Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 79 – Larry Larsen

Copyright © 2022 by Wendy Waszut-Barrett

In 1919, Thomas G. Moses wrote, “Larson quit us on October 24th.” He was referring to Larry. Unfortunately, both Moses and newspapers frequently misspelled Larry’s last name; it was actually Larsen.  Larry P. Larsen began his career as a scenic artist in Chicago during the first decade of the Twentieth Century.  Later in life, he founded his own studio and became extremely well-known as an architect and contractor, building more than 100 theaters across the country.

Lawrence “Larry” Peter Larsen was born in Copenhagen, Denmark, on May 25, 1892. He was the eldest son of eight children born to Louis V. Larsen (1862-1947) and Carrie M. Mortenson (1868-1959).  The couple celebrated the birth of five children in Denmark, with three more arriving in the United States. The Larsen children included: Lawrence P. Larsen (b. 1892), Cora R. Larsen (b. 1893), Henry Larsen (b. 1896), Gertrude Larsen (b. 1898), Herbert R. Larsen (b. 1900), Arthur H. Larsen (b. 1904), Katherine Larsen (b. 1911) and Mayme C. Larsen (b. 1912).

The Louis and Carrie Larsen emigrated with five children to the United States in 1902, sailing from Hamburg, Germany, to New York. They arrived in the United States on April 22 of that year. At the time, Larry was only 12 yrs. old, but had already studied at the Royal Danish Academy of Fine Arts. After arriving in the United States, the Larsen’s briefly settled in Hancock, Michigan for two years. In 1904, they moved west to Oshkosh, Wisconsin.  For geographical context, Oshkosh is located on the shores of Lake Winnebago. It is southwest of Green Bay and northwest of Milwaukee.

Larry did not come from a family with any theatrical connections or ambitions. After arriving in America, his father worked a variety of jobs that ranged from security guard to fireman. It remains unclear as to whether he supported his son’s artistic ambitions, but Larry ran away from home to pursue a career in art sometime between 1908 and 1910.

Larry was not listed as part of the Larsen household in Oshkosh for the 1910 US Federal census. I have yet to locate any listing for Larry that year, and it is likely because he was working on the road for Sosman & Landis. In later accounts, Larry explained that he ran away from home as there was no formal artistic training in Oshkosh at the time. He attended art school in Chicago, working as a scenic artist during the day and attending art classes in the evening. This was a common situation for many scenic artists who filtered through the Sosman & Landis shops at the time. After hours, scenic artists studied art, constantly attempting to improve their skills to advance through the ranks at the studio. Many hoped to make a name for themselves someday.  

In 1913, Larry was listed as an artist in the Chicago Directory, living at 4615 Langley Ave. On May 10 of that year, he married his first wife, Marguerite Pottinger Muir (1895-1924). They were married in Chicago, the city where they likely met. Marguerite was the daughter of Jamill Pattinger and Howard A. Muir.  At the time, Larry was 21 years old, and Marguerite was only 18 years old. The following year, the couple celebrated the birth of their first child. Jeanette M. Larsen was born on June 27, 1914,

In 1915, the Larsens moved from Chicago to New York where Larry continued to work as a scenic artist. That year the New York State census reported Larry and Marguerite living with their one-year-old daughter, Janet M., in Queens. By the next spring, a second child arrived. On April 14, 1916, the Larsen’s celebrated the birth of Lawrence Peter Larsen Jr. On Sept. 15, 1916, Chicago’s “Englewood Times” reported, “Mrs. Lawrence P. Larsen and her two little children who have been visiting her parents, Mr. and Mrs. H. A. Muir, of 6448 Champlain Ave. the past three months returned to their home in Brooklyn, N. Y., Tuesday” (page 1).

Meanwhile, Larsen spent a considerable amount of the time on the road, traveling across the country from one painting project to the next. It was during a stay in Texas that Larry became a naturalized citizen on May 25, 1917. At the time, he was working in Beaumont, Texas, temporarily residing at the Woodrow Hotel.  The day after he was naturalized, Larry registered for the WWI Draft.  Although his card was submitted in Jefferson County, Texas, on May 26, 1917, it was placed on file in Oshkosh, Wisconsin, by June 5, 1917.  Larry’s Registration card noted his employers as United Scenery Studios and that he was employed “on road.”  His physical appearance was described as medium height, stout build, blue eyes, and brown hair. Larry listed 721 Mt. Vernon, Oshkosh, as his permanent home address. The couple likely returned home while awaiting the birth of their third child Thomas P. Larsen that year.

