John H. Kunsky had made his
fortune investing in movie houses.
John H. Kunsky
In 1950, George W. Trendle
recalled that the Kunsky Theatre Circuit had 16 movie houses in Detroit by 1929.
It was that year that that Trendle and Kunsky sold to Paramount (Daily News,
NY, 5 March 1950, page 562).
In 1922, the “Washington Times”
published a definition by John H. Kunsky for the query, “What is the Moving
Picture” (Washington, D.C., 13 Feb 1922, page 16). Kunsky had a vested interest
in selling the purported benefits of moving pictures. This is such a wonderful
example of how the world of entertainment was changing and how silent movies
were perceived by the American populace.
“The newest thing of great
importance in the world is the MOVING PICTURE. It offers the most direct road
into the human brain and thought. What it IS, what it DOES, what it is DESTINED
to be – all those questions important to everybody interested not merely in
moving pictures, but in EDUCATION and in the human race of the future.
Some will say that the moving
picture does instantaneously what the spoken or written word does slowly.
Others will say that it is actual presentation of life and emotion before the
very eye of the beholder.
A very good definition of the
moving picture, as you will agree, is given by John H. Kunsky who has just
built the Capitol Theater in Detroit, one of the most magnificent theaters
anywhere. Writing for the Detroit Times, Mr. Kunsky says:
WHAT A THEATRE DOES.
By John H. Kunsky.
Throughout history the human
race, worried with its problem and its struggles for life, has sought
relaxation, a change in the mind’s work that means rest for the brain. The
Greeks had their public baths, in which they met and talked; their public
squares, their famous philosophical promenades.
The fighting Romans had their
great arenas, in which men and beasts, and even ships on real water, fought to
amuse the mob.
In the middle ages they had
bear-baiting, their dog fights.
The Spaniards still have their
bull fights.
The Americas, as a nation, far
removed from the brutality of the gladiatorial arena, or the bill rig, find
their mental rest and their mental pleasure in the theater. And in the modern
theater and its work you find reflected the national personality, its interest,
its culture.
WHAT IS THE MOVING PICTURE?
The question is not asked now as
it once was when men doubted whether ‘the movies,’ so called would last.
The moving picture is SIMPLY THE
SHORTEST ROAD INTO THE HUMAN BRAIN.
It enables the actor to display
all of his skill, and the spectator instantly can see all that the story has to
tell.
You can do with the moving
pictures all that can be done by the living actor, and a thousand times more.
If you say that the voice of the
living actor is missing from moving picture, I will admit it, and regret it.
But I will answer that the absence of the actor’s voice increases the activity of
the spectator’s imagination, and the work that goes on inside the mind of the
spectator’s imagination, and the work that goes on inside the mind of the
spectator is worth infinitely more that the spoken word of any living actor.
To arouse thought, stimulate the
imagination, transport vast audiences as by magic, to all parts of the world,
is a great, useful and education work. And that is what the moving picture
does. An entire week of work by living actor and of close attention by
spectators could not show as much as can be shown by the moving picture in two
short hours.
Gigantic crowds of thousands
such as no stage on earth could possibly hold are shown and brought before
crowds in absolute reality on the screen.
The moving picture is a great
educator, and no man can say what good is done to this and to other nations in
which the moving pictures with its dramatic story is part, as it were, of the
daily mental diet.”
In 1919, Thomas G. Moses delivered
scenery to two Detroit movie houses owned by John H. Kunsky. A decade later, the “Detroit Free Press” published
an article about Kunsky and his chain of theaters. It provides a good
perspective when considering the declining demand for painting scenery during
the second and third decades of the twentieth century.
From the “Detroit Free Press,” July 22, 1928, page 11.
Here is the “Detroit Free Press”
article from July 22, 1928 (page 11):
“More than 20 years ago, in
1905, John H. Kunsky brought the first motion picture machine to Detroit. It
was a cumbersome affair, far from reliable, but it served its primitive
purpose, and the first Kunsky theater – formerly a store – prospered.
As the idea of motion pictures
took hold upon the public, the firm benefitted. There came into being in 1908
the Theater Royale, the first 10-cent theater Detroit every had seen and the
first link in the Kunsky chain. On one occasion a charge of 25 cents was made
during the showing of ‘The Passion Play,’ the first ‘super-feature’ of multiple
reel length.
