#28 Carrie McHenry as Jako in Bohemian Gy-url [sic], Colville Opera Company.

Carrie McHenry stands in three-quarter pose, presented as “Jako” from *Bohemian Gy-url* with the Colville Opera Company, her gaze turned slightly aside as if caught between backstage and the footlights. The studio setting is spare—a soft backdrop, a hint of floor texture, and a draped prop at the edge—so the performer’s attitude and silhouette do most of the storytelling. Even in a still portrait, the stance feels theatrical, balancing poise with a hint of mischief that suits burlesque and operatic comedy alike.

Costume details anchor the image in late Victorian stage fashion: a feathered hat, a broad sash or belt cinching the waist, and a cape-like drape thrown over one shoulder. The outfit blends masculine and feminine cues—shorts over dark stockings, ribboned or strapped footwear—typical of roles that played with gender, class, and “Bohemian” stereotypes for audience amusement. These choices weren’t merely decorative; they advertised character at a glance and promised movement, dance, and comic business once the curtain rose.

Printed text along the mount turns the portrait into a piece of theater marketing as much as a keepsake, naming McHenry, the role, and the Colville Opera Co., while also identifying the San Francisco studio address at 12 Montgomery St. Such “celebrity” photographs circulated widely in the era, linking performers to recognizable looks and helping companies build followings across venues. For researchers of 1890s entertainment, burlesque costume, and fashion & culture, the image offers a crisp example of how stage identity was crafted—part publicity, part performance, and entirely of its moment.