Month: September 2020

Copyright © 2020 by Wendy Waszut-Barrett

In 1921, Thomas G. Moses wrote, “Early in January we closed a contract for Joe Bren productions.”  That year, “Twin-City Daily Sentinel” reported, “The Joe Bren Company are professional producers of wide fame and popularity, doing an extensive business among the Shriners, Elks, and other fraternal organizations in all parts of the nation” (Feb. 26, 1921, Winston-Salem, North Carolina, page 2).

The article quoted Bren: “Our hope supreme is not to make money; tho we do not spurn the master linguist, Mr. Kale, who talks all languages with equal facility – not that, but primarily to get before the public and show the good people of the city what we can do.” The article continued, “Someone mentioned the great expense entailed in engaging this professional company. ‘Expense, be hanged!’ exclaimed John [Whitaker]. ‘We want to put on a show that will not soon be forgot, a show with home talent, but with the ‘home’ made invisible thru training by professionals.’”

Sosman & Landis produced all of the scenery for Bren’s productions. Bren had been a client of theirs since 1916. The Joe Bren Company was a Chicago-based theatrical company that partnered with churches, fraternal organizations and civic groups to stage fundraising shows. They tapped into the “everyone wants to be a star” mentality. So many long for their moment in the spotlight, and Joe Bren delivered that – an opportunity to don a costume and perform in front of professional scenery for family and friends, never leaving the comfort of their hometown.  The Bren Company was especially popular with Kiwanis Clubs, the Lions, American Legionnaires, United Commercial Travelers, Benevolent and Protective Order of Elks, and Ancient Arabic Order of the Nobles of the Mystic Shrine.

Bren Company representatives traveled from town to town, working with local talent to organize minstrel reviews; working as the producers, directors and some-times performers for each endeavor. The Joe Bren Company not only provided instruction, but also all of the sketches and songs. The traveled with all of the technical trappings; scenery, lighting and costumes were brought in by train. On Jan. 4, 1921, the “Courier-Gazette” reported, “The Joe Bren Production Company has its headquarters in Chicago where it keeps in touch with the progress of stage art. The company carries a carload of scenery, electrical effects and stage paraphernalia, to put the show on” (McKinney, Texas, page 1).

The only true flaw with this entire formula was the inclusion of blackface, as it continued to perpetuate harmful stereotypes and further deepen the racial divide in America. I have written about Bren in the past posts (see #941 and #1111). Clients in 1921 included the Dallas Shriners’ Club, the Elks Convention in San Francisco, the Elks Convention in New Orleans, Charleston’s “Jollies of 1922,” Davenport’s “Amoo Revue of ‘22” for the Amoo Grotto, Minneapolis Elks for the Boy Scout Camp fundraiser, the American Legion of Nebraska’s “The Jollies of 1922,” and many, many more.

Bren was back every year to purchase more scenery for his shows.  In 1923 Thomas G. Moses wrote, “Joe Bren’s work came in early this year, and we will try and give him a good job.  It is not apt to be paid for very soon as usual.” 

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

I am frequently asked about historic scenery maintenance and restoration techniques, with many suggesting I publish some form of manual. Unfortunately, there is no standard way to restore all historic backdrops, cut drops, leg drops, roll drops, wings or shutters. Each one is different, demanding a custom approach based upon a unique set of criteria identified during the preliminary research phase.

A stage artifact’s artistic provenance is the main factor in determining the appropriate process for a continued care program, maintenance or any restoration. 

Extensive research must be completed prior to proposing a plan for the handling, cleaning, or repair of a large-scale artwork. Certain questions need to be answered in advance too; who manufactured the scenery, when was the scenery manufactured, and where was the scenery manufactured? The answers to these questions are key in determining the preservation strategy for a specific stage artifact or scenery collection. These answers also prompt a subsequent series of questions regarding appropriate materials, techniques, processes, timelines, future display and use. Is this historic scene intended for display in a theater, or will it simply hang on the wall of an art gallery, commercial establishment, or private residence? How often will the scenery be used, if at all?  The answers to these basic questions help formulate a plan.

In addition to understanding an artifact’s artistic provenance, all stakeholders must understand that certain materials and techniques could destroy the artifact. I will explain what not to do, based on examples of poor repairs that I have encountered in the past.  There are specific materials and techniques that should never be used on historic scenery or fragile fabric, as they cause irreparable harm and could destroy a significant piece of theatre history.

Contemporary scene painting is a dramatic departure from historic scene painting, in terms of fabrics, painting products and artistic techniques. So much has changed over the past two centuries. Historic scenic art is foreign ground to many contemporary scene painters, especially as certain types of training and materials have vanished from most college curricula and theatre apprenticeships. Just because you are a scenic artist does not make you qualified to restore historic paintings; the two are worlds apart. In other words, an ability to paint historic scenes doesn’t mean you should repair historic scenery. Similarly, a fine art conservator is not necessarily qualified to assess and repair historic settings for the stage.

1. ESTABLISHING ARTISTIC PROVENANCE

The first step to any historic scenery project starts with research. You need to establish the artistic provenance of a stage artifact or scenery collection, and here are the questions that you need to ask, and why you need to ask them:

            WHO made it? Is it a backdrop painted on cotton sheeting by a student for a class play in the 1920s, or is it a drop curtain constructed of Russian linen and painted by an internationally recognized artist in the 1890s?  The manufacturer of a scenic piece matters, as it is integrally tied to the painting process and materials.

Many nineteenth-century and early-twentieth-century American scenic artists attended art institutes, at home and abroad. In many cases, fine art studies were completed in addition to a lengthy apprenticeship at a professional scenic studio before striking out on one’s own.  American scenic artists at this time were members of fine art organizations across the country, and much of their work continues to be treasured in the fine art world. For example, some scenic artists in the east belonged to the Salmagundi Club and/or Rochester Art Club.  In the midwestern states, scenic artists studied at the Chicago Institute of Art, joining unique groups, such as the Palette & Chisel Club. In the west, scenic artists belonged to a variety of fine art organizations established in the Pacific North West, California, New Mexico and elsewhere. Theatrical scenery created by scenic artists should not be considered any less significant than their smaller fine art pieces. Large scale works provided generations of artists with opportunities to explore color theory, painting techniques, compositional lay outs and lighting conditions.  That being said, there were many amateur artists producing scenery too, and their work is easily identifiable, but also culturally significant.

Regardless of skill level and/or final product, the terms “old backdrops,” “old backings for the stage,” and “old scenery” devalues stage art. Instead, refer to historic scenery as “large-scale artworks” painted by local, regional, national, or internationally recognized fine artists. Public perception is crucial when preserving theatrical heritage. Your terminology could save a piece of American theatre history, or world history.

            WHEN was the artifact manufactured? The year, decade, and/or century that the theatrical scene was produced helps identify the type of fabric, paint, and painting process.  Knowing the age of a scene helps identify various materials, especially the fabric and basic construction techniques. Fabric seams, whether vertical or horizontal, can also identify a particular era and studio. How the drop is suspended and operated also matters. Are there sandwich battens, rollers, jute webbing, or something else at the top and bottom of the scene? Is there a counterweight system with arbors or a pin rail with sandbags? Keep in mind that the overall suspension affects the deterioration of both the fabric and painted composition. Understanding the original materials and display are crucial in identifying and locating appropriate and compatible materials for any repair.

            WHERE was the artifact manufactured? Location can help identify a specific construction and painting process. Certain regions adopted unique approaches to scenic art, often based upon the influx of immigrants. Scenic art in the United States began as a large melting pot of languages, traditions and techniques, with two dominant approaches emerging between 1850 and 1900. At this time American scenic artists primarily worked with opaque washes, thin glazes, and later a combination of the two. These artistic influences are still recognizable today across the country. For more information, read my recent article, “American Scenic Art: The Immigrant Contribution,” in TheatreInitiative Berlin’s Die Vierte Wand #110. Itavailable for free online https://archive.org/details/itheam_d4w-010_202009,

or downloadable as a pdf https://issuu.com/itheam/docs/itheam_d4w-010.

Throughout the twentieth century the American scenic art world continued to change, incorporating new products and methods into the painting process. As an industry many American scenic artists shifted from painting on vertical frames to painting on the floor. A backdrop painted in 1929 and another painted in 1940 may seem light years apart when examining construction, materials, painting techniques and operation.

