hungarian-born theater director known for his extravagant stage productions in the late 19th and early 20th centuries. He worked primarily in the United States and Europe, producing spectacles and historical dramas.