Tales from a Scenic Artist and Scholar. Part 1067 – P. Dodd Ackerman (1875-1963), the Early Years

Copyright © 2020 by Wendy Waszut-Barrett

Philip Dodd Ackerman (1875-1963) was an actor, scenic artist, designer and producer. He became an extremely well-known and well-respected Broadway designer, and has numerous entries in the Broadway Database (https://www.ibdb.com/). Ackerman is credited with ninety-one productions from 1897-1939, but this is just a small percentage of his work throughout the duration of his career.

In 1929, the “Daily News” announced, “P. Dodd Ackerman who has created the settings for 800 productions intends to become a full-fledged producer. He is reported to have been the nameless angel of more than one show, but now he comes out in the open and announces that he will stage “Montana Fury” by David Davidson, jr. It is all about an idiot hill-billy, and the role will fall to Barry McCollum. Ackerman’s 800 scenic production is A. H. Wood’s German play, ‘Hokus Pokus.’ His first play was Harrison Gray Fisk’s “The Privateer” (NY, 28 Jul 1929 page 162).

Philip Ackerman is quite an interesting character, and possibly one of the more fascinating personalities that I have encountered to date. The 1880 US Federal census listed the Ackerman family living in Mobile, Alabama. At the time, Joseph Ackerman (b. 1848) was a salesman. His wife Frances and two young sons, Philip and Earle, were living with him. Joseph came from a relatively large family, one of eight children born to Joseph Chandler Ackerman (1812-1867) and Sophia Belinda Vanburen (1821-1892). Joseph Ackerman was born in Mobile, Alabama, in 1848. At the age of twenty-six, he married Frances T. Dibble in 1874. Philip was born in Atlanta, Georgia, on June 16, 1875, Phillip was the son of Joseph Van Buren Ackerman (1848-1882) and Frances T. Dibble (1842-1916). Two years later, his brother Earle Van Buren Ackerman arrived was born in Pensacola, Florida, on July 29, 1877. E A. Akerman (1877-1970) also became a scenic artist. There is no indication of how, or why, the world of theater beckoned both sons, luring each to New York. However, when they entered the scenic art profession opportunities were abundant and financial prospects high.

Ackerman became a scenic artist when he was about twenty years old. Typically, scenic artists began their careers at the ages of sixteen or seventeen. Later advertisements suggested that his studio was founded in 1890, but the 1892 New York Census listed Ackerman’s trade as a “gilder”; he was seventeen at the time  It is possible that he took an interest in painting and art in 1890, but wouldn’t enter the theatre for another five or six years. Ackerman repeatedly cited that his first stage show was “The Privateer” Harrison Gray Fiske. Lew Morrison purchased Fiske’s melodrama in 1895 with the intent to produce it the following season (The Richmond Item, 18 Feb 1895, page 3). By 1897, Fiske took Morrison and Abram to court for violation of their contract with “The Privateer,” citing that they failed to provide “adequate scenery and a competent company” (Democrat and Chronicle, Rochester, NY, 22 Aug. 1897, page 15). Fiske asked for a temporary injunction for Morrison and Abram to have the opportunity to live up to their contract. Therefore, Ackerman either delivered scenery for the failed attempt in 1896 or the revised production in 1897.

Regardless, 1897 was a turning point for Ackerman. He married Marguerite “Margaret” Meyer in Manhattan, New York on July 16, 1897.  At twenty-two years old he was rapidly making a name for himself, and soon became associated with the Empire and Novelty Theatres. The couple celebrated the birth of one daughter by 1899, Emma Bella Ackerman. At the time, the small family was living in Brooklyn, New York.

In 1898 Ackerman painted special scenery for the James-Kidder-Warde Company’s productions of “The School for Scandal.” When the three-star combination toured Lexington, “The Morning Herald” reported, “Special scenery from the brush of Mr. P. Dodd Ackerman, scenic artist for the Empire Theatre, New York, has prepared for all of the plays” (Lexington, 29 Oct. 1898). That year Ackerman also painted scenery for the “A Fair Rebel” at the Novelty Theatre. The “All the scenery necessary for the production has been under the direction of P. Dodd Ackerman” (The Brooklyn Citizen, 4 Dec. 1898, page 10).