2. MATERIALS AND PRODUCTS TO AVOID DURING RESTORATION

Restoration is for the long term. Unlike the ephemeral nature of scenery for a short-run show, certain materials and techniques to repair historic scenery should be avoided. Use common sense and think of the big picture; one beyond a quick repair. Select techniques that are reversible and will not permanently alter the artifact. Some methods to patch and repair contemporary drops are not always an option for historic ones. Below is a list of specific materials and techniques that should never be used on historic scenery or fragile fabric:

Metal: Sheet metal is never an option to patch fabric. The weight and sharp edges pose a threat and the rivets puncture the fabric.

Plaster: Plaster on fabric adds too much weight and the painted composition will stretch an irreparable amount.

Hot Melt Glue: This product embeds itself in the fibers and is irreversible, while adding unnecessary weight to the area. Hot melt glue should never be considered when repairing fragile fabrics or historic scenery. It is also an accelerant, posing a fire hazard.

Wood Glue: This product is too brittle to use on soft goods. It was also never intended for fabric; it’s for wood.

Wood Putty: This product was never intended for use on fabric. Again, it is for wood and too rigid for repairs.

Masonite: The weight of any wood or composite material glued to the back of drop or flat causes stress and will irreparably stretch the surrounding area.

Contact Cement: This is an irreversible and a solvent-based product that should not be used on historic scenery. It poses a fire hazard.

Flexible Foam: This product should not be glued to historic scenery at all.

Plastic and plastic netting: Plastic should never pair with historic or fragile fabric for many reasons. In regard to plastic netting, the rigidity will harm the fabric. Look for all-natural cotton fabrics and nettings.

Do not replace wooden battens with pipe pockets: Replacing wood battens with pipe pockets always fails. Piercing the fragile fabric creates a weakness; adding weight on that weak area works like a perforated page. It will eventually tear off.

Do not patch the front and sewn fabric patches: Sewn patches are seldom a solution, as piercing the fabric introduces additional weakness to damaged areas. Also, all patches should be applied to the back of pieces, never the painted front.

Do not consolidate paint with a reflective product: Dusting pigment is a problem with historic scenery, as the original binder begins to break down over time. Humid environments and water damage can accelerate this process. Consolidating loose pigment is the only option to minimize airborne particles, especially those that may be dangerous. The original binder for the paint was an all-natural, water-based product with a completely matte finish (hide glue). If you substitute a contemporary product, it should never leave any type of sheen to the surface or darken the original color. Even when the label says “matte” or “flat” it may still reflect stage lights.

Do not a different artistic medium on historic scenery: A new paint product should never be introduced for in-painting or overpainting on a historic drop. The color and finish will not match the original paint product, especially under the glare of stage lights. Oil pastels, markers, hobby paints, crayons and even contemporary scenic paint should not be used when restoring scenery that was originally painted with dry pigment and diluted hide glue.

Do not use flame-retardants on historic scenery:

Fire retardant chemicals irreparably damage historic scenery, harming both the fabric substrate and the painted composition. The original fabric discolors over time and becomes brittle. The painted surface will also crack, eventually flaking off.

The following was created by the director of Curtains Without Borders, Chris Hadsel:

“The attached amendment was passed by the National Fire Protection Association Technical Committee on Cultural Resources in September 2007.  The amendment is to the National Fire Protection Association (NFPA) 101 Life Safety Code, NFPA 909: Code for the Protection of Cultural Resources Properties – Museums, Libraries, and Places of Worship.  The revised code was approved in 2009.  You should be aware of the following standards and you should work with your local fire marshal to be sure that you are in compliance.

 There are two aspects of this amendment that you should be aware of:

1. As historic artifacts, a destructive burn test and/or the application of fire-retardant chemicals are not recommended by accepted preservation practice.

2.  However, in order to qualify for an exemption to Life Safety Code #101, the following  safeguards must be implemented.  These include, but are not limited to:

Prohibition of open flames (i.e. candles, lamps, and smoking)

Avoiding the use of heat producing appliances such as food and beverage preparation equipment within the room

Adding a fire watch during events when there are large groups of people

A recommendation to replace light bulbs on stage with cool burning lamps such as a fluorescent or LED, with no lights, electrical devices or cables located with 1 meter of the historic artifact.

Appendix 11.2.4

11.2.4:  Fire-retardant treatment of historically significant fabric shall not be required where such treatment will cause damage to the fabric.  This provision shall apply only on an object-by-object basis and where alternative protection measures are approved.

Where historically significant artifacts such as painted stage drops, tapestries and antique flags are displayed in public gathering places there is a need to balance fire and life safety requirements with the preservation needs of the artifacts.  Life Safety Standards including NFPA #101 Life Safety Code mandate fire retardant treatments for fabrics that are used in gathering places, with NFPA 701 Standard Method of Fire Tests for Flame Resistant Textiles and Films referenced as a test protocol.  NFPA 701 requires a destructive burn test of a fabric sample to verify compliance with the standard however this action will cause permanent damage to the material and is not recommended by accepted preservation practice.  Additionally, specific chemical treatments that may be applied to reduce combustibility may also result in irreversible harm fabrics.   None-the-less there is a need to protect artifacts and the locations in which they are housed from fire, and safeguards must be implemented for situations where artifacts are displayed in assembly spaces.  These should include but not be limited to: prohibiting open flames (i.e. candles, lamps, and smoking), avoiding the use of heat producing appliances such as food and beverage preparation equipment within the room, or adding a fire watch where the artifact is located.  The use of cool burning lamps such as a fluorescent or LED within the space is recommended with no lights, electrical devices or cables located within 1 meter (3 ft) distance of the artifact.  The placement of a combustible artifact within an assembly space should be approved by the authority having jurisdiction.   The AHJ should consult with disciplines that have expertise in preservation and protection of artifacts.”

Understanding Painted Illusion for Historic Theaters

It is crucial to understand painted illusion for nineteenth-century and twentieth-century stages when planning the preservation of historic scenery. Painted illusion was used in a variety of venues, including theaters, opera houses, cinemas, music academies, city halls, schools, lodge rooms, armories, coliseums, and hippodromes. None of it was intended to be viewed up close, or on a museum wall.  

Many extant backdrops were produced as part of a set. There would be a combination of backdrops, cut drop, leg drops, and borders, or wings, shutters, roll drops and borders. Flat profile pieces were added for painted dimension. A proscenium opening with painted grand teasers and tormentors were often permanently positioned to frame the onstage setting.  The level of detail for each painted piece shifted as the scenes were positioned from upstage to downstage.

Before you decide to formulate a maintenance plan or the restoration of any historic scenery, understand the past; past materials, past techniques, past stage systems and past venues. All provide much needed information. Choosing an appropriate path for any scenery maintenance or restoration is akin to the saying, “measure twice, cut once.” In almost every case you have only one opportunity to do this right.

Here is a link to my youtube video about the topic:

Copyright © 2020 by Wendy Waszut-Barrett

Back to the life and career of Thomas G. Moses after getting sidetracked by the Ackermans. I am beginning the year 1921. Thomas G. Moses wrote, “The New Year was ushered in by a general clean-up of the studio, and a pleasant call from Tom McCall.”

This is the first mention of a Tom McCall in Moses’ diary and there is no additional context to help place this individual in a public or private setting. It remains unclear whether McCall came by the Sosman & Landis studio or to Moses’ home.

There were a few Thomas McCalls living in the Chicago area at time, including the attorney Thomas H. McCall, the doctor Thomas E. McCall and the architect Thomas C. McCall.  I believe it was the architect Thomas C. McCall (1856-1925) who called on Moses near the beginning of 1921. 

McCall was born on August 6, 1856, in Newburgh, Fife, Scotland. He was the son of William McCall and Catherine Fotheringham, sailing from Liverpool about April 15, 1883. He was naturalized in 1892, before the Superior Court in Cook County. McCall married to Anna Delle Penney (1859-1903) on April 6, 1892 in LaSalle, Illinois, and the couple celebrated the birth of two daughters, Catherine (1897-1972) and Arvilla (Arville) P. (1899).

