Copyright © 2021 by Wendy Waszut-Barrett
C. L. Hagen was the western machinist for Sosman & Landis during the late 1880s. At the time, he was in his mid-20s and a rising start in the technical theater world. By the time he was forty-eight years old, Hagen was internationally recognized as a brilliant stage architect, master mechanic, and technical director. Hagen represents the caliber of technicians working at Sosman & Landis during the late nineteenth century. Although newspaper articles and public records occasionally list the alternative spelling of “Hagan,” I am solely using “Hagen,” as that was the spelling that was repeatedly listed on his patents.
On Feb. 2, 1911, the “Daily Times in Philadelphia” included a lengthy article about Hagen’s technical contributions to the theatre, entitled “Hagen, Leading Wonder Worker of the Stage” (page 2). After listing all of Hagen’s accomplishments, the article reported, “With such a theatrical record it would seem as if Mr. Hagen must have been literally born on the stage. Instead, he was a native of Chicago and spent his boyhood in Minneapolis, Philadelphia and Kansas City. Hagen settled in Kansas City by 1879 and designed several stages for Kansas City.” The article continued, “…arriving in the Missouri burg in 1879, when, to use his own words, the town ‘was practically a brickyard.’ But he entered the theatrical business there and erected several theaters for capitalists during his stay. Then he began his wanderings, which have carried him all over the United States and into foreign countries as well.” Hagen’s portrait was attached to the article, an article that was repeatedly published in newspapers across the country.
Hagen’s portrait in the newspaper did not convey his physical size, as he was a very tall man. When Hagen applied for a passport in 1902, his physical appearance was described in detail, listing his height as 6’-2”, extremely tall for the time. His application also noted, dark brown hair, grey eyes, high forehead, round chin and a medium complexion. When Hagen applied for a passport, he was traveling with the “Ben Hur” company as their master machinist. It was his design for the famous chariot race on stage that partially propelled him to stardom. On March 23, 1902, the “Boston Globe” reported, “Claude Hagen, who has invented more mechanical effects for use on stage than all the other men of his class in this country, and who is responsible for most of the machinery and electrical apparatus used in the production of “Ben Hur,” is now in London supervising the work prior to the presentation of Klaw & Erlanger’s magnificent spectacle at the Drury-Lane theatre” (page 34). In 1911 the newspapers would recall Hagen’s London’s reception seeing his “Ben Hur” chariot race at Drury Lane Theatre: “it scored an immediate success. So great was the enthusiasm that Mr. Hagen was given the singular honor of being the only man in his line of business during the house’s 140 years of history who had been forced to appear before the curtain in response to the demands of the audience to personally show their approval of the wonderful mechanism that spelled success for the Lew Wallace dramatization” (Daily Times, Philadelphia, 2 Feb 1911, page 2).
The life and career of Hagen career could easily fill a book. It is incredibly hard to briefly summarize his mechanical contributions, but I will make the attempt and try to convey the greatness of man who first made a name for himself in Kansas City.
Little is known about Hagen’s early life before his arrival to Kansas City in 1879. A 1940 census lists that this highest level of education was 8th grade. None of his early theatrical training is known before 1882. There is only the brief mention of his growing up in Chicago, Minneapolis, Philadelphia and Kansas City, leaving a poor trail of breadcrumbs. I have yet to locate the names of his parents, although he twice listed the birthplace of his father as England and the birthplace of his mother as Michigan. What I do know is that Claude Lavrain Hagen was born in Chicago on Jan. 1, 1863. I discovered his middle name of “Lavrain” in a later patent.