In quick succession there
followed the Majestic and the Empress. As they too, prospered, there came into
being the Garden, located in the then residential section of Woodward and
Selden, the forerunner of the chain of de luxe suburban and residential
theaters sponsored by the Kunsky Theater corporation.
The Hippodrome, and the Columbia followed, in short order, the latter still being operated by its founders, but none met with the huge success of the Liberty, the first , with its 15-piece orchestra under Eduard Werner, its organ, and pleasant atmosphere, did much to popularize the motion picture with the so-called ‘silks and satins.’
In 1914 the Kunsky chain took
over the old Washington theater previously operated by a none-too-successful
stock company. This was the beginning of the march toward Grand Circus park,
and so profitable was the venture that in 1916 the Madison was erected.
Other followed quickly. In 1917
the Adams came into being followed by the Capitol; in 1925, by the State; and
in 1926 by the Michigan.
Meanwhile the suburban field had
not been neglected. More and more attention was given to providing
entertainment in the residential sections, until now the chain owns and
operates the Birmingham, the Redford and the Royal Oak, all opened during the
last 10 months; the Strand, the De Luxe, the Alhambra, and the Columbia, in
addition to its five big downtown theaters.
Unusual attention has been given
to making the anniversary celebration a big one. Jackie Coogan, child cinema
star, is appearing in person at the Michigan, with Frank Beaston’s Publix show ‘Sunshine
Days,’ while Eduard Werner and Arthur Gutow offer musical specialties and Laura
La Plante stars on the screen in ‘Home, James.’
The Capitol brought on Lou
Holtz, ‘Scandals’ star, especially for this occasion, to appear with Del
Delbridge in a lavish Publix stage show ‘Fine Feathers;’ Samuel Benavie and Don
Miller assist musically, while on the screen William Boyd stars in ‘The Cop.’
The Adams offers Norman Keery in
‘The Foreign Legion,’ with Lewis Stone and Mary Nolan, with symphonic accompaniment
by the Adams Symphony orchestra, while two talking pictures, ‘The Jazz Singer,’
starring Al Jolson, and ‘The Lion and the Mouse,’ with Lionel Barrymore and May
McAvoy are seen and heard at the Madison and the State respectively.”
In 1919 Thomas G. Moses wrote, “Adams
Theatre occupied much of my time during the month of February.” The Adams
Theatre opened in March 1919 and was located at 22 West Adams Avenue in
Detroit, Michigan.
The president and treasurer of
the Adams Theatre Company was John H. Kunsky. By the summer of 1919, Moses
wrote, “A number of drops and a large picture set for Kunsky of Detroit was
completed in June with success. This is
the first work that we have done for him.” If he hadn’t written, “this was the
first work we have done for him,” I might have thought it was a second delivery
to the Adams Theatre. It is also possible that Moses worked with another Adams
Theatre representative on the Adams Theatre project, just not Kunsky. However,
it was likely that successful delivery of scenery to the Adams Theatre caused
Kunsky to contact him directly for another job. Kunsky also owned the Madison Theatre
in Detroit, a venue that opened on March 7, 1917. Moses mention of drops and
large picture set delivered were possibly for that theater. The Madison Theatre
was a sizable house with a seating capacity of 1800. The top floors of the
building housed the Kunsky circuit’s main offices.
Kunsky was a mover and shaker in
Detroit by this time. Kunsky was integrally linked to the movie theatre
industry in the town, having brought a motion picture machine to Detroit in
1905 and opened the Royal theatre in 1908. The “Detroit Press” cited Kunsky’s
history in Detroit in relation the Royal Theatre. The article reported, “John
H. Kunsky started in business as Michigan’s first exhibitor in 1905, in the
Casino theater, in Monroe avenue, remodeled from a store, and having a seating
capacity of 125. Encouraged by the success of this venture, in company with
others he gained a lease on the property at Monroe avenue and Farmer street,
demolished the building and erected a new structure that was christened the
Royal theatre and contained 200 seats. At the time it was said to be the largest
and finest motion picture house west of New York, a statement that sounds
strange in these days when seating capacity is counted in thousands, and the
entire original equipment of the Royale would not inventory enough to give a
modern house a fair start in the matter of decorations. Nevertheless,
Detroiters marveled at so large a place devoted to a new-fangled idea that. It
was predicted, was only a fad, and not a few local wiseacres predicted speedy
failure for the enterprise. Mr. Kunsky had the true showman’s idea of giving
the public plenty for its money. He promptly installed and “orchestra”
consisting of a piano and drums. As an added attraction there was a singer who
warbled ballads to the accompaniment of colored lantern slides. Detroiters used
to go to the Royale to scoff and remain to marvel, for they not only found
lavish appointments, as those things were reckoned then, but pictures that were
worth watching. Gradually the business grew, and soon the house was firmly
established, with seats at a premium most of the time. The Royal was one of the
first, if not the first, picture houses to stage a longtime run. It screened
‘The Passion Play’ at an advanced price, admission being raised from 5 to 10
cents, and for eight weeks, with the aid of a special lecturer, it drew crowds.
