Etiquette Needed for Theatre Bonnets

Fashions from 1873: Small late Victorian hats and bonnets from Paris set with flowers, ribbons and feathers.
–Photo: Hulton Archive, Getty Images / Hulton Archive

Among items of theatrical news may be mentioned the death of Mrs. Ternan, (Miss Jarman,) an old friend of Charles Dickens. Some of the London managers have just begun to admit bonnets to the boxes, at the moment when bonnets have become hats and shut out the view of the stage from those behind. It is suggested that the managers should make a rule as to the height of ladies' bonnets. – F. H. J. In the New York Times, 1873

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Presidential Theater Etiquette

President-elect attacks "Hamilton" saying Vice- President elect, Mike Pence, was 'harassed' by 'very rude' cast who stopped the show to confront VP sitting in the audience - 'We are the diverse America who are alarmed and anxious that your new administration will not protect us, our planet, our children'. Pence has been slammed for seeing the play, while the crowd booed him and his family. The booing was indeed harassment, but was the cast's plea, as well? Perhaps a more polite way to address Mr. Pence with their concerns, would have been to invite him and his family backstage to meet the cast after the show.

It is a point of etiquette, universally observed at the national capital, never to obtrude attentions upon the President when he appears in public. On the street or in any place of amusement in Washington, the President has the undisputed privilege of appearing as any private citizen, he is never stared at unless it is by strangers, and his appearance at a theater is not greeted with any sort of demonstration. 

The President may walk where he pleases in the streets of Washington, meeting with no further notice than the tipping of the hat, unless of his own motion he stops to speak with someone. Office seekers and petitioners never venture to approach him in the street. His surest riddance of the importunities of the throng is to go out among them. 

Sir Julian Pauncefote, speaking of the American customs that had impressed him, remarked that, while a foreigner's first impression might be that the seeming indifference of the public toward the President when be appeared on the street or at the theater was the result of an exaggerated idea of democracy, it must become apparent on closer observation that it was the highest possible tribute of respect and consideration. — San Francisco Argonaut, 1899

Etiquette Enthusiast Maura J Graber is the Site Editor for the Etiquipedia© Etiquette Encyclopedia

Mexican Theater Etiquette

Mexico City’s “Palace of Arts” under construction, circa 1904

 

In Mexican theaters, women always go bareheaded and the men wear their hats all the time the curtain is closed. During the performance they remove them. 

Frequently men rise in their seats and sweep the tiers of boxes with large glasses. It is considered something of an honor to have the glasses of a swell below, leveled at your box. Smoking is permitted in all theaters. —City of Mexico Correspondent, 1900

Etiquette Enthusiast, Maura J Graber, is the Site Editor for the Etiquipedia© Etiquette Encyclopedia

Opera vs Theater Etiquette

As a rule, greater elegance in dress is demanded at the opera.

There is little difference in the etiquette of the opera and the theater, except that the opera season is shorter, and for this reason is usually a fashionable diversion while it lasts, and, as a rule, greater elegance in dress is demanded. There are only a few important rules that need to be observed on ordinary occasions at the theater. Unless a box is to be occupied it is inconvenient to adopt the custom that some people have of coming in after the curtain has arisen, as this disturbs all the people in the vicinity of the late comers. 

During the performance absolute quiet must be maintained, for, although you many be enjoying yourself, the laughing and talking are annoying to those around who would undoubtedly prefer to listen to the play. – Sacramento Union, 1909

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Etiquette for Theatricals

Patrons arriving after the rise of certaln will not be seated until after the close of the act in progress at the time of their arrival. This action is taken in justice to those who have cultivated the commendable habit of being punctual.

“They Like to Make a Display”

Theatrical Managers Discuss a Rule to Squelch the Richly Dressed Late-Comers

WHETHER or not the majority who arrive at the theater before the curtain goes up shall be annoyed and have their pleasure interrupted by the minority who come late, is a matter that is attracting the attention of the theatrical managers of the city. The discussion of the subject was brought about by the publication in The San Francisco Call recently of a rule which is fully enforced in Eastern cities. 