By the age of sixteen years old, he was living in Kansas City, Missouri. It is really in Kansas that the first information about Hagen surfaces in newspapers. At the age of twenty, Hagen was responsible for the stage at the Gillis Opera House in Kansas City. He had already toured with the Hanlon Bros. the previous season. On September 3, 1883, the “Kansas City Star” announced the opening of the Gillis Opera House (page 1). Hagen was credited with the stage machinery. The article reported, “As stage carpenter, Mr. Claude Hagen, one of the most expert in his profession in the country, has been engaged. He has been employed in the best theaters in the country for years and last year he traveled with the Hanlons who required the most complicated stage machinery. He superintended the setting of the Gillis stage, and it is said that what he don’t know about the stage isn’t worth knowing. Mr. Lem Graham is the scenic artist and known who see the scenery exhibited at the Gillis will for a moment doubt his ability.”
1882-1883, the season that Hagen purportedly worked as a stage carpenter for the Hanlons, was the year that the Hanlon Bros. toured with their wildly popular, “Le Voyage en Suisse.” “Le Voyage en Suisse” was a three-act pantomime jam packed full of scenic “tricks” and illusions. Newspapers raved about one particular effect from the second act – the train scene. On Jan. 30, 1882, the “Baltimore Sun” reported, “The second act is the European compartment car, and the fun is fast and furious. The Hanlons impersonate servants, custom-house inspectors and gentlemen. The car is a wonderful piece of mechanism; it is seen in motion, and the scenic effect is perfect, and every detail is closely worked as when it passes through a tunnel. The explosion, and complete destruction of the car, at the end of the act was greeted with tremendous applause. The curtain was raised; then the Hanlons, were called before it, and last the stage manager, and again the Hanlons had to answer the call before the audience would be satisfied.” Hagen’s work as a stage carpenter with “Le Voyage en Suisse” explains his early training that contributed to his abilities to design the Ben-Hur chariot race almost two decades later.
Hagen continued to travel with various touring productions in the early 1880s, yet continued to remain associated with the Gillis Opera House. On Jan. 15. 1884, the “Kansas City Times” reported, “Mr. Claude Hagen, stage machinist, of the Gillis Opera House, returned home Sunday morning after having spent four weeks with the “Romany Rye” combination” (page 2). “Romany Rye” was a melodrama and well-known for its mechanical effects and advertised as “unequaled in stage setting” (“Kansas City Star, 27 October 1884, page 2). The show was billed as a “Grand Spectacular Melodrama” with scenic displays that included a Gypsy encampment, Craigsnest by moonlight, the Hampton Race-course and the wreck of the Saratoga (Baltimore Sun, 1 April 1884, page 1). It was the “Wreck of the Saratoga” that made headlines in newspapers across the country. The scene was “admirably presented and evoked hearty and deserved applause” (Gazette, Cedar Rapids, Iowa, 3 Jan. 1884, page 4).
In 1884 and 1885 Hagen remained associated with the Gillis Opera House as stage machinist for the venue. On March 1, 1885, the “Kansas City Times” included an advertisement for “Monte Cristo!” at the Gillis Opera House (page 12). The bottom of the ad stated, “It is a conceded fact that no other stage in the west is a well-adapted to the production of spectacular pieces like MONTE CRISTO as the Gillis, and it is further a matter of record that the stage crew of the Gillis, under the control of Mr. C. L. Hagen, is unexcelled in the west.” Hagen’s work at the Gillis was so popular that he was publicly recognized for his scenic contributions. On January 27, 1885, the “Kansas City Times” announced, “Mr. Claude L. Hagen, master machinist of the Gillis, was last evening presented by the attaches of the Gillis with a very beautiful gold medal” (page 8). Other accounts note that the
gold medal was actually a gold watch.