The first mention that I have encountered of Thomas McCall as a Chicago architect was in 1892. At the time, he was primarily designing hotels, such as the Holland Hotel for C. B. Waite (Inter Ocean, 7 Aug, 1892, page 10). Other hotels that year included a four-story hotel for Mary J. Reynolds and another for Mrs. George Krick. In 1892  he also designed a five-story clubhouse and hotel being built by the Queen Isabelle Association at Sixty-first street and Oglesby avenue (Inter Ocean, 9 Oct. 1892, page 10). In 1893, the “Chicago Tribune” reported, McCall completed drawings for the Hotel Oceana erected by John F. Thompson at Nos. 6331 and 6333 Drexel Ave in Chicago in early 1893 (12 Feb 1893, page 30).

The first listing of McCall in the Chicago Directory as an architect is in the 1898 That year he was residing at 5344 Madison Avenue. McCall was also listed in the “House Beautiful” architect directory for 1899. His primary focus was “Specialty” and “Residences” (Vol. VI, No. 6, page xi). In 1900 McCall was working at 702, 167 Dearborn, and residing at 5344 Madison Ave. Throughout 1903, McCall continued working at 710, 167 Dearborn. By 1905, however, he was residing at 1710, 9 Jackson Boulevard.

By 1916, McCall was designing the plans for the Chicago Picture Frame factory on Western Avenue and West Nineteenth Street, as well as a three-story apartment house for John Coutts (Inter Ocean, 9 Dec. 1900, page 39). The next year he moved to Evanston, Illinois, where he continued to work as an architect there. In 1917, McCall was listed as an architect in the Evanston, Illinois, Directory, residing at 845 Ridge Ave.

A little more information about McCall surfaced in his passport application. 1924, he applied for a passport, described as a 67-years-old man,  5’-7” with blue eyes and gray hair. On their return trip, he and his daughter Catherine, were listed as passengers, sailing on the S.S. Aquitania. They left on August 16^th and arrived in New York on August 24^th.

McCall died on January 13, 1925 in Evanston, Illinois, and is buried at Ottawa Avenue Cemetery in Ottawa, LaSalle County, Illinois, USA His obituary in the “Chicago Tribune” noted, “Thomas McCall, Noted Architect Dies at 58. Thomas McCall, well known architect and prominent in fraternal circles died at his home yesterday, 843 Ridge Evanston, following an illness of a month. He was 58 years old and was born at Edinburgh, Scotland, coming to Illinois forty years ago. Mr. McCall is survived by two daughters, the Misses Catherine and Arvilla McCall. Funeral services are to be held at 3 p.m. today as First Baptist church, Evanston. Interment at Ottawa, Ill.” ( 15 Jan. 1925, page 12). By that summer, the “Chicago Tribune” announced the engagement of Arvilla McCall to Albert Linne Tholin of Dowers Grove, son of Mr. and Mrs. Andrew P. Tholin (16 August 1925, page 71).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

George and Theresa Korb made room for Earle Ackerman in their home and provided a space for him after death. Scenic Artist Earle Van Buren Ackerman (1877-1970) shares a gravestone with George Washington Korb (1889-1957) and his wife Theresa Elizabeth Zsiday Korb (1893-1947). By 1935 all three were living in Franklin, New Jersey. Earle was thirteen years older than Korb.

Theresa “Tessie” Elizabeth Zsiday was the daughter of Joseph Zsiday (1868-1926) and Elizabeth (Elza) Absalom Faber (1871-1962). Each left Hungary and arrived on America’s shore in 1890. Joseph Zsiday was a shoemaker.

Their first child Theresa “Tessie” Elizabeth Zsiday was born on Sept. 28, 1893. The 1910 census listed “Tessie” as a sixteen-year-old, the eldest of four children living at home in Brooklyn, New York. Her younger siblings were Julia (Jule) Agnes (1896-1964, married Paul Julius Zaber), Charles (1899-1977, married Anna Marie Offerding) and Joseph Jr. (1904-1989, married Rose Lillian Glod) At the time, Tessie was working as an operator in a fur factory. She married George Washington Korb on Feb 4, 1913. Their marriage announcement in the Brooklyn “Chat” specified, “George W. Korb, 23, of Newark, N. J., and Theresa E. Zsiday, 19, of 187 Throop avenue” (18 Jan., 1913, page 23.) The couple celebrated the birth of two children, Ethel M. in 1922 (married Ralph Mathews) and George Earle, on March 9, 1926.

George W. Korb, Sr. was born in Harrison, New Jersey, on February 22, 1890. The son of Ed J. Korb and Mary Ehehardt. His WWI draft registration card lists his physical appearance as tall and slender with brown eyes and light hair.

From 1909 to 1913, George W. Korb was working as a clerk, and boarding at 96 Spruce in Newark, New Jersey. It was not until 1910 that Korb partially transitioned from working as a clerk to a scenery painter. The 1910 US Federal Census listed both Korb and his brother Edward as living with their grandmother, Chrystina Korb. At the time he was nineteen years old.

In 1916, George W. Korb was again listed in the Newark  City Directory as a clerk, living at 797 S. 13^th Street. He remained at the same residence in 1917 and by 1918 he was again listed as a scenic artist. In 1918 Korb worked for Joseph A. and Wray Physioc at Physioc Studios at 624 West 24^th St in New York City.  In 1922, the Physioc studio burned to the ground. This was the same year that Korb founded the Beaux Arts Scenic Studio with Earle Ackerman. Of the Physioc Studio devastation, newspapers reported, “One of the most spectacular fires seen in New York for many months last Wednesday gutted the Physioc Studios at 449 and 451 First Avenue, and for four hours threatened the destruction of Bellevue hospital.”

In 1920, his brother Edward lived with George and Tessie on South 13^th St. in Newark, New Jersey. By this time, George was working for himself, listing his occupation as proprietor of a scenic studio. He was likely working under his own name at this time.

From 1922 to 1925 the Newark Directory listed that Korb as working at Beaux Arts Scenic Studios. I have only located one mention of the firm. The “New York Clipper,” reported, “Earl Van Ackerman and George W. Korb, doing business as the Beaux Arts Scenic Studio, filed the suit against Dudley for the sum of $638 plus interest from July 8, 1922. In their complaint the plaintiffs allege, that scenery worth $1,628 was sold to Dudley, on which he paid $990, leaving a balance which they seek to recover” (7 Feb. 1923, page 5).

Little else is known of George’s later years beyond his obituary noting that he worked as a scenic artist for CBS in New York.

Theresa passed away on Jan. 23, 1947 at the age of fifty-four yrs. old. Her obituary in the “Courier-New” announced, “Mrs. George W. Korb of Howard Ave. died last night (Jan. 23, 1947) in Somerset Hospital (24 Jan. 1947, page 17). In addition to her husband, Mr. Korb is survived by her mother, Mrs. Elisabeth Zsiday; one daughter, Mrs. Ralph Mathews; and one son George, Korb, all of this place; and a sister and two brothers. Funeral arrangements will be announced by the Taggart Funeral Home, Bound Brook.”

On July 22, 1957, George Korb passed away. His obituary in the “Courier-News” announced, “South Bound Brook – George W. Korb, 68, of Howard Ave., died Saturday (July 20, 1957) in New York following a sudden attack. A native of New York, he was a resident here for the past years. He was employed by CBS television in New York. Surviving him are one son, George E. of Green Brook; one daughter, Mrs. Ralph Mathews of Franklin Township; one brother, Edward of Pleasantville; and four grandchildren. Services will be held Wednesday at 10 a.m. in the Taggart-Chamberlain Funeral Home, Bound Brook, with Rev. Daniel U. Smith of the Reformed Church officiating. Burial will be in the Bound Brook Cemetery” (22 July 1957, page 20).

Earle Ackerman passed away on April 29, 1970, in Philipsburg, New Jersey.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Life can be complicated; more so for some. In 1897 Earle Van Buren Ackerman married Rhoda Beatrice Snell (1877-1953). Their wedding took place in Brooklyn, New York. This was the same year that Earle’s brother P. Dodd Ackerman married his first wife Margaret.

Earle and Rhonda celebrated the birth of their son Robert on August 28, 1898 in Brooklyn, NY, the same year that P. Dodd and Margaret celebrated the birth of their daughter Emma. Each couple lived in Brooklyn with infants, the men of the family trying to succeed as a scenic artist.

1916 was a turning point for each brother. That year the marriage of each couple made headlines. Margaret divorced P. Dodd, after he had an affair with his daughter’s friend.