This helped to make the Royals the talk of the town, and to put the theater on
a well-paying basis, even if its clientele came chiefly from the meek and
lowly, the upper classes remaining skeptical. After a while it overcame this
early prejudice, but it never was particularly conspicuous, because it was
shortly followed by other and larger houses. Nevertheless, its career was a
steady and profitable one, and from this modest little beginning on Monroe avenue
came the Kunsky Theatre Circuit embracing 14 houses, that finds its highest
expression in the magnificent new Capitol and the others circling Grand Circus
park, to say nothing of the thousands of private houses scattered about the
city and throughout the state, many of which drew their inspiration from the
tiny place that is so soon to pass from existence.”
In the fall of 1919, Kunsky he
announced plans for a new theatre on the northeast corner of Hamilton Boulevard
and Highland Avenue. On Nov. 9, 1919, the “Detroit Free Press” announced, “Work
is to be started almost at once on the erection of a handsome theatre on the
northeast corner of Hamilton boulevard and Highland avenue, for John H. Kunsky.
The building is designed by C. Howard Crane, architect, and Elmer Kiehler,
associate, who in the last few years have designed more than 2oo theaters in
the United States and Canada, their latest work having been Detroit’s new
Orchestra hall. The new theater will cost approximately $250,000, will have
capacity for 2,800 persons and will be the largest residential theatre in or
near Detroit. It is announced that it will also surpass any other local theater
in the attractiveness of its appointments. The front of the building, with
length of 180 feet, is renaissance. The furnishing and appointments will be
most luxurious, in many respects, its aid, surpassing those of Mr. Kunsky’s
downtown theaters, the Madison and the Adams” (page 85).
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.”
In January 1919, Thomas G. Moses
wrote, “Started the wood scene of the State-Lake Theatre job, which was a good
beginning, rather hard to do in the Peltz and Carson Studio on account of the
low ceilings, being obliged to paint one part on the upper floor and the
balance on the lower floor. The studio
was always warm and dry; in fact, too warm at times, which was almost as bad as
not being warm enough. I was quite
successful in my work at the State-Lake Theatre Everything came out quite good.”
The State-Lake Theatre opened with scenery by Thomas G. Moses, representing New York Studios.
The State-Lake Theatre opened on
March 17, 1919, as part of the Orpheum Circuit. The venue was described as “Chicago’s
two and one-half million dollar vaudeville playhouse” (“The Standard Union,” 20
Aug. 1919, page 8). Part of a 12-story office building located “in the loop,” it
was on the corner of N. State Street and W. Lake Street. There was an enormous
electric marquee on the building, measuring 96’-0” tall by 14’-6” wide; at the
time, one of the largest electric signs in the world.
From the “Chicago Tribune,” March 17, 2019, page 10.From the “Chicago Tribune,” March 29, 1919, page 19.
The auditorium boasted a seating
capacity of 2,800, hosting 70,000 patrons each week during its heyday. Newspaper
advertisements promised “Continuous Double Value Vaudeville and Photoplays at
Single Prices,” with 4 shows daily: 11:00-2:45, 2:45-5:00, 5:00-8:00 and 8:00-11:00
(Chicago Tribune, 29 March 1919, page 19).
The theater later became part of
the of the Keith-Albee-Orpheum Circuit and then the Balaban & Katz chain. Lake
many other theaters, it eventually dropped all live performances and only featured
movies by 1941. In 1984, the theater officially closed, with the interior being
transformed into studio and office spaces for WLS-TV, a Chicago affiliate of
ABC. Here is a lovely article about the theatre:
In 1904 Moses left a successful New
York partnership in 1904; this was the business endeavor with William F.
Hamilton, Moses & Hamilton. Sosman placed a series of incentives to draw Moses
back to Chicago that included $5,000 in stock and a position as vice-president.