In regard to Larry’s employer, the United Scenery Studios of New York…

During the fall of 1917, the United Scenery Studios was credited with decorating a variety of theaters, including the Orpheum Theaters in Topeka, Kansas, and Mexico, Missouri. On October 2, 1917, the “Mexico Ledger” of Mexico, Missouri, announced, “Improving the Orpheum. Stage  Will be Made Into Conservatory of Charm” (page 1). The article continued, “Following the popular trend of decorating the space around a moving picture screen, Manager S. C. Thompson, of the Orpheum Theatre has L. P. Larson, G. F. Moody, his assistant, of the United Scenery Studios, of New York City, here building a conservatory set to surround the picture screen at the Orpheum. This setting will have large windows in it, behind which a subdued moonlight effect in lights will present a beautiful landscape. The top of the stage will represent a glass conservatory roof. The idea is a new and novel one and is being installed in the larger and more progressive theatres in this country.”

Larsen’s assistant was George Farnsworth Moody (1886-1944). Both Larsen and Moody moved to New York about the same time, c. 1913-1914.  Moody’s marriage license to Hattie M. Dyment was registered in Manhattan, New York, and dated August 10, 1914. In 1917 Moody also listed his occupation as an “on road” with the United Scenery Co. on his 1917 WWI Draft Registration card.  Moody later worked as an artist for the Kansas City Scenic Co. and the Great Western Stage Equipment Co. of Kansas City. Many of Moody’s designs are part of the Great Western Stage Equipment Co. at the University of Minnesota’s Performing Arts Archives.

There was another interesting article from 1917 that mentioned the United Scenery Studios in Topeka, Kansas in 1917. On Oct. 17, 1917, “The Topeka State Journal” reported, “Camouflage artists, wanted by the British in the French trenches, area working this week on the Orpheum stage transforming it into a thing of beauty and a joy forever, as the old saying goes.

A week from Monday Orpheum patrons will look upon a stage rivaling in beauty of decorations and movie stage in the country. It will picture a Japanese garden scene.

A land scape will appear on one side of the stage and a water scene on the other. Prior to the opening of the show, patrons will have an opportunity to look at the garden scene, as it would appear at daybreak, daytime and in the evening. Red lights will be flashed to depict daybreak, white lights, daytime, and blue lights evening.  The canvas on which the pictures are thrown will be hidden by a heavy velvet curtain. There will be stone lanterns and Japanaise vases on the land side of the stage and the sacred mountains of Japan will appear in the background. The work is being done by the United Scenery Studios of New York” (page 6).

Although referred to as the United Scenery Studios of New York, the actual name of the firm was American Velvet Drops United Scenic Studios; an unfortunate mouthful that needed to be shortened. The company was managed by Ernest A. price and located in the Gaiety Theatre at 1547 Broadway in New York. The firm specialized in stage draperies, but also delivered painted scenery and ornamental décor.

Larsen was still working for the New York firm during the spring of 1918. On March 20, 1918, “The Salina Daily Union” included an article about the Palace Theatre in Salina, Kansas. The renovated venue represented a Japanese tea garden, complete with Japanese stone lamps, flower pots and painted dragons; similar to the theaters in Topeka. The article reported, “The velvet curtain parts and rises as the pictures come upon the screen. The theatre is certainly one of the most beautiful in the state of Kansas, and, according to Mr. L. P. Larsen of the United Scenery Studio of New York, this is the prettiest job they have done in Kansas and they have done several” (page 6). Sometime between in 1918, Larsen also began working for the New York Studios in Chicago. Keep in mind that New York Studios held a regional branch in Chicago and was considered the eastern affiliate of Sosman & Landis. Regardless of timing, Larsen permanently returned to Chicago where he became associated with the Universal Scenic Artist Studio.

Between 1918 and 1920, Larsen worked for New York Studios and then founded his own Chicago-based firm, Universal Scenic Studios, Inc. It gets a bit confusing from here on out due to the similarity and repetition of studio names. To start with, Universal Scenic Artist Studios is erroneously listed in newspaper articles as Universal Scenery Studios, and Universal Sceneries Studios. However, it is the same firm, as Larsen is often mentioned by name.