Similar troubles were also brewing for his younger brother Earle, when another woman caught his eye, also making headlines. On Feb. 12, 1916, the “Times Union” reported, “Mrs. Shean is Held. Charged with assault by Mrs. E. Ackerman, Wife of Scenic Artist” (page 1). The article continued, Mrs. Thomas F. Shean of 8 Glenada place, was held in $200 bail by Magistrate Naumer in the Gates Avenue Court late yesterday afternoon on the charge of assault…Mrs. Shean is the wife of an insurance broker and Mrs. Ackerman’s husband is a scenic artist with a scenic studio at 531 Grand avenue. The courtroom was crowded with a number of club women and society folk who had come to hear the domestic troubles of the couple in court. Mrs. Ackerman testified that she accidentally met Mrs. Shean in a Fulton streetcar Sunday night, When Mrs. Shean got off at Grand avenue, Mrs. Ackerman followed and pursued her for over half a mile. Finally, Mrs. Shean turned and said: ‘Do you expect to find your husband by following me?’ Mrs. Ackerman replied that she did. Thereupon Mrs. Shean struck Mrs. Ackerman over the eye with her handbag, so Mrs. Ackerman testified, and she took off Mrs. Shean’s hat and pulled her hair. Mrs. Ackerman further testified that her husband told her, after the arrest, that he would leave her unless she withdrew the complaint against Mrs. Shean. Mrs. Ackerman claims she is going to sue her husband for a separation.” Mr. Shean posted bail for his wife (The Standard Union, 12 Feb 1916, page 9). Mrs. Ackerman’s suspicions were justified, and the couple divorced two years later. The “Standard Union” added, “In telling the story to the Magistrate, Mrs. Ackerman declared her assailant had alienated her husband’s affections…Mrs. Ackerman said she was unwilling to make any trouble for Mrs. Shean because her son, Robert, was an intimate friend of the Shean children, Ethel, 18 and Edward, 16. The public assault was ‘the straw that broke the camel’s back, Mrs. Ackerman averted” (8 Feb, 1916, page 14).

And yet, Earle and Margaret continued to ride the wave of wedlock in a sinking ship. On March 30, 1916, the “Standard Union” announced, “Mr. and Mrs. E. Van Ackerman of 329 Halsey street, celebrated their nineteenth wedding anniversary on Tuesday night with a social at their home” (page 9). That same month, Mrs. P.Dodd Ackerman was awarded $30/week alimony, pending her suit for separation (Standard Union, 17 March 1916, page 17). After two years of denying an affair with the young stenographer, Miss Smith, he put her name on his draft registration as his second wife. Earle Van Buren Ackerman’s WWI draft registration card listed his physical appearance as identical to his older brother, with fair hair, blue eyes, medium height and medium build. The registration card listed his occupation as “theatrical scenery,” and his employer H. Robert Law, at 502 W. 38^th in New York.

About the same time that P. Dodd was writing May Smith on his draft registration form, Earle Ackerman made headlines when the “Brooklyn Daily Eagle” reported, “Artist Sued For Divorce” (Nov. 12, 1918,page 2). The article continued, “Mrs. Rhonda B. Ackerman today brought suit in the Supreme Court for a divorce from her husband, Earle Van Buren Ackerman, known in theatrical circles as a scenic artist, naming Mrs. Martha Shean of 8 Glenada pl., co-respondent. The wife alleged that Mrs. Shean induced Ackerman to leave his home and then taunted Mrs. Ackerman. Mrs. Shean is known in church circles and was active in charitable and social welfare work. The Ackermans were married in 1897 and have one son” (page 2).

The next day, the “Times Union” reported, “Church Worker in Divorce Case” (12 Nov 1918, page 7). The article expanded on the Ackerman’s marriage troubles: “Artist’s Wife Names Mrs. Shean as Co-respondent. ‘Well, I’ve got him now,’ said Mrs. Martha Shean, of 8 Glenada place, Brooklyn, snapping her fingers under the nose of Mrs. Rhonda B. Ackerman, according to Mrs. Ackerman’s complaint in her divorce suit filed in the Supreme Court today against Earle Van Buren Ackerman, a scenic artist. Mrs. Ackerman named Mrs. Shean as co-respondent. Mrs. Shean is a church worker and known in the Stuyvesant Heights section of Brooklyn, according to Frank X. McCaffry, attorney for Mrs. Ackerman. Mrs. Ackerman stated that she and Ackerman were married in 1897 and have a son. The finger snapping episode occurred after Mrs. Shean and Ackerman had met several times, Mrs. Ackermam asserted. She declared further that the co-respondent engaged an apartment on Pacific street where Ackerman would visit her.”

The battle between Mrs. Ackerman and Mrs. Shean continued into 1919. That year Mrs. Ackerman wanted $20,000 for her “Lost Love.” A “Brooklyn Daily Eagle” article reported, “Mrs. Rhonda B. Ackerman of 158 Lefferts pl. has brought suit for $20,000 damages against Mrs. Martha Shean of 8 Glenada pl., whom she charges with alienating the affections of her husband. Francis X. McCaffry counsel for Mrs. Ackerman today files notice that the case would be moved for trial in the Supreme Court next month. Mrs. Ackerman recently brought suit against her husband, naming Mrs. Shean as correspondent. Ackerman did not defend the suit and Mrs. Ackerman won a decree. The two women at one time were friends, and on one occasion when they met in the street, Mrs. Ackerman alleges that her rival snapped her fingers at her and declared she could get her husband away from her anytime she wanted. Mrs. Shean, who is said to be prominent in church and social activities in Stuyvesant section, finally did succeed in her endeavors, Mrs. Ackerman alleges, and that is why she asks $20,000. Mrs. Shean, through Meier Steinbrink, has entered a denial of Mrs. Ackerman’s charges” (page 18).

Little is known of Ackerman’s life or career or personal life in the post-WWI years. Very seldom did his name appear in print. He did do some design work, such as the scenery for “Tia Juana,” at the Schubert Playhouse (Wilmington, DE, page 13).  In 1934, he was listed as an art director, supervising the production of murals in the Broadway Theatre (Courier-Post, Camden, New Jersey, 28 Aug. 1934, page 9).

There seemed to be a little black cloud that was forever over Earle Ackerman’s head. By 1939, he made headlines after a car collision. The “Courier-News” reported, “Car driven by Isador Gelbard, 43, of Davidson Ave., Franklin Township, was in collision with a car driven by Earle Van B. Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in front of the Brooks Theater Saturday afternoon. No one was hurt and no complaints have been made. Mrs. Isador Gelbard was in the car with her husband” (Bridgewater, CT, page 4). His life trudged along for the next few decades.

By 1940, Earle was living in Franklin, New Jersey; lodging in Franklin, New Jersey, with scenic artist George Washington Korb (1889-1957) and his wife Theresa E. Zsiday Korb (1893-1947). At the time, Ackerman had already lived with the couple for five years and his marital status was still listed as divorced. The Korbs always made room for Ackerman, even after death; their gravestone marked a place for Earle.

The Korbs are a fascinating couple in their own right and will be the topic of my post tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Philip Dodd and Earle Van Buren were the sons of Joseph Van Buren Ackerman (1848-1882) and Frances Talulah Dibble (1842-1916). Earle was two years younger than his older brother Philip, born on January 29, 1877, in Pensacola, Florida. Throughout the duration of his career, Ackerman was identified by a variety of names, including Earle Van Ackerman, Earle V.B. Ackerman, E. V. B. Ackerman and E. V. Ackerman and E. Van Ackerman. There is no indication of how, or why, the world of theater beckoned both Philip and Earle, luring each to New York. However, when they entered the scenic art profession opportunities were abundant and financial prospects high. Earle completed four years of high school before venturing north to New York.

The first mention that I have located of Earle’s scenic work was in 1897. That year, “E. Van Ackerman” was credited with painting a new drop curtain for B. F. Keith’s Union Square Theatre. The “New York Times” reported that Ackerman’s drop curtain depicted a “handsome interior with a view of a drawing room and distant conservatory” (Dec. 8, 1897, page 4). This was the same year that Earle married Rhoda Beatrice Snell in Brooklyn (1877-1953). His brother Philip also married his first wife Margaret in 1897.

