Copyright © 2020 by Wendy Waszut-Barrett
There are four scenic artists whose histories are entwined: Harry James Buhler, William Fletcher Mann, Herman Peltz and Robert R. Carsen. They all worked independently, but also partnered for form the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz & Carsen, and Peltz & Carsen. Carsen was occasionally spelled Carson in directories, newspaper listings and articles. I am exploring each of their lives, as Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in 1918. Today’s post begins an exploration of the Peltz family.
The story is a bit complicated, as there was a Herman Peltz, Sr. and a Herman Peltz, Jr., who both worked in theatre. The elder Peltz was a German immigrant born on May 1, 1869. He passed away at the relatively young age of 45. On June 14, 1919, the “Chicago Tribune” announced, “Stage Carpenter Drops Dead in Woods Theater. During a performance in the Woods theater last night, Herman Peltz, 45 years old, the house stage carpenter, died of apoplexy in the box office. He had just turned in his weekly pay roll when he fell over dead” (page 17).
I’ll start with connecting Peltz with Harry J. Buhler and William F. Mann at Chicago’s Criterion Theatre.
On October 29, 1906, the “Morning News” described the artistic process at the Criterion Theatre, mentioning the master machinist Herman Peltz and scenic artist Harry J. Buhler (Wilmington, Delaware, 29 Oct. 1906, page 2). Here is the article in its entirety:
“There is no dramatist now before the American public, who endeavors to please the eye with beautiful scenery, as does Lincoln J. Carter. In fact, every play he has produced in the last twenty years, is built on a foundation of scenic effect, with locales of exceeding great beauty, or where Dame Nature’s whims have erected some eccentric upheaval upon which to lodge a Carter situation.
“His Chicago theatre – the Criterion – contains a labyrinth of scene painting bridges and curios (to the layman), workshops for the construction of those scenic wonders, that are a part, and no inconsiderable parcel of the equipment of his many road shows. The models of these scenes are made of cardboard, according to scale and beautifully colored in gouache by the manager-author – for Mr. Carter is an artist of marked ability and decided merit in originating. From the author’s studio they are sent to his master machinist, Herman Peltz, who, having built the great scenes, in turn, passes them onto Mr. Carter’s scenic artist, Harry J. Buhler, who colors them with the Carter conceptions. In the newest play by the dramatist. ‘While ‘Frisco Burns,’ which will be scene here, commencing this afternoon there is a very riot of scenic coloring. The first act opens in an old English fire-lit oak chamber; from here it passes to a balcony dining room in the famous Cliff House. The scenic transition from here to the finish of the play, carries you through conservatories, ball rooms of the nabobs of Knob Hill, into the murky and foul-smelling dens of mysterious China Town to City Hall, when the earthquake begins to demolish man’s handiwork, and, the avenging fire, as if seeking to obliterate the cruel cracks and chasms, finishes the work of desolation by wiping the earth’s face clear of his puny efforts. It is in a scenario like this, that the Garter genius shines best. A special matinee will be given to-morrow.”
In 1906 Buhler and Peltz were credited with delivering scenery for the “Cow Puncher.” The show was still touring two years later. On Jan. 9, 1908, the “Abilene Semi Weekly Farm Reporter, announced, “’The Cow Puncher’ by Hal Reid and under the direction of W. F. Mann. Opens a one-night engagement at the Lyceum Theatre on Tuesday, Jan. 14th. If good newspaper notices, backed by large box office receipts, are any indication of successful plays, the ‘The Cow Puncher’ comes in the category of those manager hunted offerings. It is the simple pure Americanism of this play of western life, that not only endears it to its audience, but places it in a class of unique originality. Theatre goers cannot help being enthusiastic and intensely interested in its excellent presentment. The story is laid in Arizona, the company is more than capable, and the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery. As a special feature two well-known vaudeville acts are introduced” (Abilene, Texas, 9 Jan 1908, page 6).
On February 16, 1908, Buhler and Peltz were also mentioned in the “Washington Post” concerning their scenic work for “Shadowed by Three” (page 3). The article reported, “To-morrow night at the Academy a new play by Lem B. Parker, called ‘Shadowed by Three,’ begins a week’s engagement. It is under the direction of W. F. Mann. According to press reports few plays seen in the popular priced houses have the dramatic value that this romantic drama contains. The plot was cleverly conceived, and the characters taken from real men and women. The cast contains a personnel of players well-known to theatregoers, and their names guarantee a first-class performance. The scenery was specially designed and built by the well-known artists, Harry Buhler and Herman Peltz, from an original drawing made by Mr. Buhler. The light effects are the perfection of stagecraft, and patrons can feel certain that they will see something worth seeing in the performance of ‘Shadowed by Three.” Of the scenic effects, the “Joliet Evening Herald News” reported, “Henella, the Mystifier, who turns a marble statue into life and exercises seemingly superhuman powers, the LaSalle singing four, one of the most splendid quartets om the opera statue, the onrush of a 60-horse power automobile and its crash through a plate glass window, the sensational recues of a supposed horse thief and the work of great detectives, Tom, Dick and Harry, the ‘Three’ are but a few of the features to be seen in ‘Shadow by Three,’ one of the greatest melodramas of modern times…Two carloads of scenery, horses, sleighs, stage coaches and a 60-horse power automobile are carries with ‘Shadowed by Three’” (25 Aug 1908, page 3).
In 1908, Buhler and Peltz also produced scenery for “The Toymaker.” The “San Bernardino County Sun” reported, the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery.” (7 Feb. 1908, page 4). More on Buhler & Peltz tomorrow.
To be continued…