Additionally, he also assumed all control over design, construction, painting,
and installation at the firm. When Sosman passed away in 1915, Moses was elected
president. Unfortunately, that was right in the midst of a challenging period,
WWI, a measles outbreak, the Spanish Flu and a recession. It seemed that everything
was falling apart and the demand for painted scenes was beginning to diminish
nationwide.
By the summer of 1918, working
at Sosman & Landis became untenable. On September 1, 1918, Thomas G Moses resigned
as the president of Sosman & Landis, and started working for New York
Studios, the eastern affiliate of Sosman & Landis. New York Studios was run
by David H. Hunt. By the end of 1918, Moses wrote, “I am afraid that I will not
be satisfied with my new deal.” Part of the problem was securing a studio
space. Add in the fact that Moses never liked Hunt to begin with and his new
employment was doomed from the start. Hunt consistently promised big and
delivered small; Moses really should have known better by this point in his
career.
During the fall of 1918 Moses hoped
to line up a few projects along the west coast.
Of possible California living, he wrote, “Mama and I would like to go
out there. The hardest part of that will
be the giving up of the old home and moving away from all the friends and
children, but I don’t think it would take all that much coaxing to have the
children move after us, which would all be fine. If I could only get a
financial settlement with Sosman and Landis Company, we would go to California
this winter.”
Needless to say, he remained in
Chicago for the winter. His New York Studios projects ended up being built and
painted in the Peltz & Carson shops. Of the experience, Moses wrote, “…rather
hard to do in the Peltz and Carson Studio on account of the low ceilings, being
obliged to paint one part on the upper floor and the balance on the lower
floor. The studio was always warm and
dry; in fact, too warm at times, which was almost as bad as not being warm
enough.”
Of the search for a better
studio space during the spring of 1919, Moses commented, “We looked at several
buildings for a studio, but none seemed right to fill the bill. The only way to get one and have it right is
to build one.” Early on, Sosman & Landis built a deluxe studio that was
often toted as the largest one in the United States. When their main studio could not accommodate
all projects, Sosman & Landis rented a series of spaces that they referred
to as “annex studios.” Although New York
Studios had long been marketed as the eastern affiliate of Sosman & Landis,
there were never the funds to build a permanent structure for scenic work. In
the end Moses severed his relationship with New York Studios in 1919.
By summertime, Moses wrote, “A
new contract was entered into between the Chicago Studios and myself for one
year. I hope it will prove to be a paying one in which I participate in the
profits and a raise in salary, which means my old salary of $100.00 and a
bonus.” This means that when he left Sosman & Landis to work with New York
Studios, he took a pay cut. His base salary returned to normal when he began
working for Chicago Studios.
About this time, The Chicago
Studios placed a want ad in the “Chicago Tribune” on Sept. 13, 1919: “MEN –
YOUNG. TO LEARN THEATRICAL scene painting; excellent opportunity for those
inclined. The Chicago Studios, 15 W. 20th-st” (page 21).
From the “Chicago Tribune,” 13 Sept. 1919, page 21.
By Nov. 1, 1919, the want ad in
the “Chicago Tribune” was a little more descriptive:
“MEN-YOUN, BETWEEN THE AGES OF
16 and 21 to learn to paint theatrical scenery; must start in as paint boy and
work up; salary to start $15 per week; an excellent opportunity for one who
wishes to learn the trade. Apply Chicago Studios 15 W. 20th-st” (page
25).
From the “Chicago Tribune,” 1 Nov . 1919, page 25.
It is difficult to track down
information for The Chicago Studios; much has to do with the name. Similar to
New York Studios, the firm’s name is also used to denote location of other
businesses. For example, in 1919, newspapers credited scenery to the Chicago
Studio of Sosman & Landis. Essanay Motion Picture company also referred to
their Chicago Studio. And on top of everything else, there was also another Chicago
company named “Chicago Studio,” one that specialized in music.
Letterhead for The Chicago Studios after they moved to a new location in the 1920s – the old shop of Sosman & Landis.
Robert P. Carsen was a scenic artist, stage mechanic and
studio founder. He was the one who many scenic studios contacted when they
needed to subcontract a carpenter. Over the years Carsen was associated with
Buhler, Peltz & Carsen Studio, Peltz & Carsen Studio and the Robt. P.