Earle and Rhonda celebrated the birth of their son Robert on August 28, 1898 in Brooklyn, NY, the same year Philip and Margaret celebrated the birth of their daughter Emma. The two couples lived in Brooklyn, each man trying to succeed in the theatre business. The brothers sporadically worked together over the years, eventually forming Ackerman Bros. Scenic Studios by 1914. Unfortunately, the partnership never lasted long.

When they did work together, Earle functioned as a scenic artist and Philip as the supervising designer. It was Philip’s career that really took off by, with “P. Dodd Ackerman” appearing in one newspaper article after another. This may have prompted the two brothers to part ways; very little was published about the younger Ackerman’s scenic art and designs.

In 1909, however, the “Brooklyn Citizen” reported that E. Van Ackerman prepared twenty floats for the big Mardi Gras Carnival on Coney Island. Ackerman was working with Llewellyn J. Bruce on the project, and the carnival procession was estimated to be over a mile long, with 250 horses pulling floats and over ten thousand electric lights (Brooklyn Citizen, 25 Aug 1909, page 6). The 1910 US Federal Census listed Ackerman’s occupation as “artist” in “studio” as his industry.  He was living with his, wife, son and a boarder, John J. Redmond, who listed as a thirty-six yrs. old musician.

I wrote about Earle V.B. Ackerman in a past post while exploring the studio fire at Harley Merry’s old space in January 1912.  The incident had prompted me to track down a little information about Earle, the final renter of the studio space. His brother P. Dodd Ackerman had been on my radar for a while, but Earle was new to me. In 1911 Earle Ackerman partnered with J. Katser, also listed as Kapher and Kopher in newspaper articles. The two were renting Harley Merry’s old studio. Harley Merry was the scenic artist alias for British actor Ebenezer J. Britton. “The Brooklyn Citizen” reported “The Harley Merry Studios had been located on Franklin avenue for more than forty years. Harley Merry was an old-time actor and built scenery for Booth, Barrett and other well-known old-timers. Six months ago, Merry died and the business has since been carried on by E. Van Ackerman and J. Kopher” 9 Jan. 1912, page 12).

Here is a recap on the studio fire:

On January 9, 1912, the “Brooklyn Daily Eagle” reported, “The Harley Merry scenic studio in Franklin avenue, near Malbone street, in which the scenery for many of the greatest dramatic productions was painted, was destroyed by fire today. The entire contents of the building, including the completed scenery for one production and the partly finished scenery for another play, was lost.  The building loss is estimated at $3,000, while the loss of the contents will amount to $10,000.  The building and contents were uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27 Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the building at the time. Stabile was in the cellar under the studio when he heard a noise which sounded like the drop of a heavy weight.  He ran up to the second floor, and as he opened the door leading to the stairway a cloud of smoke burst into his face.  He called for help and a policeman sent in an alarm.  Battalion Chief O’Hare, who was in charge of the fire engine companies to arrive, feared that the fire would spread to the adjoining building, which are all of frame construction, and to the Consumers Brewery across the street, and he sent in a second alarm.  Six engines and two truck companies were soon on the scene, but the fire was beyond control and their efforts were devoted to saving surrounding property. The roof fell an hour after the fire was discovered.  Ten foremen were in the building when the roof tottered and were warned by the call of Deputy Chief O’Hara.  All escaped before the roof collapsed. The flammable nature of the contents and the high wind are given as causes for the building’s rapid destruction. The building was originally used as a scenic studio by E. J. Britton, retired actor and scenic artist, who painted under the name of Harley Merry.  After his death last September, the building passed into the hands of his daughter Mrs. George Kennington.  It has recently been rented as a studio to E. Van Ackerman and J. Katser.”

In the fire, Ackerman and Katzer lost scenery for an upcoming production of “The Real Girl.” The article reported, “The [studio] contents included the completed scenery for the production of ‘The Real Girl,” a musical comedy which is to be produced on Broadway within a few weeks, and also the partly finished canvas for the farcical comedy, “Class,” which also has a Broadway booking…The loss of these two sets is estimated between $6,000 and $7,000.”  It was possible that this heavy loss without the safety net of insurance ended the Ackerman and Katser [Kapher/Kopher] partnership.

By 1913, Earle was working with his brother again, a likely result from financial devastation. They partnered to deliver scenery for “The Privateer” at the Star Theatre. Then Earle branched out again on his own, designing “Mlle. Modiste,” at the Globe Theatre. There was also a 1913 that advertisement that announced, “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.”  This suggests a split, or the temporary departure of his brother. Yet his advertisement listed an address at 1576-1578-1580 Bushwick Avenue; his brother’s studio.

The 1913 advertisement also noted that the Earle’s studio was established in 1890. This date is extremely doubtful based on the ages of the brothers in 1890; they would have been 15 and 13 years old. In fact, in 1890, Earle V.B. Ackerman was working as an office boy for Kiser & Sparks while boarding at 242 Whitehall in Atlanta, Georgia. Keep in mind that attaching an earlier establishment date was not uncommon for scenic studios. Sosman & Landis and Volland Studio also added a few years to their establishment dates over the years, boosting the levels of their experience and longevity.

By 1914, “Ackerman Bros. Scenic Studio” is advertised in “Gus Hill’s Theatrical Directory.” The new firm is at the same location on Bushwick Avenue in Brooklyn.  The advertisement offers, “Scenery Painted and Constructed, Productions, and Motion Picture Theatre Settings.” Their partnership did not last long, and soon Earle was on his own again, partnering with other scenic artists to compete projects. On Oct. 19, 1916, “The Vermont Tribune” reported, “Two scenic artists from Brooklyn, N. Y., E. Van Buren Ackerman and Henry Schmidt, are boarding at W. D. Livingston’s.” (19 Oct. 1916, page 8). About this time, both Ackerman brother’s encountered marital problems, each separating from their wives. Earle never remarried.

Earle’s WWI draft registration card listed his physical appearance as similar to his older brother’s, fair hair, blue eyes, medium height and medium build. At the time, his occupation was noted as theatrical scenery and his employer H. Robert Law, at 502 W. 38^th in New York. Little is known of Ackerman’s life or career or personal life in the post-WWI years. Very seldom did his name appear in print; this was a marked departure from his older brother’s very public persona.

By the late 1920s Earle is working as a designer. In 1927 Earle designed the setting for “Tia Juana,” a melodrama at the Schubert Playhouse.  On November 5, 1927, the “Morning News” reported, “The Company is capable, the scenery elaborate, and there are no dull moments” (Wilmington, DE, page 13).  Ackerman’s design was built by the Vail Scenic Construction Company. Then he disappears again until the mid-1930s. By 1939, Earle only made headlines after a car collision. The “Courier-News” reported, “Car driven by Isador Gelbard, 43, of Davidson Ave., Franklin Township, was in collision with a car driven by Earle Van B. Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in front of the Brooks Theater Saturday afternoon. No one was hurt and no complaints have been made. Mrs. Isador Gelbard was in the car with her husband” (Bridgewater, CT, page 4).

In 1940, Earle was living in Franklin, New Jersey; lodging with another scenic artist and one-time studio owner, George W. Korb. Ackerman listed that he had been at the same residence since 1935, with his marital status still listed as divorced. The Korbs, however, became Ackerman’s new family and he would live with them for years.

In the end Earle outlived them all, his wife, son, brother ad both Korbs. Earle Ackerman passed away on April 29, 1970, in Phillipsburg, New Jersey. Ackerman shares a grave stone with George W. (1889-1957) and Theresa E. (1893-1947) Korb.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Technical theatre history can pop up anywhere – even in a South Dakota Quonset building. In 2017 I stopped by the Heritage Hall Museum & Archives in Freeman, South Dakota. I was accompanying a colleague to see an advertisement curtain that needed some attention. While on site our Heritage Hall host mentioned a much older curtain stored in a nearby shed. Nothing could have prepared me for a series of Quonset huts, stuck in the middle of a field that hot fall day. After a brief struggle to find the correct key to open the massive doors, we wound our way past a series of antique cars and farming implements; this was off site storage for the Heritage Hall. At the far end of the Quonset was a tattered backdrop hanging from a warped batten. The influx of fresh air into the structure caused the old drop to rub against the corrugated metal. After all of these years, an old drop curtain had survived in this primitive building with a dirt floor and community of critters.

