It is 7 November 1904, 7:55 p.m. New York City theatregoers anxiously await the opening of George M. Cohan's newest production, Little Johnny Jones. The house is just about filled, but the well-dressed ushers hustle a few stragglers to their seats. Some of the theatre's usual patrons have been held up late at work, while others are too consumed by Clifford Berryman's political cartoons in the Washington Star to attend the performance. This particular Monday evening marks an important moment for America: polls for the thirtieth presidential election will be opening in fewer than twelve hours. Theodore Roosevelt represents the Republican Party, and Alton B. Parker heads the Democratic ticket. Although results will not be known for sure until the close of the 8 November election, Roosevelt's recent success in office upon the assassination of William McKinley gives him a political boost. New York City's predominantly Republican values leave little doubt about which name a majority of tonight's audience will be checking off on the ballot come morning; Roosevelt has carried every region but the South in his campaigning efforts thus far. Nonetheless, Broadway occasionally attracts a few guests from the slightly less liberal states of Maryland and Pennsylvania, and this evening's house is no different; the Liberty Theatre is filled with men of opposing political views. A nervous excitement fills the room; a combination of political gossip, predictions about how Cohan's first Broadway musical will compare to his earlier comedic works and vaudeville skits, and occasional gasps and awestruck sighs from spectators who are seeing the inside of the Liberty Theatre for the first time since its very recent grand opening at 234 West 42nd Street. The twenty-thousand-square-foot theatre, with its dramatic stage, extensive balconies, and striking cathedrallike ceilings is the perfect home for the unfolding of Broadway, a theatrical form and style that America will come to call its own. As the house lights dim and the violins hum a piercing A note, other members of the orchestra slowly begin tuning their individual instruments. As the oboists finish adjusting their pitch, the conductor taps his music stand: musicians tilt their gaze to the front of the pit, audience members sink into the velvet of their plush seats and begin to quiet their chatter. Blackout.
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