Carsen Scenic Studio. He worked as over hire at many places too, including J.
C. Becker & Bro. In the 1920s and 1930s, Robt. P. Carsen’s studio letterheads
included, “constructors and painters of theatrical scenery.” His studios address
was the same previously cited by Peltz & Carsen, 1507 North Clark Street, Chicago.
Peltz passed away in 1919, but his son was also a stage carpenter that worked
at Peltz & Carsen.
1923 Advertisement for Peltz & Carsen in a Chicago Directory.
Robert Peter Carlsen was born on May 27, 1876, in Blooming
Prairie, Minnesota. Like some other artists, he changed his last name to Carsen
by the turn of the twentieth century. He was the son of two immigrants, Emelia
Olsen (b. 1855) from Norway and Peter Carlsen (b. 1840) from Denmark. Robert
was one of five children born to the couple after their marriage in 1875; two
boys and three girls. His sisters were Hilda (b. 1883), Roze (b. 1886) and
Helen (b. 1880), with an only brother was named Lewis O. (b. 1878). Lewis went
by “Louie.” Both Robert and Louis worked in theatre.
In 1880, the Carlsen family resided at 157 Ivering Street in
Faribault, Minnesota. By 1900, each of the boys was listed as a theatre “stage man”
in the US Federal Census. At the time, the Carlsen family was living at 276
Goodhue, St. Paul.
The 1910 US Census reported Carsen in Chicago, living with
his future wife and her son at 1364 Sedgwick St. Robert was lodging with Herman
M. Peltz, Alice McGinnis, and her son Frank McGinnis, Jr. Alice’s maiden name
was Bernstein, she was divorced from actor Frank McGinnis. Alice and Frank were
married on Aug. 4, 1898.
On Oct. 31, 1912, Carsen married Alice L. Bernstein. He was
36 years old and she was 31 years old. Five years later, Carsen’s 1918 WWI
draft registration card lists that he was a contractor and owns his own
business at 1507 N. Clark St. This would have been Peltz & Carsen. He was
described as tall, with a stout build, blue eyes and sandy hair.
In 1923, Carsen placed advertisements in education journals,
business directories, and drama publications. For a why, he specialized in
rentals and focused on amateur productions. The 1923 December issue of “The
Drama Magazine” included a “Robt. P. Carsen Scenic Studios” ad space noted,
“Rent everything in Scenery” (page 120). They were taking a new approach,
offering an educational department:
“An announcement
SUSAN STUBBS GLOVER
Authority on lighting and settings for the amateur stage. Is
director of our Educational Department. Mrs. Glover’s Screen Stage Settings
have had editorial recognition from The Theatre, Variety and The Drama Magazine
and her advice is sought by Schools, Colleges and Little Theatre. If you have a
stage problem write for our questionnaire.”
Advertisement for Robt. P. Carsen Scenic Studios.
In 1924, Carsen delivered scenery for “Two Little Girls in
Blue” at the Harlequin Club in Layfette, Indiana (Journal and Courier, 2 May
1924, page 2). Of the settings, the ‘Lafayette Journal and Courier” reported, “Most
of the action of the play takes place aboard ship, making it necessary to
provide an elaborate ship setting. The settings that will be used are an exact
duplicate of the sets used in the original Erlanger production secured through
the Robert Carsen scenic studio of Chicago.”
On May 15, 1925, Moline’s “Dispatch” reported, “The scenic
investiture of Robin Hood presents a problem to amateur productions from
Chicago, where he arranged with the Robert P. Carsen scenic studios to rent the
original DeWolf Hopper scenery and properties as used in the Great Northern
theater this winter. This scenery, amounting to almost a carload, will be
shipped to Moline and patrons of the opera will be assured at least of the
authentic period scenes of the well-loved Sherwood and Nottingham environs. In
order that the opera may meet the high standard set by its promoters the
costuming will be done by the New York Costume company, one of the finest
costume houses in America.” (Moline,
Illinois, page 20).
In 1927, Robert P. Carsen Scenic studio was credited with
the new system at the Kenosha Theatre in Wisconsin. The “Kenosha News”
reported, “The designing construction and rigging of the most modern stage
equipment through which a theater giving stage presentations such as the
Kenosha must hope to operate smoothly is the result of the efforts of the
Robert P. Carsen Scenic Studio of 17507 N. Clark street, Chicago. The stage
equipment, which has been pronounced by experts to be without fault, is the sum
total of decades of experience in outfitting theater stages.