The opened doors at the far end provided just enough light for me to see the painted composition and a signature – Kaufman.

Heritage Hall Museum & Archive holds several fine art paintings by George J. Kaufman, as well as an advertisement curtain stored on site.

George Joseph Kaufman was a well-known artist in not only Freeman, South Dakota, but also neighboring towns. Kaufman was known for his fine art, murals, theatre scenery and excessive drinking. In regard to local Freeman projects, Kaufman was credited with scenery delivered to the Freeman Opera House (later the Freeman City Hall) and all of the scenery for the Freeman college auditorium. He also produced local murals for the Bethel Mennonite Church and the Salem Mennonite Church, as well as painting the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls, South Dakota. In fact Kaufman painted a variety of scenes in numerous South Dakota Towns, starting in the second decade of the twentieth century.

Unfortunately, Kaufman’s hometown primarily recalls his struggle with alcoholism. Notes by S. Roy Kaufman, based on conversations with extended family members, paint this artist as the town drunk. Online biographies for the artist report, “It was said that he sometimes wasn’t paid for a commission until he had finished it for fear that he would begin drinking and fail to finish the work.” Maybe it was the death of his first wife in childbirth, his failed career as a scenic artist in Hollywood, or the Great Depression that pushed him to find escape in a bottle. It doesn’t really matter in the end, especially as so much of the tale remains based on hearsay. Only a drop curtain, an advertisement curtain, one newspaper clipping, and a smattering of fine art pieces remain to show the artistic potential that this young South Dakota scenic artist had in the early twentieth century.

This drop curtain by Kaufman was likely completed prior to his move to California; before his dreams diminished and the Great Depression settled in to stay.

Kaufman was born on Sept. 28, 1889, in Childstown, Turner County, South Dakota. The son of Joseph Kaufmann (1850-1926) and Francis Graber (1852-1917). The 1900 US Census lists that young George was one of five children living at home; the kids were Peter (b. 1872), Mary (b. 1875), Henry (b. 1883), Lena (b. 1888) and George (b. 1889). Census reports provide one perspective, a small glimpse into Kaufman’s private life and painting career. In 1910, George was still living at home and attending school. As he was 20 years old at the time, this suggests some continued learning or trade. He first entered his father’s trade as a jeweler.

Kaufman’s 1918 WWI Draft registration card describes his appearance as brown hair, brown eyes, medium build and medium height. At the time, he was listed as married and a member of the Mennonite Church. He was listed as a self-employed “Jeweler and Opthalmic.” The 1920 census noted that George was back at home, this time a widower by age 31. Local histories suggest that his first wife died in childbirth. Unfortunately, there are quite a few George Kaufmans who were widowed between 1911 and 1919, too many to positively identify any particular one.

Kaufman soon remarried a local Freeman girl – Martha Lea Edelman (30 Nov. 1899-Sept. 1965). The couple celebrated the birth of their first son, Owen in 1922. At the time, Kaufman was working as a jeweler, but must have been doing quite a bit of painting on the side. In 1925 he left the jewelry business to pursue his passion of painting in California.

On Oct. 30, 1925, the “Argus-Leader” announced, “Freeman Artist Plans to Go to California” (Sioux Falls, SD, page 4). The article continued, “George J. Kaufman, who has become a well-known artist in many parts of the state has decided to go with his family to Hollywood to devote his entire time to the study of his favorite work. Mr. Kaufman has sold his entire stock of jewelry and also disposed of all his household goods. He is now planning to leave in a few days for California. Mr. Kaufman deserves much credit for the work done in the Freeman college auditorium. He painted the entire stage scenery and the school and community is justly proud of the appearance of the stage. Mr. Kaufman also painted the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls. He has also done work in many other towns of the state.”

The couple celebrated the birth of two more children after Owen; Betty Jean was born in 1926 and Virginia M. was born in 1928. Only Betty Jean was born in California, suggesting that the family had returned to Freeman by 1928 for the birth of Virginia Mae, or “Penny” as she later became known. By 1930, the US Census recorded that the small family was now living in Grandview, South Dakota. Kaufman was listed as a “painter” working in the painting industry.

I find it interesting that there are no records of Kaufman being called a scenic artist. This suggests a lack of adequate training that possibly led to his downfall in Hollywood. Based on his fine art and stage art, it is not of the same caliber as many other scenic artists at the time. Kaufman purportedly worked for a short time in Hollywood, painting sets before returning home to South Dakota. I have yet to confirm his work elsewhere.

George J. Kaufman passed away at the farm where he was born on 15 May 1958. He was only 68 years old. Kaufman is buried in Freeman Cemetery, a mile west of town.

Copyright © 2020 by Wendy Waszut-Barrett

P. Dodd Ackerman’s wife from 1937 until his passing in 1963 was Helen. Helen’s maiden name was Helen M. Hamilton.  She married William Fling in 1918, becoming Helen M. Fling; her nickname was “Nell” at this time. In 1937, New Jersey married records list the union of P. Dodd Ackernman to Helen Fling. At the time of their wedding, the couple lived in New York, with Ackerman working as a well-known Broadway designer and running a scenic studio. The same year that they were married, Fling published a series of four marionette books under the name Helen Fling. It was at this time that the Ackerman’s life took an interesting turn when they moved south. This is a long post.

On April 21, 1939, the Fort Myers “News-Press” announced, “Mr. and Mrs. P. Dodd Ackerman of New York have arrived to spend a month in Fort Myers” (page 4). They soon moved to Florida, making Fort Myers their home. Their first Florida home was known as “River House,” being mentioned when the couple hosted Miss Elsie Knapp of New York, a well-known numerologist (News-Press, 16 Nov. 1940, page 3). Also called “Riverhouse,” it was the club-home of the Ackermans and a social gathering place for interesting characters (News-Press, 14 Jan, 1940, page 7). Guests over the years included well-known artists and marionette artists Tony Sarg of New York (News-Press, 28 Jan 1941, page 3) and Harry Archer, the well -known composer of music for musical shows, also of New York (News-Press, 7 Jan., 1942, page 3).

By 1940, the Ackerman’s were hosting the Fort Myers “Little Theater group” at River House (News-Press, 17 May 1940, page 4). Philip and Helen were two of the group’s founders and their home became the hub of activities (News-Press, 24 May, 1948, page 5)..A decade later, the Ackermans would still be integrally involved with the Fort Myer’s Little Theater’s, helping teach dramatic classes.  Still held at 8PM, the 1950 classes took place at the Ritz Theater in the Patio de Leon. There were both children and adult classes, with Mrs. Ackerman acting as chairman for registration and occasional instructor (News-Press, 12 June 1950, page 5). In 1946 the Little Theatre planned a new play at Thomas A. Edison college, “Claudia.” Mr. and Mrs. Ackerman were art of the committee that approved the production of the new play (News-Press, 4 Feb. 1946, page 1).

The 1940s ushered in a new age and new location for Ackerman, with the couple becoming increasingly involved in general community activities. By 1940, P. Dodd was 65 years old and Helen was 54 years old., each had made a name for themselves. It was a time in their lives when they both worked together as a semi-famous and semi-retired couple. In 1941, Mr. and Mrs. P. Dodd Ackerman were credited with fashioning an exhibit of soldiers and sailors out of fruit and vegetables (News-Press, 2 Feb 1941, page 3). They sought out a variety of new creative outlets, always making a splash in the papers.

In 1943, Mrs. Ackerman was the supervisor of the craft division at Edison Park School in Fort Myers. She was called a “handicraft artist,” supervising crafts and hobbies for boys ang girls in the area (News-Press, 1 June 1943, page 1). She was also in charge of the hobby bazaar, held in the storeroom on First Street, next door to the Western Union office. The event had a successful six-day run with 1000 people attending (News-Press, 15 Jul 1943, page 1). In 1943, Mr. and Mrs. P. Dodd Ackerman were contracted to renovate the Edison Park school stage with new equipment and scenery (News-Press, 10 March 1943, page 3). One foot in the professional world and one foot in a retirement community, they were extremely active.