In one of the popular theaters of Denver, the adopted rule is as follows: "Patrons arriving after the rise of curtain will not be seated until after the close of the act in progress at the time of their arrival. Accommodations will be provided for seating late-comers in the rear of the theater until that time. This action is taken in justice to those who have cultivated the commendable habit of being punctual." 

While the managers all agree as to the justice and desirability of such a rule and would be as glad to hail its general advent as they were that of the ordinance which made Captain Hottanzi famous, and relegated for all time the big theater hat to its proper place, they do not think it can be made a success in San Francisco. 

"The rule is a very proper one and I sincerely hope some way may be found to bring about its adoption in an effective manner," said J. J. Gottlob of the firm of Friedlander, Gottlob & Co., managers of the Baldwin, Columbia and California theaters. "For instance. you take such plays as were presented by Henry Miller, where the utmost quiet and attention were required for their proper appreciation. It was a gross imposition upon those who arrived promptly to have people come stringing in all through the first act, spoiling the scenes for others and distracting the players. 

"The women are the worst culprits in this respect," continued Mr. Gottlob. "In many instances this late coming is the result of false pride. Some have a beautiful new gown or wrap, and it is necessary that they should come in late so that there can be no possibility of their being overlooked by the other women.

“Yes. I am late. But look at my fabulous new wrap from Paris!”

Then there is that class who are afraid their friends present will not know they are at the theater unless they come in about the middle of the first act, and the higher the price of the ticket, the more such people seem to feel obligated to commit this infraction of the niceties of playhouse etiquette. 

It is hard to regulate such people, because if they could not do these things, the play would have little attraction for them. However, you can take these same individuals under other circumstances and they pride themselves on their politeness and good breeding. 

"Probably the only way such a nuisance can be abolished will be by the force of public sentiment. If these late-comers were convinced that the early comers they so regularly annoy, regard them as ill-bred people who do not know any better, they would soon find it fashionable to be in their seats before the rise of the curtain." "I tried that scheme a part of one evening, and nearly had a riot," said Mark Thall, manager of the Alcazar, "and I am content to let people have their own way in this matter. I am the grandfather of the managers of this coast, and through a lifetime of experience, I have evolved the idea that I don't want to pose as a reformer. 

The other fellows can do that. I believe In conducting my theater in the same manner that a first-class dry-goods house is run— keep what the people want and give it to them without playing favorites. This matter of punctual and late coming is between the playgoers, and if the early comers, who are the majority, cannot suppress the objectionable late comers, it is their own fault. 

The proud Papa who shows up late to the theater, so as to show off his four marriageable daughters.

In this matter, notwithstanding, it would be very delightful to have such a rule accepted. I propose to keep right in the middle of the road. I have had enough of trying to regulate these swelled-head, young bucks who think that because they have bought a seat or two they own the theater. They are the fellows who would block this game, for they have neither manners nor sense." 

"Such a rule could not be successfully applied to a vaudeville house," said Manager Morriaty of the Orpheum, "but if I were running a legitimate house, I would expect to make a failure if I did not protect the best class of my patrons in that way. These late comers don't care for the play. They are the kind of people who will pay $7 to hear Melba, and not arrive until the latter part of the first act. They don't understand the music and don't care to, but they know how to make themselves conspicuous and a nuisance to those who are there to enjoy the attraction." 

The New Comedy Theater has adopted the rule and put it in force successfully on Monday night. "Our theory," said Manager Kllinghouse, "Is to at all times, comply with the wishes of our patrons in every possible way, and in justice to our early comers we are in duty bound to carry out the policy of instructing our ushers to seat the house to the rise of the curtain on the first act, then to keep in waiting until each act is at an end for the seating of patrons that may enter the auditorium, who would then be seated, between acts. 

This policy is being carried to a successful issue in all the leading theaters in the East, and should be adopted by the local theaters of this city. We appeal to our patrons in this cause, as our policy in the future will be carried out as above announced." — San Francisco Call, 1898

Etiquette Enthusiast, Maura J Graber, is the Site Editor for the Etiquipedia© Etiquette Encyclopedia