There was a second firm established in 1919 named the Universal Scenic Studio Co. The only different is Co. versus Inc. at the end. This firm was established by Boyd P. Joy and initially located in on East Tenth Street in Sioux Falls, South Dakota. Business offices for Boyd’s Universal Scenic Studio Co. later opened offices in Minneapolis, Minnesota and Milwaukee, Wisconsin.

In regard to Boyd’s endeavor, an interesting article was published in the “Argus-Leader” on March 22, 1919. It reported, “The Universal Scenic Studio of Sioux Falls, on East Tenth Street, under the direction of Boyd P. Joy, is providing for this section of the northwest products of the best experience of a man who was for a number of years connected with the best studios of New York and since coming west a few years ago has become one of the recognized leaders in scenic art production.”  In later years, Boyd’s firm was often advertised as “Universal Scenic Studio, of Milwaukee” and “Universal Scenic Studios, of Minneapolis” whereas Larsen’s firm was advertised as “Universal Scenic Studios, of Chicago.”

Between 1917 and 1920 Larsen divided his time between Chicago and New York, although he was constantly on the road. Larsen’s fourth child, William Herbert Larsen, was born on May 15, 1918, in Chicago.  This is likely when Larsen shifted from the United Scenery Studio of New York to New York Studios. His wife was now caring for four children and likely benefitted from remaining in the same city as her parents.

When Larsen went to briefly work for New York Studios, it was not in New York. New York Studios managed a branch office in Chicago, and were an eastern affiliate of Sosman & Landis. This is where Moses was temporarily working in 1918 and 1919. Moses and Larsen were not the only scenic artists hopping from one studio to the next. This was a tumultuous time for scenic artists and their employers. There were a series of disputes and settlements just prior to the United States’ entry into WWI.  It created a perfect storm for suppliers and artisans in the theatre industry.

Two articles were published in the August 1918 issue of “Variety.” They painted a vivid picture of the struggles for scenic artists that summer. The first article was entitled, “No Studio Settlement.” The article reported, “The report that the scenic artists had won their fight against the studio operators and had returned was erroneous. There have been two committee meetings between artists and contractors, but the former were not empowered to settle even had the differences been adjusted. All the large studios are continuing with newly developed artists, and although running short-handed, are getting out some work. The contractors say they are ‘standing pat’ and that the scenic association’s men are working in smaller studios only. There was but one deflection from the contractor’s association, that being the Metropolitan Studio of Brooklyn, in which plant the men never walked out. While the fight is on the Dodge and Castle studio has shifted all work to the plant of the New York studio.  New York Studio was where Moses and Larsen worked that year.

The second article in “Variety” during the summer of 1918 was entitled, “Scenic Artists Arbitrate.” The article reported, “The so-called ‘strike’ of the scenic artists, which lasted for five weeks was amicably adjusted last week and the ‘belligerents’ returned to work. While ‘strikers’ gained nothing in the matter of salary or hours in employment – returning under a somewhat less favorable basis than was offered then before the quit – they succeed in securing an Arbitration Committee to adjust any further disagreements. When they walked out the scene painters demanded that 44 hours constitute a week, double pay for overtime, such as nights, Sunday’s and holidays, and a minimum wage of $30 for assistants. All this was agreed to by the studio managers, but they objected to being limited to one assistant to every artist. Upon occasion they have found it expedient to employ as many as four assistants to one artist, often paying them more than minimum wage demanded. The walk-out was times for the busiest period of the year, but the studio managers merely did as much work themselves as they could and passed up the remainder.”

The entry of the United States into WWI also prompted many scenic artists to leave the private sector and work for the government.  Others, such as Larsen, founded their own scenic studios. In the beginning, Larsen founded Universal Scenic Artist Studios in Chicago. He was listed as the art director and manager of the firm. After leaving New York Studios in 1919, Larsen remained in Chicago. The 1920 US Federal Census listed the Larsens living at 5617 Drexel Ave. The household included: Lawrence (27), Marguerite (24), Jeanette M. (5), Lawrence P. Jr. (3 yrs. 8 mts), William (1 yrs. 5 mths.), and Lawrence’s brother, Herbert R. Larsen (19 yrs.). Herbert was listed as an “artist’s helper” in the theatre industry.