It was about this time that Hagen’s work was noticed by Sosman & Landis in Chicago. On August 24, 1885, the “Kansas City Star” reported, Claude L. Hagen, master machinist at the Gillis Opera House, left Saturday for Marion Dakota to fit up an opera house” (page 2). It is highly likely that this is when Sosman & Landis began to subcontract Hagen before bringing him on staff. By 1887, Hagen was listed as the western machinist for the firm. He built the stage and installed Sosman & Landis scenery at the Bonham Opera House in Clay City, Kansas. On April 16, 1887, the “Evening Times” in Clay Center, Kansas, reported on the progress of the new Bonham Opera House. The article reported, “The stage machinist at the Bonham Opera House finished his labors this morning, and that grand amusement temple is now ready to throw open its portals to the public. An introduction to C. L. Hagen, the machinist, enables THE TIMES scribe to give the principal features of the stage, at present the point of interest to the public. It is provided with five large entrances, and four sets of grooves with a capacity of nine scenes each. The grooves are the latest pattern, skeleton and double-jointed, The latter feature enables companies traveling with their own scenery to adjust the same to this stage in case it should be in a larger scale than the scenery of the house. The ’gridiron’ is forty-eight feet above the stage floor, and the ‘pocket’ terminates sixty feet above the stage floor, thus enabling the drop curtains to go up bodily. There are two of these drops, on an act curtain, with a fine Antwerp scene, and the other an advertising curtain. They are both gotten up in the very highest style of the art, painted on Russian linen, and hung with counterweights. The house scenery consists of ten complete sets, 18 by 26 feet as follows: Fancy Centre Door, Palace Arch, Two-door Chamber, Kitchen, Prison, Street, Landscape, Rocky Pass, Ocean Horizon, and a Garden. Also, a Set Cottage, Bridge Masking, Balustrade, Statues and vases, Set Waters, Fore-grounde, etc. The scenes are fifteen with flat shives [sic.]. The ‘grand drapery’ is arranged with tabs and sections, and can be enlarged to match with the most extensive scenery traveling. The scenery was painted by Sosman & Landis, of Chicago. The same firm fitted the Gillis Opera House, Kansas City, and the Grand Opera House at Topeka. Mr. Hagen is their western machinist, and also does the same work for L. L. Graham of Kansas City. He is clever at his profession, if we may judge by the smoothness which characterizes his work in Clay Center.”
On April 21, 1887, “The Times”of Clay Center reported again, “The scenery was painted by Sosman & Landis, of Chicago. The same firm that fitted the Gillis Opera House, Kansas City, and the Grand at Topeka. Mr. Hagen is their western machinist, and also does the same work for L. L. Graham of Kansas City.” Lemuel L. Graham operated his own scenic studio in Kansas City, but also represented Sosman & Landis on many projects, working as a western agent for the firm. Graham’s studio was a western affiliate to Sosman & Landis in the same way that New York Studios was an eastern affiliative to the firm. In 1887 Graham represented Sosman and Landis for work on the Opera House in Winfield, Kansas.
By 1888 the Kansas City Directory listed Hagen as the stage manager at the Warder Grand Opera House. Hagen’s work at the Warder Grand Opera House and life in Kansas City, however, came to an end that year when bigger and better opportunities presented themselves. It was shortly after working at the Warder Granbd Opera House with Booth and Barrett on “Julius Caesar” that Hagen moved to Philadelphia, He briefly became the master machinist at the Broad Street Theatre. The Booth and Barret production was one of his last productions at the venue. On September 11, 1888, the “Kansas City Times” reported, “The effect of last night’s production was very much enhanced by three beautiful and elaborate stage settings, all of which are stock scenery of the Warder Grand designed by Mr. Claude L. Hagen. The senate scene was especially striking, including the full depth of the stage – fifty-seven feet. The tent scene was also beautiful and realistic.” On Dec, 29, 1888, the “Kansas City Star” announced, “Mr. Claude Hagen, for many years master machinist of local opera houses, will leave on Monday night for Philadelphia to accept a position in the Broad Street Theatre” (page 1). Interestingly, in 1889 Kansas City Directory listed Hagen as “moved to Chicago.” On August 11, 1889, the “Kansas City Times” reported, “Claude L. Hagen, who was superintendent of construction for the Warder Grand Opera House and stage manager under J. L. Buford’s management will go to Chicago in a few weeks to assist in preparations for Lawrence Barrett’s production of “Ganelon” early in September. Mr. Hagen will travel with the Barrett company during the season” (page 10).