By 1899, “The Gazette” described Dodd’s scenic contribution to Howard Hall’s “A Soldier of the Empire” (Montreal, 21 Sept. 1899, page 5). The review reported, “The costuming is of the Directoire fashion, while the elaborate scenic investiture is perfection of the artist’s skill. The latter is by P. Dodd Ackerman whose work for the Frohman productions, particularly “Under the Red Robe,” called for so much praise in the past.

At the turn of the century, newspapers refereed to the scenic artist as “that international famous artist, P. Dodd Ackerman” during his work for “The Honest Blacksmith” (Courier-News, Bridgeport, NJ, 8 Nov. 1900, page 2). During this same time, he was also responsible designing scenery for the revival of “M’liss,” a comedy drama of western life, produced by A. J. Spencer of Jacob Litt’s office (Democrat and Chronicle, 13 May 1900, page 14). Ackerman was quickly becoming a rising star in the scenic art world.

The 1900 US Federal Census listed Ackerman as an artist and living at 878 Driggs Avenue I Brooklyn, NY. That year, he briefly partnered with Homer F. Emens to deliver scenery for the production of “Aria” at the Columbia Theatre (Evening Star, Washington, D.C., 17 March 1900, page 20). Reviews noted, “’Aria’ is to be very big scenically, and the picturesque settings by Homer Emens and P. Dodd Ackerman.” The partnership continued into 1901 with the pair designing and painting scenery for “The Power Behind the Throne” (Brattleboro Reformer, 17 Sept. 1901, page 1).

By the fall of 1901, Ackerman was again working solo with assistants. The “Brooklyn Citizen” noted that Ackerman and his “assistants” were the scenic artists for the Orpheum theatre, and delivering scenery for all the upcoming shows at the Gotham Theatre, formerly the Brooklyn Music Hall, after its renovation (15 Sept. 1901, page 10). They were responsible for new scenery. He also designed scenery for the Elite Stock Company’s production  “All the Comforts of Home” (The Brooklyn Citizen, 10 Nov. 1901, page 10), as well as scenery for “Russian Serfs,” a melodrama dealing with the Crimean War (The Brooklyn Daily Eagle, 29 Dec, 1901, page 16).

In 1902, business was going so well, that Ackerman bought a house on Warwick Street in Brooklyn from Catherine Rose (Brooklyn Daily Eagle, 18, Jan 1902, page 16). “The Buffalo Review” reported “Four complete sets” for “The Lily and the Prince” were being painted by Homer Emens, P. Dodd Ackerman, L. W. Seavey and Church & Wheeler (17 Feb 1902, page 5).

It was in 1902 that Ackerman formed a partnership with Lemuel L. Graham, Thomas G. Moses’ former business partner. Purchasing a studio on Bushwick Avenue in Brooklyn, New York. The property was described as “s w s, 100 n w n e 56.3; John C. Schenck to Philip D. Ackerman and Lemuel L. Graham” (The Standard Union, 13 Aug. 1902, page 10).  By July 1903, ownership of the property was transferred from Graham to Ackerman (The Standard Union, 22 Jul 1903, page 10), effectively forming the P. Dodd Ackerman Studio. The same property would be transferred to Louis Jacobs by 1904 (Time Union, 4 May 1904, page 13), yet Ackerman’s business address would remain the same.

1903 productions with scenery by Ackerman included “Mayor and The Judge” – with the Scranton “Tribune” reporting the show was “painted by the celebrated artist P. Dodd Ackerman of New York City” (The Tribune, Scranton, 9 Dec. 1902, page 6). Ackerman was also credited with the Gotham Theatre production “Pearl of Savoy” (Brooklyn Daily Eagle, 20 April 1902, page 52), the Elite Theatre Company’s “The Unknown” (16 March 1902, page 24); “Tracy the Outlaw” (Brooklyn Citizen, 5 Oct. 1902, page 16); “Beacon Lights” (Times Union, 8 March 1902, page 17); “A Rough Rider’s Romance” (Brooklyn Citizen, 22 Feb 1903, page 16)’ “Deserted at the Altar” (Times Union, Brooklyn, 14 Nov. 1903, page 13); and “The Lost Paradise (The Standard Union, Brooklyn, 18 Jan. 1903, page 15). When “Deserted at the Altar” appeared at the Novelty Theatre, newspapers reported, “P. Dodd Ackerman, the celebrated scenic artis, worked three solid months on scenery for the ‘Deserted at the Altar’” The Fall River Daily Herald, 28 Nov. 1903, page 2).