By 1921, Universal Scenic Artists Studios was working with Universal Electric Stage Lighting Co. of New York. On Jan. 29, 1921, the “Lansing State Journal” of Lansing, Michigan, reported that Universal Scenic Artists Studios of Chicago delivered black velvet hangings trimmed with gold bullion for the Style Review at the Gladmer Theatre. The Universal Electric Stage Lighting Co. provided special electrical effects and scioticons for the show, with Sosman & Landis delivering the painted stage settings.  As with many new scenic concerns, Universal Scenic Artist Studios started small, picking up whatever projects they could find, including fabric draperies for the stage.

On April 1922, Wisconsin’s “Kenosha News” reported, “Beautiful Scenery in Haresfoot Comedy. Scenery and equipment for the Wisconsin Haresfoot show, “Kitty Corner,” which is to appear at the Rhode Opera House, Tuesday evening, April 18, is being specially constructed for the production by the Universal Scenic Artist studio, Chicago, recognized leaders in scenic equipment” (page 9). The 1922 Chicago Central Business and Office Directory listed L. P. Larsen as the general manager and art director for Universal Scenic Artist Studio. Advertisements state that they were “Leaders in Scenic Equipment.” The firm was located in Suite 626 of the new State-Lake Building at 190 N. State. Other tenants in the building that year included the Orpheum Circuit Inc., Rapp & Rapp architects, B. F. Keith’s Vaudeville Exchange, Western Vaudeville Managers Association, Broadway Music Corporations, Advertising Art Bulletin Co. Signs, Lester Theatrical Costumes, and dozens of other managers in the entertainment industry.

In 1922, Larry and Marguerite welcomed their fifth child into the world. On February 17, 1922, Howard Muir Larsen was born in Chicago. Marguerite, however, never seemed to recover and passed away two years later. Marguerite Muir Larsen died Feb 4, 1924 and was buried on Feb. 7 in Oakwood Cemetery. At the time, the Larsen’s home address was listed 6411 St. Lawrence Ave. On Feb. 8, 1924, Chicago’s “Suburbanite Economist” reported, “Mr. Marguerite Muir Larsen, wife of Lawrence P. Larsen, died at Englewood hospital on Monday morning, February 4, 1924. Mrs. Larsen was the daughter of Mr. and. Mrs. Howard A. Muir, residents of Englewood and Woodlawn. Funeral services were held at Cunningham’s chapel, 6237 Normal Blvd., on Thursday, at 2 O.M. Interment at Oakwood cemetery” (page 4).

For the next two years, Larsen struggled as a single parent, relying heavily upon his in-laws as his business continued to expand. On May 2, 1926, the “Joplin Sunday Globe” reported, “L. P. Larsen, general manager and art director of the United Studios, was in Joplin Friday…”(page 1).  Larsen was spending an increasing amount of time in Missouri, completing one project after another, including the Gillioz Theatre in Springfield, Missouri. In June 1926, Larsen married Helen June Mingo (1901-1988). Helen worked as a secretary in Larsen’s office.

The 1920s posed a challenge to well-established scenic studios while offering opportunity to new firms. Theatre suppliers and manufacturers had to rapidly adapt to changing times, immediately responding to new expectations and technological innovations. Live entertainment began to promote drapery settings in lieu of painted scenes. In some ways, it benefited many new studio owners. The manufacture of drapery settings or abstract scenes required an entirely different skill set from their labor pool. This meant that majority of work once completed by highly-skilled scenic artists was replaced with projects that could be completed by their assistants. In some ways, scenic art became more of a scenic trade.

As noted above in the “Variety” article above, the ratio of one assistant per artist could be stretched to several assistants per artist.  This allowed the master artist to supervise a team of less-experienced, and minimally-paid, individuals. In the end, studio owners were able to rake in larger profits by substituting the work of master painters with their less-experienced assistants. Scenic artists well-versed in painted illusion had to adapt, and quickly. Some set their sights on a much bigger prize – the whole theatre building. Such was the case when Larsen

founded his second firm, United Studios, Inc. Larsen became well-known as a designer and builder of atmospheric theaters. Years later, on April 31, 1927, the “Kenosha News” reported, “It is the only enterprise designing and executing theaters from the laying of the first steel and stone to the finished product completely equipped ready to present entertainment and receive patronage.” Larsen became well-known as a designer and builder of atmospheric theaters. His company advertised as “Creators and Builders of Theatres Complete.”