By 1891, Hagen was living in New York, listed in the city directory as a machinist and working at 1215 Broadway. At the time, he was residing at 245 W. 25th and working with a variety of scenic artists, including former Sosman & Landis employee, John H. Young. On Jan. 11, 1891, the Pittsburgh Dispatch” included an advertisement of Planquette’s New Opera Comique, “Paul Jones’” (page 14). Hagen was credited with the stage mechanism, and Young the scenic art. The two continued to work together in this capacity for the next four years. On July 28, 1895, Young and Hagen were credited with the scenery for “Fortuna,” a new “spectacular operatic extravaganza” (page 18). The article cited, “John H. Young and Claude Hagen” of the 5th Ave. Theatre.”
Between 1891 and 1895, Hagen’s reputation for innovation and mechanical precision continued to increase, with his work becoming nationally recognized and contracted by Klaw & Erlanger. He also began filing patents for his stage inventions. On June 11, 1895, Claude L. Hagen patented the toggle shoe. He placed advertisements in the premiere issue of “Julius Cahn’s Official Theatrical Guide” (1896). His advertisements stated, “My invention relates to an improved Shoe for the frame of stage scenery, and has for its object to provide simple, inexpensive and efficient means for securely fastening and rigidly bracing together the different portions of the frames in such manner as to avoid weakening any part of the frames’ to provide said Shoes with means for the attachment of the braces employed for holding the frames in an upright position; and finally, to so construct the Shoe that rails having rounded edges may be employed whereby liability of the canvas being cut or the paint abraded is avoided.” Other patents filed by Hagen include: Construction of Theatre, patented on Sept. 17, 1895, No. 546,528 (filed 1895); Theatrical Appliance, patented on July 17, 1900, No. 653,997, (filed 1900); Aerial Centrifugal Way, patented on Sept. 8, 1903, No. 738,434, (filed 1903); Observation-Train, patented on March 28, 1905, No. 786,117, (filed 1904); and Attachment for Stage Scenery Braces, patented on Dec. 29, 1908, No. 907,996, to name a few.
By 1896, Hagen’s advertisements stated that he was a “master machinist” offering “High grade modern construction,” adding “Those intending to have Scenery made will find it in their interest, and are cordially invited, to visit my shop where an inspection of work in course of construction, together with my facilities for handling high grade work, will demonstrate the superiority of my methods over others’. I use only the best materials, and with my exceptional facility for handling the same. I am able to furnish the highest class work at reasonable prices. All estimates included the use of my patents and appliances. All work undertaken guaranteed to be perfect and practical.” Hagen’s office was in the Fifth Avenue Theatre in New York City, with Hagen’s shop and studio adjoining the theater. Ernest Albert was listed as the “Lessee of Paint Frames.”Past projects cited by Hagen as references in 1896 included: Fannie Davenport’s “Gismonda;” Augustin Daly’s “Two Gentlemen of Verona;” Julia Marlowe Taber’s “Henry IV,” “Romeo and Juliet,” and “Romonia;” Nat Goodwin’s “Ambition;” Wm. H. Creane’s “Pacific Mail,” “His Wife’s Father,” and “Governor of Kentucky;” Richard Mansfield’s “King of Peru;” J. C. Duff’s “Leonardo;” H. C. Miller’s “Shore Acres” and “Human Hearts;” Klaw & Erlanger’s “Patriots” and “Jack and the Beanstalk;” Kirk Lashelle’s “Wizard of the Nile;” Prof. Herman’s “Artist’s Dream” and “Noah’s Ark;” E. E. Rice’s “1492;” Edward Vroom’s “For the Crown;” Joe Jefferson’s “The Rivals” and “Rip Van Winkle;” Prof. Kilyani’s “Panoramic Pictures” model; Francis Wilson’s “Half a King” and all of the productions for the American Theatrical Syndicate.
