Copyright © 2020 by Wendy Waszut-Barrett
In 1919 Thomas G. Moses wrote, “The scenic artists have made their minimum scale $50.00, a raise from $36.00, which means a number will have to go back as assistants. Very few are capable of earning $50.00 while a number are worth $60.00 and $75.00.” To put a scenic artist’s salary in perspective, the average actual weekly earnings per week worked in 1919 were $13.55 (Journal of Political Economy, Vol. 29, No. 1, Jan. 1921, pages 78-79). That being said, a large section of men employed suffered in America from extensive under employment. Estimates at the time, noted that the weekly wage for men could have increased to $23.56 if individuals were able to secure 42 to 45 hours of employment each week. So, in the big picture, making $50.00 per week as a scenic artist was a very decent salary at the time. However, that does not mean that their hourly rate was twice that of the average American worker, as they were likely working far more than 45 hours per week. If we take into account Moses’ records of long hours, scenic artists worked 10 to 12-hour days, often six days a week.
Keep in mind that the scenic artist salary increases from $36.00 to $50.00 was during a period of increased unionization in American. Workers needed representation for fair wages, decent hours and safe working conditions. I keep thinking of my grandfather who opted not to work in a steel mills of Milwaukee as a newly arrived immigrant, explaining that if he wanted to work in “hell” he would have stayed in Poland. My grandfather Waszut later ran the north trolley line in Minneapolis. Then, as now, many businesses took advantage of their employees, placing profits ahead of people; the safety of their workers was not a priority. This is why union representation is critical, an organized movement helping implement safeguards while holding businesses accountable. Unfortunately, if often took a tragic event, a horrific moment, that instigated people rise up and act, becoming part of a nationwide movement.
The passion in people becomes ignited to organize and protest. Their protests start because there are a series of unacceptable incidents, especially if there is a history of prior warnings and citations. A tragic event will become the catalyst where people stand up and say, “enough is enough.” That is when the massive protests start. Similarly, those wanting to maintain the status quo try to quickly silence the protestors or distract the public’s eye away from the tragic incident. In 1911, the Triangle Shirtwaist Factory fire was the catalyst for change and increased union representation. Most of the victims dies as a result of neglected safety features, such as locked doors. Seeing women plunge to their death from a burning building, resulted in a demand for change, helping unite organized labor and reform-minded politicians. Here is an article about the tragedy from Smithsonian Magazine: https://www.smithsonianmag.com/history/uncovering-the-history-of-the-triangle-shirtwaist-fire-124701842/
In regard to the theatre industry in 1919, there was quite a bit of turmoil already, including 1918 measles outbreak, the Spanish Flu and WWI; these presented a series of obstacles…and then there was the actors’ strike.
On August 21, newspapers across the country reported that six ‘legitimate’ theaters in Chicago, went dark. The cause was a result of musicians and stage mechanics striking in sympathy with the striking actors. The walk-out in six theaters took place just before the afternoon performance on August 20, 1919. I was fascinated with the idea that when the actors fought back, other factions of the industry rushed to their aid; it was a community endeavor.
On August 2, articles described the actions of the sympathizers: “Dick Green, business agent of the local Stage Mechanics’ Union and vice president of the International Alliance of Theatrical Employees, said the strike yesterday was in sympathy with the actors and that there would be no compromise until the fight with the producing managers’ association in New York was settled. He said the stage hands had no grievances of their own. Officials of Chicago Musician’s Union made a similar statement. A nation-wide spread of the strike is now threatened, according to union officials and the hostile attitude of the theatre managers toward making any concessions indicate a long night…The strike of stage hands and musicians as an adjunct of the Actors’ strike threatens to close every downtown playhouse in Chicago” (“Morning Post” Camden, New Jersey, 21 Aug 1919, page 6)
On August 22, 1919, “The Record” reported the actors strike was augmented by nearly two hundred scenic artists employed by the Schuberts and several score more actors, The article noted, “The Actor’s Equity Association members are jubilant, declaring they are sure they can force the managers to recognize the union and accept the players’ demand” (Hackensack, New Jersey, 22 August 1919, page 16).
However, there was another force at work mentioned in the last paragraph: “Louis Mann has begun the organization of an actors’ organization in opposition to the Equity Association in an effort to end the strike. He is backed by the Producing Managers’ Association and is said to have been given $100,000 by George M. Cohan to finance the project.”
For more information about the 1919 actor’s strike, see “The Lambs Club Remembering the 1919 Actors Strike” (https://t2conline.com/the-lambs-club-remembering-the-1919-actors-strike/) and “When Actors’ Equity Staged Its First Strike” from “American Theatre” (https://www.americantheatre.org/2013/03/01/when-actors-equity-staged-its-first-strike/).
To be continued…