At the beginning of January 1927, Larsen opened his second firm, United Scenic Studios, Inc.

On Jan. 26, 1927, “The Capital Times” of Madison, Wisconsin, announced United Scenic Studios, Inc., Chicago, as a new Foreign Corporations (page 20), with a capital stock of $50; proportion represented in Wisconsin, $12,000; Wisconsin agent, B. W. Frampton, Kenosha, Wis.” Larsen made news that year and began an aggressive marketing campaign. On April 31, 1927, “The Kenosha News” pictures a portrait of Larsen in an article entitled, “Larson Bought First Suit from Laemmle, Now Builds Theatre” (pages 1 and 7). The article uses Larsen and Larson interchangeably; so, you can see how difficult it has been to track down Larry.  Here is the article in its entirety:

“Larry Larsen, school boy of Oshkosh, was about to be confirmed and he was to have a new suit. He was told that it could have long pants and as he opened negotiations for its purchase with Carl Laemmle in his little Oshkosh clothing store it was one of the proudest moments in his life.

And now today as Larry Larson, master builder of theaters, puts the finishing touches on the splendid Kenosha Theater, he comes to another moment fraught with import and intimately associated with it the man of his earlier experience for he created and built the theater for Carl Laemmle, president of the Universal Pictures, Inc.

‘Our first transaction,’ says Larsen, ‘was a matter of fifteen dollars or so. Now our deals involve the exchange of millions but the same happy, kindly, honorable spirit dominates negotiations for ‘Uncle’ Carl Laemmle’s knows just one way of doing business.’

L. P. Larsen, president and general manager of the United Studios, Inc. of Chicago, a concern which designs and builds theaters complete, is a native of Copenhagen, Denmark, where he studied art in the Royal Academy. When he was a lad the family came to the United States, going directly to Oshkosh.

Young Larsen, his soul hungry for art tuition unavailable in his home town, ran away to Chicago where he studied by night and acted as a scenic artist by day. His rapid rise in the fields of decoration and architecture led him to form his own company in 1920, This is known as United Studios, Inc., a concern which stands unique and in a field of its own making. It is the only enterprise designing and executing theaters from the laying of the first steel and stone to the finished product completely equipped ready to present entertainment and receive patronage.

Built First Atmospheric Theater.

Mr. Larsen is particularly enthusiastic over the latest innovation of theatrical architecture, the atmospheric theater. It was he who built the first house of this type east of the Mississippi. The theater was erected at Worchester, Mass., and was considered one of the outstanding show places of the east, both from architectural and entertainment standpoints. The United Studios have since built similar places coast to coast.

Handsome theatrical structures, involving millions of dollars, are underway for Carl Laemmle at Racine and Sheboygan, states Larsen, and that being the case it prompts the builder to remark, ‘Isn’t life queer?’” This story would be retold dozens of times over the years with minimal variation to the storyline.

By 1927, Larsen had built several large theaters for Universal Chain Theatrical Enterprises, Inc., of New York, The Universal Chain owned and controlled more than 290 theaters throughout the United States and Foreign countries, with a seating capacity of 250,000 (The Sheboygan Press, 27 Dec. 1927, page 11).

Larsen’s reputation continued to grow, along with profits generated by the United Studios, Inc. in the late 1920s.  On Aug. 6, 1927, “The Sheboygan Press” reported “The United Studios, Inc., which has the erection, completion and furnishing of theatres for the Milwaukee Theatre Circuit, now has under construction projects totaling approximately $2,300.000. These include the $1,000,000 theatre at Racine, the $700,000 theatre in Kenosha, and the $600,000 building in Sheboygan” (page 1). But all was no well with Larsen. On Aug. 27, 1927, the “Joplin Globe” announced “L. P. Larsen was admitted for medical treatment yesterday” (page 5).

Larsen also began to diversify and invest in other business opportunities, such as the Joplin Building Corporation. When the Universal Film Corporation announced plans for construction of a theater on the site, Larsen purchased the property for the purpose of erecting a combined hotel and theater building. He formed the Joplin Building Corporation. Larsen was noted as the president of the Joplin Building Corporation, incorporated for $200,000. (“Joplin Globe,” 29 Feb 1928, page 2). “L. P. Larsen of Chicago, president of United Studios, Inc.” was credited with the design for the 11-story hotel, advertised to be the “Highest building in the Ozarks.”