On August 13, 1895, Hagen was listed as the President for the National Association of Theater Stage Employes in the “Washington Times.” The article reported, A special meeting of Local, No. 22, National Association of Theater Stage Employes, was held at their headquarters , No. 1316 E. street last evening to hear the report of Mr. J. B. Fenton, the delegate to the national convention, T. S.E., which met in Boston on July 8. The following national officers were chosen: President, C. L. Hagen, New York; vice-president J. Kelley, Cincinnati; treasurer, P. Maloney, Boston; general secretary , J. Hines, New York; national executive committee, J. Kelly, Cincinnati; T. Murray, Philadelphia; B. J. Ryan, New York; and J. B. Fenton, Washington, D. C. A resolution inviting all non-union men of the craft to join was unanimously adopted. The resolution set forth that as the N.A.T.S.E. was organized for the protection of stage employes, we believe it to be our duty to publicly invite our efforts to better our condition, and by so doing you will help to further the aims and objects of organized labor” (page 4).
Although Hagen’s reputation continued to grow, it was his work for New York’s Grand Opera House that brought him contact with another stage carpenter named P. J. McDonald. In 1895, Hagen was credited with building the scenery for the “Patriots” at the Grand Opera House on Broad and Montgomery Ave. In 1899 Hagen partnered with P. J. McDonald, and was listed as, “C. L. Hagen, formerly at the 5th Avenue Theatre.” McDonald remained associated with the Grand Opera House throughout their business venture. The two soon established the scenic concern of “McDonald & Hagen, Contractors and Builders of Scenery.” Their shop and office were located at 536, 538, 540 and 542 West 26th Street in New York, between 10th and 11th Avenues. McDonald & Hagen advertisements listed: “Scenic productions Masonic and Mystic Shrine Paraphernalia; Scenery for Theatres, Balls and Private Theatricals; Mechanical Effects; Pageants and Celebrations; Tricks and Illusions; and Scrimed Profile and all Supplies for the Trade. The two separated by 1902 and McDonald again advertised independently as “P. J. McDonald, Scenery and Stage Construction, Mechanical Effects and Intricate Devices.” McDonald’s shop was again listed at the Grand Opera House, 320 West 24th Street, New York. The separation may have been the cause of Hagen’s quick rise to stardom between 1898 and 1900.
Hagen designed and built the stage for the Klaw-Erlanger Co.’s Crescent Theatre in New Orleans. On Feb. 3, 1898, the “Times Picayune” reported, “Mr. Claude Hagen, the famous builder of theatrical stages, and whose work is found in the newest and best theatres of the north, answered a telegraphic summons to come to New Orleans to confer with Sully, Burton and Stone, architects and builders, and to plan the stages for the two new theaters that Klaw & Erlanger are building in this city. This inquires such commodious and perfect stages with all modern appliances and improvements, as New Orleans has never seen. Mr. Hagen will arrive from New York to-day” (page 8). For the opening of the Crescent Theatre that fall Hagen was featured in an article. On Sept. 25, 1898, the “Times-Picayune” reported “The stage itself was designed by Claude Hagen, the famous expert and stage builder, who came here for that purpose,” including a portrait of Hagen (page 19). His career began to sore, especially as opportunities increased with Klaw & Erlanger.
On September 29, 1900, Hagen was internationally recognized and featured in “The Era” (London, England, page 14). He was featured in an article entitled “American Stage Effects” that described Hagen’s stage machinery for “Ben Hur.” The article described scenic effects that were invented by “Mr. Claude L. Hagen, of the firm of M’Donald and Hagen, New York city, who is also the master mechanist of the production.”
On a personal note, Hagen was also married by 1900, his wife included in a Federal Census Report that year. This is the earliest census that I have been able to locate for Hagen, who was thirty-seven-years-old. Annie, later listed as “Anna,” continued to be listed as his wife until the 1930, when Hagen was listed as a widower. The 1920 census noted that Annie was an actress. Coincidentally, there was an Anna Hagen who passed away in Manhattan on Jan. 3, 1924, however, there were many Ann/Anna/Annie Hagens living in New York during the early 19th century. The only information that I have really gleaned about Annie, is that she was born in Pennsylvania and her parents were from Germany. Other than some brief mentions of charitable work in New York, little is known of Mrs. C. L. Hagen.