Carsen married for the second time, Katharine L. Slack in
Clinton, Iowa, on July 8, 1941. Carsen passed away on March 10, 1958. At the
time, he lived in Michianna Shores, Indiana, and was 81 years old. the death
certificate listed his “usual occupation” as a manufacturer in the stage
equipment industry. Interestingly, his death certificate lists his parents as
Peter Carsen (not Carlson) and Emily Forsythe (not Olsen).
Like Herman Peltz, of Peltz & Carsen, the studio
outlived him. The name of Carsen morphed into the studio of ACME, CARSEN &
PAUSMACK.
There were a few winning
combinations for scenic studios during the turn of the twentieth century. The
first was the combination of salesman and scenic artist. In this case, both
intimately understood the design, painting and building process for stage
settings. The second winning combination was the combination of scenic artist
and stage carpenter; one built and one painted the settings. However, this
meant that someone needed to also work sales. Buhler, Peltz and Carsen combined
one scenic artist with two stage mechanics.
Harry H. Buhler was a scenic
artist and Herman Peltz a stage mechanic; they both worked at the Criterion
Theatre during the early twentieth century before forming Buhler, Peltz and
Carsen. Yesterday, I explored the Buhler
& Peltz combination at the Criterion Theatre. The two produced settings for
a variety of touring shows, written and designed by Lincoln S. Carter between
1906 and 1908. These were huge mechanical affairs with brilliant stage effects
that traveled across the country in railways cars packed with “special
scenery.” Peltz later partnered solely with Robert Carsen to form “Peltz and
Carson.” Both were primarily stage
carpenters, an interesting combination at the time and it was a relatively
short-lived business venture.
In 1918, Thomas G. Moses mentioned
the studio of Peltz & Carsen, as he was looking for a space to rent while
working for New York Studios. Today’s
post focuses on Herman Maximillian Peltz, Sr.
Peltz was born in 1869, one of three sons born to Margaretha
(b. 1840) and Thaugott Peltz (Dec 1801-15 Jan 1890). Little is known of his
parents, his upbringing, or his introduction to the theater. However, his parents
made the “Criminal Gossip” section of the newspaper when he was nine years old.
On March 30, 1878, the “Inter Ocean” reported, “Margaret Peltz is a solitary
North Side prisoner for assaulting and battering her husband Trangoth Pelts. Didn’t
like his front name most likely” (page 8). That had to have been an embarrassing
and tragic experience for the young Peltz.
Herman’s two brothers were Leo Peltz (1863-1940) and Max
Peltz (1859-1890), each born in Chicago. Their father was a German immigrant, born
in Lankreis Leipzig, Saxony, Germany, in 1801. At the age of 21 yrs. old Herman
Peltz married Caroline “Lena” Zellner on 17 Sept 1890. The couple celebrated
the birth of four children: Edith Mary,
Matthew, Edward and Herman Max Peltz Jr. Only Herman Jr. followed in his father’s
footsteps as a stage carpenter. In 1890, Peltz was listed in the Chicago
Directory as a “laborer” living at 3640 S. Wood. No industry was listed, but it
could have been theatrical; we don’t know. It is during the 1890s that “Herman
Peltz” is mentioned as performer associated with several theatrical endeavors.
Again, no indication as to when he began focusing on performance or backstage
work. However, by 1906 he was working with Harry J. Buhler at the Criterion Theatre
in Chicago. By this time, however, his skill set as a stage mechanic was well
developed.
The 1910 US Federal Census listed Peltz’ occupation as a “contractor” in the “theatrical” industry. At the time he was lodging with business partner Robert Carsen (age 33), Alice E. McGinnis (divorced female, age 29) and her son Frank (age 11). All four were renting at 1364 Sedgwick Street in Chicago. I have not tracked down where Peltz’s family was living or why they were living apart. Carsen’s occupation was also listed as a contractor in the theatrical industry. Like Peltz, Carsen’s parents were German immigrants.
Advertisement placed in “The Player,” Feb 23, 1912, page 20.
By 1917, Herman M. Peltz, Jr. was working at Peltz and Carsen. His WWI draft registration card lists that he was employed as a stage carpenter, like his father, for the firm. Interestingly, this ensured that the studio of Peltz & Carsen continued after the passing of Herman Peltz., Sr. in 1919.