There were also many other social and the humanitarian activities that the Ackermans participated in during this time. Mrs. Ackerman enrolled for nutrition classes at Florida Power and Light Sunshine kitchen, a skill that she would apply to her continued social work (News-Press, 29 Jan, 1944, page 5). In 1944, Mrs. Ackerman helped distribute clothing and bedding to the hurricane victims (News-Press, 9 Nov. 1944, page 2). This was likely the reason that the Ackermans also moved from River House” to the Bayside park development area in 1945, purchasing their new property on First Street in January 1945 (News-Press, 18 Jan 1945, page 1). They purchased one of six available homes in the new Bayside park development.  As with the previous “River House,” their new home on Bayside hosted a variety of social events. On Nov. 13, 1949, the “News-Press” announced, “Mr. and Mrs. P. Dodd Ackerman open new Mexican rancho-style home, “River House” (page 4).

In 1944, Philip, Jr., then age 23 yrs. old, was completing military training in Fort Sill, Oklahoma. Philip Jr.  was the biological son from Ackerman’s previous wide Harriet. On May 30, 1944, the “News-Press” reported, “Second Lieutenant Philip D. Ackerman, jr., has been selected to attend the officers’ communication course of the field artillery school at this point. Lieutenant Ackerman is the son of Mr. and Mrs. P. Dodd Ackerman of 2226 Bayside parkway, Fort Myers (page 1). In 1946, the “News-Press” reported, First Lieutenant P. Dodd Ackerman, jr., arrived yesterday for a visit with his parents, Mr. and Mrs. P. Dodd Ackerman. Ackerman returned from Luzon in the Philippines and is now on terminal leave, after four years in the army. He will return to the University of Florida in Gainesville, Feb. 6, where he will graduate in June” (6 Dec. 1946, page 7). By 1949, the “News-Press” would announce, “Mr. Ackerman, who has received his BA and MS degrees at the University of Florida will receive his PHD at Columbia University next year” (3 June 1949, page 10). By 1953, the “News-Press” reported, “Capt. And Mrs. Philip D. Ackerman of New York City arrived by plane Sunday to visit his parents, Mr. and Mrs. P. Dodd Ackerman of Bayside Parkway. Capt. Ackerman is connected with Equitable Life Insurance Society. Mrs. Ackerman is doing research work with Cornell University Laboratories” (5 Nov. 1953, page 18).

The 1945 Florida State Census listed Philip Dodd Ackerman as an “architect,” with his level of education being “college art academy.” This is the first and only mention of Ackerman as an architect that I have encountered to date. The Ackerman’s were living at 2226 Bayside Rd in Ft. Meyers, Florida, with his wife Helen and “Theodore D. N. Ackerman.” No relation was listed for Theodore, but is occupation was U. S. Army. I have to wonder if the census worker got the name wrong, and it was really Philip jr., a distant relation, or a friend of Philips.

By the late 40s, Phillip Sr., Philip Jr. and Helen were living and working together. Around this time, Mrs. Ackerman became involved with the more feminine aspect of Fort Myer society; fashion shows, hair style shows and “charm school.”  A highlight at this time was the 1948 Edisonia Fashion show under the direction of Mr. and Mrs. P. Dodd Ackerman, who supervised and directed the event. Special lighting effects were provided by P. Dodd Ackerman, Jr.; this was the first mention that I have located about Philip Jr. being involved in any theatrical endeavors. An article in the “News-Press” about the event gave a little more information about Mrs. Helen Ackerman. It reported, “Mrs. Ackerman’s experience in theatrical work led to some of the pantomime sequences which were a real treat and quite different in a fashion show” (News-Press, 10 Feb 1948, page 3). She trained the models, both singly and in groups. This is also the first picture that I have been able to locate, showing Mrs. Ackerman working on the event.  Mr. Ackerman was also pictured in the same article.

In 1950, the Ackermans again partnered to direct an elaborate Hair Style Show at the Civic Center for the Hairdressers Association. It is hard not to think of behind the scenes clips form “Strictly Ballroom” here. They were accommodating a different type of clientele that sought increased theatricality for local and regional societies and events. In an article about the event, the “News-Press” reported, “Mr. and Mrs. P. Dodd Ackerman, well known theatrical producers directed the show” (8 May 1950, page 5). That same year, Mrs. Ackerman gave presentations on “The Art of Being Graceful and Charming” (9 Sept. 1950, page 5). She was the featured speaker at the meeting of the Beta Sigma Phi Sorority. “Charm school” became Mrs. Ackerman’s new passion, instructing young women in “courtesy, voice, personality, walking, standing, sitting, radio techniques and dancing – in short, in everything they would learn at smart finishing schools” (Miami Herald, 23 Jan. 1950, page 6). Girls between the ages of 16 and 22 were personally instructed by Mrs. Ackerman, now credited as a “former New York stage star and author of four books on marionette art that are the accepted texts in the field.” The most widely publicized accomplishment of Mrs. Ackerman’s school was a personal invitation from Arthur Godfrey for ten of her girls to appear for 10 minutes as guests on Godfrey’s morning radio show. The chance to be a “charm girl” became a local honor. They helped out the Fort Myers Chamber of Commerce in many different ways, such as serving tea.

By 1954, the Ackermans were still living in Fort Meyers, Florida, with the directory listing their residence at 1639 ½ 1^st Street. Unfortunately, there seemed to have been a falling out with the Little Theatre group and the entire Fort Myers community. A small dispute played out in the local newspaper. The editor published a lengthy response to Mr. Ackerman, asking at one point, “I would like to ask Mr. Ackerman upon what basis he can assume that ‘no thought whatsoever is given in the Fort Myers Little Theater’ to the matter of an institution not only of culture but one of considerable educational learning…as to whether or not Fort Myers is ‘ready to support and relish a Little Theater’; no community in this sense is ever ‘ready.’ You don’t get ready to soak up some culture simply by sitting around and waiting for it to happen. You do something about it. You lend your support in whatever group or organization is striving, in their blundering way perhaps, to serve up some culture, that is. You don’t suggest disbanding and dropping the only cultural straw to which we are clutching” (News-Press, 15 Nov. 1954, page 4). That may have been the final nudge for the couple to settle elsewhere,

In1955 the Ackermans left Fort Myers and headed north. On October 23, 1955, the “News-Press reported, “Mr. and Mrs. P. Dodd Ackerman will leave Wednesday for Hicksville, L.I., N.Y. to make their home. They will live at 25 Blacksmith Lane, near their son, and daughter-in-law. They have been residents for 18 years” (page 16). The Ackermans did not stay away long, as in 1956 the “New-Press” announced,” Mr. and Mrs. P. Dodd Ackerman, former residents, have returned from Hicksville, New York, where they spent the past two years. They are making their home at the Shadowlawn Apartments, Mr. Ackerman was a prominent stage designer on Broadway for many years and Mrs. Ackerman was an authority was an authority on puppets and puppet theaters. She is an author on several books of the subject” (6 Dec. 1956, page 15). By 1959, the Ackermans moved to their new home, back in Bayside Parkway at 2065. They stayed in the area and in 1960, hen living at 2053 Bayside Pkwy in Fort Myers, Florida.

Although they moved back to Florida, they never seemed to fit in again.  The Fort Myers community grew weary of the Ackermans’ self-promotion and constant comparisons with life in New York. The most telling was in a letter to the “New-Press” on Jan. 20, 1958. In a letter to the Editor, one Floridan wrote, “I think Mr. P. Dodd Ackerman needs to have his eyes examined if he can’t read the ‘walk and wait’ signs. I can read them across the street easily and I am an old lady. I think that they are just wonderful and give even an old person like myself plenty of time to cross. I sure hope they keep them. Why do people like Mr. Ackerman compare everything that happens down here with things up north? If it is so much better up there why don’t they stay there? We like to have visitors here but we sure do hate to have them compare everything, and unfavorably too, with some northern state and comparing Fort Myers with New York City makes me laugh. But maybe that is sort of a backhand compliment. I sure hope they keep the lights even if they are not as good as those in New York City” (page 4). Little else was published about the Ackermans after that. Philip Dodd Ackerman passed away at the age of 87 on Jan 9, 1963.  He is buried in Kings, NY.

Helen Ackerman, still residing at Bayside Parkway, passed away on August 25, 1979 in Lee, Florida.  She was 92 years old.

To be continued…

DIE VIERTE WAND #010 is now available. Many thanks to the editor Stefan Gräbener at Theatre Initiative Berlin (https://www.facebook.com/InitiativeTheaterMuseum) for all of his hard work to make this publication possible!

