of that business lies in business hands; business to come of selling amusement to millions and millions of men, women and children; and to that business, we (Balaban and Katz), who have taken it upon ourselves, should give and dedicate our theatres." Thanks to Barney Balaban's experience with cold storage, the theatre had a washed air system and was air-cooled, allowing for refuge from summer heat—and year-round patronage. The stage was flanked by two side stages decorated to resemble gardens. According to Balaban's memoir, "Our colored stage lighting was extended to take in the whole house. The gently changing colors traveled from wall to ceiling, melting from soft rose to blue, lavender and yellow as they touched the velour of seats, crystal of chandeliers and the beautifully painted murals." Balaban also believed that "a central figure in the orchestra pit seemed essential", identifying a young Viennese, S. Leopold Kohls, whose continental manners made him an ideal host and "good theatre. ... He understood and co-operated fully with my ideas of creating fairyland illusion by the use of music, beautiful girls, color and line." Kohls was "an instant hit". Balaban engaged New York City-based New York Studios to provide the side stages, drop curtain and stage scenery, with Frank Cambria, the Studios' Art Director and General Manager, in charge. Cambria boasted associations with New York's well-known producers and managers Charles Frohman, James O'Neill, David Belasco, Klaw and Erlanger, Winthrop Ames, Daniel Frohman and others, and had designed many prestigious productions. With business booming only a few months after the opening of the Central Park, Balaban & Katz received an opportunity to take over an unfinished vaudeville house. With Rapp and Rapp in tow, it was determined that the shell was large enough for Balaban's newest "fairyland", the Riviera Theatre, on Chicago's North Side. The Riviera The new Riviera was in a race to open against the Pantheon, a competing theatre around the corner. By 4 p.m of opening day, September 9, 1918, crowds were in line around the block in anticipation of the doors opening at 6 p.m. Balaban wrote that he recognized many of his previous customers—from the Kedzie, Circle, and Central Park—now older, with a baby or two in tow. The stage bill consisted of semi-classics performed by vocalists including Gladys Swarthout and Tess Gardell (sic; generally known as Gardella), also known as "Aunt Jemima", who once came to