Herman M. Peltz, Sr. passed away on June 13, 1919, and is buried
at Oakridge Cemetery in Chicago, Illinois. The cause of death was listed as “organic
disease of the heart due to scoliosis and calcification of the coronary
arteries.” Peltz & Carsen continued after the passing of one founded, still
active in the early 1920s.
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).
“The Cow Puncher” used scenery by Harry J. Buhler (scenic artists) and Herman Peltz (stage machinist). From “The Joliet Evening Herald News,” 13 Sept 1907 page 10.“The Cow Puncher” used scenery by Harry J. Buhler (scenic artists) and Herman Peltz (stage machinist). From “The Joliet Evening Herald News,” 30 Aug 1908, page 13.
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).
Buhler (scenic artists) and Herman Peltz (stage machinist). “The Joliet Evening Herald News,” 9 Sept 1907 page 6.“Shadowed by Three” used scenery by Harry J. Buhler (scenic artists) and Herman Peltz (stage machinist). “The Joliet Evening Herald News”, 25 Aug 1908 page 9.
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.
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 to form
the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz
& Carsen, and Peltz & Carsen. I am exploring each of their lives, as
Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in
1918.
Today I look at H. R. Buhler’s first
partner W. F. Mann. The two formed a partnership at the turn of the twentieth
century known as Buhler & Mann.
William Fletcher Mann was born
in Maryland, in 1851. His parents were also born and raised in Maryland. It is
unclear when Mann began work as a scenic artist, or any of his early work. However, by 1875 he married Olive Cramer and
was already working as a painter.
By 1880, the couple was living
in Union Township, Michigan, with their two young children, Mary A. (2 yrs.
old) and Harry A. (less than a year old). Mann was working as a painter at this
time, but I have not been able to locate any newspaper article that specific
projects.
By 1892 the Manns had moved and
were living in Augusta, Georgia. Interestingly, the Augusta directory listed
both Wm. F. Mann and Mrs. Wm. F. Mann as artists, with their studio at 404
Jarvis-Conklin Bldg, northwest corner Broad and 8th streets, and residence
at the southeast corner of Jenkins and Tuttle streets.” Although it is unclear
as to whether the entire family moved west, by 1894, W. F. Mann was listed as
an artist in the Kansas City, Missouri, directory. The publication noted that Mann was residing
at 513 e 8th Street. The entire family returned to Michigan by the late 1890s
where their third child was born. Nettie B. arrived April 21, 1898 in Saginaw,
Michigan.
As an itinerant scenic artist, it
is expected that Mann would travel from town to town, completing one project
after another. Like Thomas G. Moses, he could have been on the road for months
at a time, only periodically returning home to visit his family. During his
travels, he met and partnered by another itinerant scenic artist – Harry J. Buhler.
By 1900 Buhler & Mann were credited with delivering scenery for a touring
production. Their partnership seems to have lasted for only five years, but the
firm was quite prolific during this time. Mann would transition to management,
with Buhler remaining a scenic artist. The two would continue to work on the
same projects, just in different capacities. The 1900 US Federal Census listed Mann
as living in 1900 Detroit and working as a sign painter. It remains unclear if, or when, he moved to
Chicago, but the 1910 US Federal Census placed Mann and his family as still
living in Detroit.
The first mention that I have located
of a Buhler & Mann production appeared in the “Hamilton Country Ledger” on
Nov. 30, 1900. (Noblesville, Indiana, page
1). They were credited with designing and building “The Eleventh Hour” and
listed as “well known scenic artists.” The newspaper article reported that one
scene cost $5,000; it was a reproduction of a Chicago millionaire’s “magnificent
drawing room.” They based their work on photographs taken of the space.
Their productions with scenery
by Buhler and Mann included “Go Wan Go
Mohawk” (1900), “At Valley Forge” (1901), “Jesse James the Bandit King” (1903),
“Alaska” (1903), “Over Niagara Falls” (1905), and “The Heart of Chicago”
(1906). Their last production, again listed as a Buhler & Mann attraction, appears
to be “A Gambler’s Daughter” in 1906. The two are also credited with producing scenery
for “Moonshiner’s Daughter,” a show that was still touring in 1907 (Miner’s
Journal, 1 April 1904, page 2, and Post-Crescent, 19 Sept 1905, page 8). The
“La Crosse Tribune” noted, “There are four acts and eight scenes, and each is
equipped with a scenic environment from the studios of Harry J. Buhler and W.