On March 23, 1902, the “Boston Globe” reported, “Claude Hagen, who has invented more mechanical effects for use on stage than all the other men of his class in this country, and who is responsible for most of the machinery and electrical apparatus used in the production of “Ben Hur” is now in London supervising the work prior to the presentation of Klaw & Erlanger’s magnificent spectacle at the Drury-Lane theatre” (page 34). Hagen’s success with “Ben Hur,” in addition to his work for Klaw & Erlanger, prompted him to secure other entertainment projects, such as various attractions on Coney Island. One of Hagen’s earliest designs the bicycle loop-the-loop at Luna Park (Brooklyn Citizen, 16 Aug. 1903, page 10). Unfortunately, is relationship with Frederick Thompson soon soured. In 1904, he sued Thompson & Dundy for breaking a five-year contract. The article reported, In Thompson & Dundy’s defense Hagen refused to obey orders and had performed services for another amusement manager.” Regardless of the defense, Hagan won the case and received a nominal verdict of $100.
The newspapers absolutely loved Hagen and repeatedly published his accomplishments across the country. Hagen’s name made news in even the smallest western towns. On Sept. 17, 1905, the “Butte Miner” reported, “Eight years ago the attention of Klaw & Erlanger was drawn to General Lew Wallace’s interesting novel ‘Ben -Hur,” and negotiations started toward dramatizing it. Gen Wallace was like the man from Missouri, ‘he had to be shown;’ that is, he would not agree to his work being dramatized unless the chariot race could be realistically presented as his description in the book. It is here the creative American machinist showed his capacity, for Klaw & Erlanger commissioned everyone of prominence in this country to furnish practical working models of this big scene, and the prize was won by Claude Hagen. It cost thousands of dollars experimenting, but a rich reward has been reaped, for in the six years that ‘Ben-Hur’ has been before the public, a profit of over $2,00,000 has been earned” (page 12). That article was continually republished over the years until the profits were listed as $4,000,000.
In 1907, Hagen was associated with another popular attraction – “Fighting the Flames, or The Fireman’s Christmas Eve.” On Oct. 20, 1907, the “San Francisco Call” described Hagen’s show as “the first silent fire story on record, whose sole purpose is to lead up to the actual incidents of a real fire, will receive its first production at the Chutes theater this afternoon” (page 26). The article continued, “It was built and invented by Claude L. Hagen, who also contrived the effects for the chariot scene of ‘Ben Hur,’ and was produced by him originally at Euston Palace, London, in 1903 and subsequently Proctor’s Twenty-third street theater, New York city and at Coney Island where it enjoyed extraordinarily ling run.”
On Jun 7, 1908, the “Brooklyn Daily Eagle” included an article on Coney Island, that credited Hagen in the section entitled “Changes in Waterfront, Bowery and Surf Avenue” (page 21). The article reported, “Among the larger individual attractions on Surf Avenue are Hagen’s Fire Show and Herbert A. Bradwell’s ‘Deluge.” The fire show, otherwise known as the ‘Fireman’s Christmas Eve,’ is nearly opposite the Culver railroad terminal. In this show is portrayed a pathetic Christmas story, which according to its author, Claude L. Hagen, is woven around the fire department of New York City and was suggested by Christmas Even incidents on the East Side which came under his personal observation. The story is a thrilling one and told by means of real characters, mechanical, electrical and scenic devices and trained horses, introducing the run to a fire with the same mechanical devices that were used in the chariot race of ‘Ben Hur,’ and which was invented by Mr. Hagen. The fire engine is a real one and the burning building with its attendant excitement and rescues is given all appearance of reality.