That same year P. Dodd Ackerman was listed as the scenic artist for both the Gotham and Orpheum Theatres in Brooklyn, NY (The Brooklyn Citizen, 22 Feb. 1903). He advertised in “Julius Cahn’s Official Theatrical Guide” under “P. Dodd Ackerman, Scenic Artist” adding, “now occupying my large Studio building devoted exclusively to this business.” Ackerman’s business address was still listed as 1576 to 1580 Bushwick Ave. He advertised, “Productions carefully prepared and models designed from Author’s descriptions,” offering “estimates gladly furnished for both Painting and Constructing scenery, properties, electrical apparatus, etc.” Ackerman expanded his firm the next year, changing the name to “P. Dodd Ackerman & Co.” The company was advertised as “Scenic Artists and Constructors.”

1904, the scenery for Burlington’s New Theatre was credited by P. Dodd Ackerman & Co., of Brooklyn, NY (Burlington Clipper, 15 October 1904, page 5). By 1905 the firm’s services included “Electrical scenic productions for parks, etc. scenery for theatres, halls and exhibitions, act drops and asbestos curtains, fireproof scenery and storage.”

In 1905, Ackerman transferred the Warwick St. home to his wife, Margaret M. Ackerman (Times Union, 6 May 1905, page 9). This is likely the year that marriage troubles accelerated for the young couple. Yet their marriage seemed to struggle along for another decade. That same year, P. Dodd Ackerman’s studio and the studio of Gates and Morange delivered scenery for “The Lightning Conductor” (Courier-News, Bridgewater, 18 Dec. 1905, page 4). In 1906, the “Greensboro Dispatch” reported P. Dodd Ackerman was part of a team dispatched to Alaska’s Klondyke country to gather images of atmosphere and scenes for “The One Woman” (17 Oct, 1906, page 8) – “The hunters after atmosphere and scenes spent three weeks wandering about the Alaska goldfields and returned to New York City with enough stuff for half a dozen shows…The three scenes in Alaska are actual sketches from life and will be recognized by many who have visited the Klondyke. The electrical effects, which include the play of the aurora borealis on the sky, and its reflection on the snow-capped mountains, the lurid gleams of red and blue lights on glaciers and the snow drifts, the curtain of light, the Alaskan cloud effect, the sun shining at midnight, and the prayer fires of the Esquimaux, or ‘witch lights,’ as the miners call them – with the usual stage lights make an unusual equipment.” The stage electrician that went on the trip was Charles Hayman.”

On Aug. 24, 1907, the Brooklyn Daily Eagle listed P. Dodd Ackerman’s purchase of a new home from Edwin G. Wright in Nassau County, in Riverside Park, Rockville Centre (page 20). By 1910 Ackerman moved to Hempstead, New York. He seems to have been living with his wife and daughter again; daughter Emma was eight years old at the time.

By 1911, the studios of Ackerman and John H. Young delivered scenery for Paul Wilstach’s dramatic version of “Thais” (The Gazette, York, Penn, 14 Feb 1911, page 9). John H. Young was also a close friend and colleague of Moses whom I have covered extensively in past posts. By his point in his career, Young was also a well-known and well-respected Broadway Designer.

In 1912 the “Washington Herald” reported Ackerman’s involvement with “The Chimes of Normandy.” The article reported, “Edward Temple, formerly stage director of the new York Hippodrome, had staged the production, while Reisig, late of the Metropolitan Opera and P. Dodd Ackerman have built the succession of cyclorama scenes, and the armor and costumes have been imported from France especially for this production (20 Oct 1912, page 22). “The scenes have been built on a cyclorama plan” (Burlington Free Press, 22 Sept. 1913, page 6).

Then there was a decided shift; a shift in his life, his marriage and his career. It is not that he began failing in his career, but his love life became quite complicated.

By 1914, Ackerman partnered with his brother E. A. Ackerman, establishing Ackerman Brothers Scenic Studio. Previously, brother Earle was also running his own studio, renting the old Harley Merry space in Flatbush until it burned to the ground in 1911. The 1914 “Gus Hill’s Theatrical Directory,” included an advertisement for Ackerman Bros. The ad stated, “scenery painted and constructed,” also offering “motion picture settings.” Their studio was listed on Bushwick Ave.

This is about the time when everything changes for Ackerman and his first wife; their marriage appears to start falling apart, with their separation making the newspapers by 1916. That will be a separate post tomorrow.

To be continued…