Fletcher Mann” (La Crosse Tribune, Wisconsin, 9 Sept 1907, page 3). What I find
interesting is that their names, Buhler & Mann, appeared in the producer’s
spot for many advertisements. Typically,
a scenic artist and his work was mentioned in the fine print. This credit would
appear after the location, name of the producer, title of the play, and short
descriptive.
From the “Great Falls Tribune,” Great Falls, Montana, 31 Dec 1901, page 4.From the “Great Falls Tribune,” Great Falls, Montana, 31 Dec 1901, page 4.From the “Pittsburgh Daily Headlight,” Pittsburgh, Kansas, 24 Oct 1901, page 5
By 1907, the partnership seems
to have ended, with Mann transitioning into management. In 1908 Buhler designed
and painted scenery for “The Cow Puncher.” The production under the direction
of W. F. Mann who did not help manufacture the scenic effects. This show was
also the first mention of Buhler painting with Herman Peltz. Buhler and Peltz later
partnered with Robert Carsen to establish Buhler, Peltz & Carsen. The
“Coshocton Daily Times” reported, “The scenery was built by the well known
artist Harry Buhler and Herman Peltz from the original drawings made by Mr.
Buhler, the artist, who spent a year in Arizona for his health.” (Coshocton
Daily Times, 1 Dec. 1908). This explains the abrupt end of new projects with
scenery by Buhler & Mann by 1907. However,
Buhler is actively working by 1909.
The scenery for the1909
production of “Pinkerton Girl” was credited to “Harry J. Buhler and Peltz &
Carson” (Akron Beacon Journal, 22 Sept 1909, page 10). It seems that Peltz
began working with Robert Carsen. Buhler was still working independently in
1909, and solely credited with providing the scenery for “The End of the Trail”
(Hartford Courant, 19 Jan. 1909, page 6). By the end of 1909, the Buhler, Peltz
& Carsen Studio delivered scenery for “Dark Marriage Morn” (News-Journal,
Mansfield, Ohio, 29 Dec. 1909, page 5). The form was credited as providing the
mechanical and scenic portion of the show, noted as “very costly and
elaborate.”
From 1909 to 1910 Buhler, Peltz
and Carsen worked at the Criterion Theatre and were credited with scenery for many
W. F. Mann productions. Projects
included “Dare-Devil Dan,” “Dark Marriage Morn,” The Pinkerton Girl” and “The
Plotters.” All of the scenery was constructed and painted at Chicago’s
Criterion Theatre. The 1910-1911 Julius Cahn’s Official theatrical Guide lists
W. F. Mann as the touring manager for a variety of shows that include “As Told
in the Hills,” “Carriage Trade,” Dare Devil Dan,” “Dr. Jekyll and Mr. Hyde,” “Pinky
the Pinkerton Girl,” “Shadowed by Three,” “Th C0w Puncher,” “The Arizonian,” “The
Twenty-third Psalm,” “Tempest and Sunshine,” “The Fighting Parson,” “The Second
Generation,” “The Vulture,” “The Painted Lady,” “The Journey,” “The
Professional,” “Her Dark Marriage,” “Jaquelin’s Profession,” “Married in Haste,”
“Meadow Brook Farm,” and “Mrs. Worthington’s Career. By this time, Mann moved
from Chicago to Detroit; a sidestep, but Mann was still listed in the US Federal
Census as an “artist.”
The 1910 census places the Mann
family in Detroit. At the time, W. F. Mann was 59 years old and had been
married to wife Olive for 35 years. Their household was full, housing extended
family members. There were adult children, grandchildren, and an elderly relative
known at “Aunt B.,” all living under one roof. The census listed Marni (33 yrs.
old, daughter), Harry A. 31 (31-yrs. Old, son), (Nettie 29 yrs. old, daughter),
Thelma (7 years old granddaughter), Harry (7 years old grandson), and Aunt B
(79 yrs. old).
Something happened by 1912 that
caused Mann to disappear from print. I
have not been able to locate any information, including an obituary. The last mention
of W. F. Mann that I have located to date is a notice published on July 28,
1912, in Chicago’s “Inter Ocean”: “Harry Mack, formerly general manager for W.
F. Mann’s attractions, has been engaged in a managerial capacity by the United
Play Company” (page 18).
Mann passed away on August 16,
1926. He was 75 years old.