My article this year is “American Scenic Art: The Immigrant Contribution” (English, pages 88-97, and German, pages 172-177).  Scenic art in the United States began as a large melting pot of languages, traditions and techniques, with two dominant approaches emerging between 1850 and 1900.  For more, read the digital version online at https://archive.org/details/itheam_d4w-010_202009/mode/2up or https://issuu.com/itheam/docs/itheam_d4w-010 or download it as PDF http://www.initiative-theatermuseum.de/index.php/news-reader/items/die-vierte-wand-010-bilingual.html

The printed issue is also available for a nominal charge of €10 (plus €3 postage + packaging within Germany). Please consider ordering a copy, as all funds support the production of this wonderful publication http://www.initiative-theatermuseum.de/index.php/news-reader/items/die-vierte-wand-010-bilingual.html?fbclid=IwAR0E3SEAXgXpMOBcuIGaimdHJIF-4EoK7K_zVVDyVHfDtZzk2i0RNNJ95t4

Copyright © 2020 by Wendy Waszut-Barrett

P. Dodd Ackerman married for a fourth and final time after Harriet Smith Ackerman’s passing in 1935.

His last wife’s maiden name was Helen M. Hamilton, but she was previously married, and her name was Helen Fling. Fling was an interesting woman, first working as a costumer in the theatre, and later specializing in marionettes and puppet theater; a marked departure from Ackerman’s previous wives and kindred spirit.

I initially had a difficult time tracking down either Helen M. Hamilton or Helen Fling down, until a small bit of information surfaced about her career in a 1956 newspaper article. That year the Fort Myers’ “News-Press” reported, “Mrs. Ackerman was an authority on puppets and puppet theaters. She is an author on several books of the subject” (6 Dec. 1956, page 15).”  That was the key that helped me track down Ackerman’s 1937 marriage license and Helen Fling’s marionette books.

Helen M. Hamilton was born on October 13, 1886 in Ohio. I have located little about her early life or when she entered the theatre.  That being said, I did locate a “Miss Helen M. Hamilton” in Zanesville, Ohio who matches the age and theatrical interest.  The dates all match up for this young woman who performed in class plays, was known for her soprano voice at musical concerts, and took a trip to visit her sister in California. There were other women known as Helen Hamilton in Zanesville too, muddying the research waters. And on top of everything else, there was also a younger Helen M. Hamilton from Dayton, Ohio; the niece of J. P. Morgan who married Arthur Woods and moved to New York in 1916 (Dayton, Ohio, 24 March 1916, page 13). Except for the age discrepancy, that would have tied up my tale in a neat little bow. Well, historical research is never that easy.

It was not until after Helen M. Hamilton married her first husband and became Helen Fling that I was able to positively identify Ackerman’s final wife in newspapers during the 1920s; at least she made headlines, making the search possible.

In 1937 Philip D. Ackerman married Helen (Hamilton) Fling in New Jersey. I knew little of a “Mr. Fling” until I came across mention of a “Helen Hamilton” in the Fling family tree, posted to ancestry.com. I was actually beginning to wonder if there really was a Mr. Fling, and if Hamilton hadn’t just adopted the “Mrs.” for some social and economic freedom. Here is what I have uncovered…Hamilton married William F. D. Fling (1884-1969) April 26, 1918, but little is known about her first husband, their relationship or later divorce. Everything lines up, except the first name of Nell. The Marriage license lists “Nell” M. Hamilton for the marriage that took place in Queens in 1918, New York. At that time, “Nell” was a nickname for Helen, Ellen, or Eleanor.

Keep in mind that women’s names were very fluid in historical records and their official birth name was not always provided; they were not always the one passing information along. I have noticed that women were often listed by what their husbands called them during a particular period; the husbands were the ones providing information to a census reporter, county official, judge, etc.

If William Fling and Helen “Nell” Hamilton were married in 1918, here is what I discovered about Mr. William F. D. Fling. He was born in Irvington, New York, Nov. 1884, the son of James Libby Fling (1854-1923) and Ella F. D. Drake (1856-1923). One of three sons born to the couple, his brothers were Arthur R. Fling (1892-1941) and Harry Comly Fling (1882-1969). William Fling moved to San Diego, California and passed away there.

In regard to Helen Fling’s work as an author, she wrote four books under the title “Marionette Hobby Craft.” These four volumes were combined into a single work and still available today.

Her four books include:  

“Treasure Chest of Marionette Hobby-Craft V I: Showing How You Can Make – Mould – Cast – Paint – Puppet and Marionette Heads”;

“Treasure Chest of Marionette Hobby – Craft V 2: Showing How to Make Marionette Hands-Feet-Legs-Arms and Bodies” ;

“Treasure Chest of Marionette Hobby – Craft V 3: Construction of Control, Stringing and Manipulation of Marionettes”; and

“Treasure Chest of Marionette Hobby-Craft V 4: Production – Stage craft, Direction and Preparation of Marionette Plays, Also One Complete Play.” 

Each volume was illustrated by Charles Forbell (1886-1946), a well-known illustrator at the time. Forbell made a name for himself with is comic strip “Naughty Pete that was published in the “New York Herald.” Here is a link to an artistic interpretation of his comic strip: http://painting167.blogspot.com/2009/09/naughty-pete-1913.html

Peter Maresca also includes Forbell in his “Origins of the Sunday Comics” and is well worth the peak, see (https://www.gocomics.com/origins-of-the-sunday-comics/2015/08/21). Forbell also did a number of illustrations for the original “Life” magazine.

Helen Fling’s marionette books were republished in 1973 by Dover; all four volumes combined and marketed under a new title, “Marionettes, How To Make Them Work.” Here is a link to the book: (https://www.bookdepository.com/Marionettes-Helen-Fling/9780486229096). The original publications were also copied and available at Kessinger as rare publications.

The beginning of each marionette book gives a little background about Fling, stating “Helen Fling, author of Marionette Hobby-Craft, is well known for her research, performances, writings and lectures about construction and display of marionettes. She served her apprenticeship under masters of the theatre and puppeteer field and under her magic touch of knowledge these quaint figures with their jointed bodies, grotesque expressions and incredibly human gestures become alive.”

By 1921, Fling was working as a costumer for the Garden Players in Brooklyn, New York. That year she was the costumer for “The Lancashire Lass,” a melodrama performed by the Garden Player of Forest Hills at the Community House (The Chat, Brooklyn, 5 March 1921, page 11). At the time, Fling was thirty-five years old. She was still working for the Garden Players in 1928, alongside Elton Clark, Bill Colton and Fred Kentner. The four were responsible for the show “Correcting History, The Lowdown on Napoleon Just Before He Went to Water Lou,” performed at the “Garden Varieties, ‘28” at the Forest Hills Theatre on Continental Avenue (The Chat, 28 April 1928, page 6). That same year, on May 12, 1928, “The Chat” announced the officers and committee members elected to the Garden Players that year (page 5). Fling and Patsy Renaud were the Garden Players membership committee.

In 1926, Fling traveled with Nancy Humpstone, Frida Scharman and Florence Tompkins. She was forty-years old at the time. They left July 1 to explore the western United States for about three weeks, visiting the Grand Canyon and various other points of interest. They then sailed from San Francisco to Honolulu, returning to Brooklyn by mid-September (Brooklyn Daily Eagle, 16 May 1926, page 28).

At the age of fifty, Helen Fling assisted Miss Grace Wildern, supervisor of the Educational Puppetry Division of the WPA (Brooklyn Daily Eagle, 17 June 1936, page 10). The Works Progress Administration (W.P.A.), later renamed the Works Projects Administration, included a story telling, dramatic and puppetry division in 1935. Founded on May 6, 1935, the WPA was an American New Deal Agency that sought to employ millions of job seekers to complete public works that included the construction of public buildings and roads. The initial appropriation was for 4.9 billion dollars, and between 1935 and 1943 8.5 million individuals were provided with employment, helping America recover during the Great Depression. We are still benefitting from their work today.

Of Helen’s education, all we know is from the 1945 US Federal Census. It listed her degree of education as “college, art academy,” the same as her husband’s at the time. I have yet to track down when or where she attended school for any artistic training. More on Helene and P. Dodd Ackerman’s live after they were wed in tomorrow.

To be continued…