Hagen produced similar attractions for other venues. One was entitled “Fire Fighters on Ship and Shore” for the Ohio Valley Exposition in 1910, where he was listed as Construction Superintendent for the Expo (Cincinnati Enquirer, 4 Sept 1910, page 37). Other newspapers listed Hagen as “the amusement director” for the Exposition (Cincinnati Inquirer, 12 April 1910, page 8). It was not always fair-weather sailing for Hagen. Big projects involve even bigger monetary risks.
On April 3, 1908, the “Boston Globe” listed Hagen in the section entitled, “Business Troubles,” reporting, “Claude L. Hagen, theatrical engineer, 173 S. Botolph St, is a voluntary petitioner in bankruptcy. He owes $4879 to four unsecured creditors, the principal of whom is Mrs. Madeline Barber, New York City, $3694 for money advanced and open account. The assets are estimated at $6500, of which $5400 is represented in debts due on an open account and $110 in promissory notes” (page 13). He seems to have recovered, but shortly after the incident assumes a new title role, replacing master mechanic with technical director in listing and newspaper articles.
On Dec. 5, 1909, the “New York Tribune” featured Hagen in a full-page article entitled, “Generous Scenic Resources of the New Theatre” (page 57). The new stagehouse, designed and built by Hagen, included a massive revolving stage, 200-feet wide cyclorama, and 125 lines hung from a huge gridiron. The article explained that the New Theatre’s cyclorama was the largest of its kind in the world and that the three sets curtains, grading from bright red to dark plum, and weighing respectively 2,000, 1,500, and 1,00 pounds were “the only ones of the kind in the country.” The article reported, “Further inquiry about the manufacture, manipulation, storage, etc., of the scenery at The New Theatre leads one into meeting Claude L. Hagen, the technical director, who is in many ways a most remarkable man. Mr. Hagen is an engineer who has devoted the greater portion of his life to the physical side of the production of plays. He is the inventor of most devices to use on the stage at The New Theatre. Mr. Hagen gave to the Tribune’s representative facts about the scenery which could not be obtained from any other source.” Mr. Hagen said, “The staging of a play at the New Theatre is a different proposition from what it is elsewhere in this country because we have a ‘drehbuhne,’ or revolving stage. Most of our plays are staged on the drehbuhne, and all we have to do is revolve the stage to present the next act. That is the reason the intervals between the acts are so short…The stage is sixty-four feet in diameter, and it completes a revolution in a minute.”
I am also including Hagen’s comment on fireproofing scenery, as it is so rare that the adverse effects to the scenery are even mentioned. In the same article, Hagen stated, “The effect of fireproofing on scenery? That is one of the worst things we have to contend with. It destroys the color and the texture of cloth. It has such an effect on Italian blue, for example, that we cannot use the color. It causes the braids to drop off of our curtains. It has caused our great cyclorama to fade from tints and shades of blue into almost white. It causes the stitches to rot of where the strips of cloth are sewed together. But everything has to be fireproofed, so there you are.”
His contribution to the New Theatre was publicly acknowledged on multiple occasions. When J. P. Morgan delivered the principal address for the New Theatre’s dedication, he thanked three people: the “faithful administrator” H. C. Ingalls; “able engineer” Owen Brainerd; and Claude L. Hagen who was “ingenious in stage construction” (Brooklyn Daily Eagle, 7 Nov 1909, page 6).
His work at the New Theatre resulted in a patent for improvements in theatrical stages. On Dec. 12, 1912, a patent of Hagen’s was published in “Moving Picture News” (Vol VI, No. 25, page 22):
“Patent No. 1,045,398 issued to Claude L. Hagen , of New York City, is for improvements in theatrical stages, the object of the invention being, not only to construct a stage which as a whole may be rotated , but to provide one of a number of sections , which may be united on the plane of the stage floor and rotated, or individual sections or groups thereof may be lowered , moved forward or backward on the plane of the stage floor or below it, one section taking the place of another as desired . The sections may follow each other into position like the sections of an endless conveyer , yet they are free to rotate on the stage floor and to change relative positions . In short, the object is to provide a sectional rotatable stage wherein any section may be moved into any part of the rotatable whole . By this means a scene may be set on each one of the four quarters of the stage, or on any other division, and the stage rotated to present the new scene to the audience a moment or two after lowering the curtain and the stagehands may remove the rear scene and reset the same during the act which is going on the front section. The vertically movable rectangular stage sections may be lowered on their cradles to provide “ sinks. ” Or before the play two scenes may be set. After the first scene is acted and curtain lowered, the stage is rotated to present the second scene to the audience. During the playing of the second scene the rear section may be lowered with the first scene thereon, the scenery removed, and a new scene set, and so, the possible combinations being numerous.”
