The Washington herald., 1913-11-30

tinuous performance idea had sufficient
ly demonstrated its merits to justify him
In transplanting II to the much more
commodious quarters Of the Bijou.
With him this was not a hasty de-
cision. Having arrived at this point.
the fact that his business associate
and practically all his other friends
took an entirely opposite view, failed
TO shake his determination in the least.
Failure was predicted on every hand,
and the idea was spoken of in theatri-
cal circles as "Reith's big mistake" I"
II was largely for this reason that the
business relations between Messrs.
Keith and Batcheller were terminated.
There was entire good feeling on each
side. but both men realized that it was
for their best interests that there
should be separation. rather than an
attempt to continue with views so
strongly divergent as to what were the
best methods of procedure. Mr.. Batch
eaer accordingly sold his interest to
Mr.. Keith. and the Gaiety Musee ceased
to exist on July 80, 1887.
In due time the site Of Mr.. Keith's
earliest venture was covered by a por-
tion of the present Adams House.
On Monday, August 1. 1887, the Bijou
Theatsr was opened with Continuous
performance" with Mr.. Keith as sole
proprietor. So identified had the word
"GaietyT become with Mr.. Keith's en-
terprises at this time that. despite the
fact that the old Gaiety Musee was no
more, he decided to continue the name
in connection with the ne wplayhouse.
which was thereupon denominated the
Gaiety and Bijou.
Joined by E. +. AIbee.
Mr. f. F. AIbee. now Mr.. KeIth's man.
ager in all his various enterprises, be-
came identified with his fortunes in the
winter of 1883. a few months after the
first opening. Mr.. Albee came as an
assistant. with no particular salary and
no particular duties, but soon became
indispensable. From the first Mr. Albee
was a devoted apostle Of Keith vaude-
vile.
In the spring Of 1886 Mr.. Keith intro
duced The Mikado," which had been
running at high prices in the Globe and
Hollis street theaters. Mr.. Keith gave
the public an opportunity to see this
opera for % cents, and with il they were
so well pleased that many pronounced
it a more enjoyable production than the
renditions at either of the high-priced
theaters mentioned
Under Mr.. Keith. Mr.. Albee proved
himself one of the cleverest operate pro-
ducers the country has ever known, and
his genius for vaudeville was evident
from the first. He quietly took up the
study of the theater construction and
decoration. and when Mr.. Keith decided
to build the finest theater in America
to be the home of Keith vaudeville. Mr..
Albee was placed in full charge. When
Mr.. Keith's Boston theater was opened
to the public in 1894, 1t created a sensa-
ton and the house stands today as a
model. After this the road to millions
and the absolute rule for vaudeville was
a straight, broad highway. B. F. Keith
is now in his sixties and is enjoying the
rewards OF a creative life that has net
ted him many millions, for he has ever
been a shrewd investor in the best propo-
sitions of the past thirty years. He is
known to the public as a Snowman, but
his interests in Industrial lines are very
large.
The ID. +. Keith rheaters.
Mr.. Keith's principal theaters are To-
,ated as follows:
B. F. Keith's Theater, Boston. Mass
B. F. Keith's Palace Theater. New
York City.
B. F. Keith's Colonial Theater. New
York City.
B. F. Ke!th's Alhambra Theater. New
York City.
B. F. Keith's Bronx Theater. New York
City.
B. F. Keith's Union Square Theater,
New York City.
B. F. Keith's orpheum Theater. Brook
yn, n. Y.