Hagen’s celebrity status diminished by the WWI. I have to wonder if his engineering genius was contracted by the US government. Such was the case with many theatre professionals who found themselves involved in military projects as part of their patriotic duty during wartime. Whether it was camouflaging ships or illustrating bomber equipment, scenic artist and stage mechanics began second careers that often lasted after wars ended. Hagen’s skills would have been an asset.
Regardless of wartime projects, Hagen continued to be listed as a technical director in census reports from 1915 and 1920, but his name almost disappears from the newspapers. By 1925, he is simply listed as a stage carpenter> Keep in mind that this listing is solely dependent on who was providing information to census takers. The 1930 Census lists Hagen as an engineer in the theatre profession, and by 1940, he is living alone at the Hotel Flanders in New York City. In 1941 files for Social Security and slowly fades from the scene.
Hagen died on March 17, 1945 in Islip, New York. His wife Annie predeceased him by 1940. On March 18, 1945, the “Daily News” reported, “HAGEN- Claude L. Officers and Members, you are requested to attend the funeral of your late brother Claude L. Hagen, from the Austin Gordon Funeral Chapel, 7 Columbus Ave, on Monday, March 19, 1945 at 2 P.M. Fraternally yours, Joseph Dwyer, president; John C. McDowell, secretary.” (page 81). Dwyer and McDowell represented the Theatrical Protective Union No. 1.
Hagen’s legacy continued in the theatre work of others, his many students made names for themselves over the years, but always remembered Hagen. In 1903, a lighting engineer named Mr. Sohlberg credited Hagen with his early training. Solhberg was mentioned in an article entitled, “New Theatre Invention. Kansas City Man perfects and automatic spotlight” (Barre Daily Times, Vermont, 2 May 1903, page 3). I am including this article in its entirety for the sake of the subject, as well as the mention of Hagen at the end. It seems an appropriate way to end this article.
“A device for operating lights in theaters from stage has just been invented by Edward W. Sohlberg, stage manager of the Orpheum, in Kansas City, who has applied for a patent on it, says the Kansas City Star. The ‘spot’ light is strong white light which is used upon dancers and others when the rest of the house and the stage are in darkness. Heretofore it has been necessary to have a man in the balcony to operate it. This resulted in the blocking of the view of a number of people in the audience and caused the rays of strong light to strike others in the face. By Mr. Solberg’s invention, the light is fastened on the front of the balcony below the vision of the audience and above the heads of those in the parquet. It is handled by the same man who controls the other lights and switches on the stage, and it follows the dancer’s movement about the stage automatically. It is the first of its kind, and no other opera house in the United State has one. Mr. Sohlberg used it recently for the first time during the engagement of Louise Montrose and Florence Bindley, the girls with the diamond dress. It was in use every night and gave satisfaction. In connection with the ‘spot’ light is a color wheel which contains seven different colors, each of which just covers the ‘spot’ light. This wheel is on a ball bearing axle and is controlled by the same man, who simply presses the button, and the wheel revolves to the desired color. The colors are put in the wheel in the order in which they are to be used, and the need of slides and a ‘boomerang’ is done away with. Mr. Solhberg is a Kansas Cityan and received his mechanical training under Claude L. Hagen, one of the best-known men in the mechanical world.”
To be continued…