On Feb. 28, 1928, the “Freeport Journal-Standard” reported, “The United Studios are the builders of the new theatre and 100 room hotel to be constructed in Beloit, Wis. And have recently completed theatres in Racine, Kenosha and Sheboygan. Among other houses which the company have constructed are the Ambassador in Chicago, houses in Worchester, Mass. Springfield and Joplin, Mo., and Edison Park, Ill.” (page 6).

Larsen was also featured in “The Journal Times” of Racine, Wisconsin, on April 11, 1928 (page 33).  The article was entitled “New Venetian Theater is Creation of Former Badger State Resident.” Here is the article in its entirety:

“The architectural beauty and stability, and the elaborate and carefully worked out details of the new Venetian were planned and executed under the direction of L. P. Larsen, president and general manager of United Studios, Inc., a concern which designs and builds theaters complete. He is an expert on atmospheric houses, of which the Venetian is a magnificent example.

Mr. Larsen, who is a native of Copenhagen, Denmark, where he studied art in the Royal Academy, came to the United States with his family, while he was still a lad, going directly to Oshkosh, Wis. Here, as a school boy he had his first dealings with Carl Laemmle, president of Universal Pictures, Inc., and Universal Chain Theatrical enterprises which owns and operates the Venetian Theater. Mr. Laemmle, then owned a small Oshkosh clothing store, and it was to him that young Larsen went on the eve of conformation to purchase his first ‘long pants.’

Mr. Larsen and Mr. Laemmle smile today when they look on the early deal which involved fifteen dollars, for today Mr. Larsen builds theaters all over the United States for the Universal company, and millions of dollars are exchanged by the two men in necessary transactions.

Earl in life Mr., Larsen exhibited artistic tendencies and desired art education. Since there was none available in his home town he ran away to Chicago, where he ‘doubled in brass,’ acting as a scenic artist during the day, and going to art school at night. His successes in the field of art and decoration were so outstanding that he formed his own company in 1920, known as the United Studios, Inc. This concern is unique in that it is the only enterprise designing and executing theaters from laying of the first steel and stone, and the mixing of the first concrete, to the finished product, completely equipped and ready in every detail for patronage and presentation of entertainment.

Atmospheric theaters, of which the Venetian is a wonderful example, are close to Mr. Larsen’s heart, for he built the first theater of this type east of the Mississippi. Erected at Worchester, Mass., this theater was considered one of the showplaces of the east, both from an architectural and amusement standpoint. The United Studios have since built similar places from coast to coast.”

On July 10, 1928, the “Freeport Journal-Standard” reported, “The United Studios, Inc., finance, design, erect and equip theaters and have recently completed houses in Racine, Kenosha and Sheboygan, Wis., Chicago, Ill., Worchester, Mass., Springfield, Mo., and are now constructing a ten-story theatre and hotel in Joplin, Mo., and a new 100-room hotel in Beloit” (page 1).

On Nov. 15, 1929, “The Post-Crescent” of Appleton, Wisconsin, published a full-page advertisement for the opening of the New Fox Midwestco Theater, crediting “The United Studios of 14 W. Lake St., Chicago” with conceiving and executing the new theater building.  The ad stated, “The New Fox Midwestco Theater created for Appleton by the United Studios, Inc. of Chicago. The United Studios, under the direction of L. P. Larsen have designed and built many of the country’s outstanding theatres. The new Fox is their latest achievement.” The ad also stated, “The following work was executed under the direction of the United Studios, Inc.: Architecture, Electrical Work  and Equipment, Pain and Ornamental Plastering, Painting and Decorating, Sign and Marquee, Scenery and Rigging, Draperies, Lighting Fixtures, Carpets, Furniture, Switch Board and Border Lights, Opera Chairs, Organ, Booth Equipment, and Talking Equipment Installation.” Other projects for United Studios, inc. included Crystal Lake’s El Tovar theatre in Crystal Lake, Illinois. That year advertisements for United Studios, Inc. stated, “United Studios, Inc., builds massive structures of beauty and durability,” detailing that the were “Builder and Equippers of Theatres Complete” (“The Herald,” Crystal Lake, Illinois, 25 July 1929, page 9).

E. R. Nickel was listed as the superintendent of construction for the United Studios, Inc. during the remodeling of the New Van Der Vaart Theatre in Sheboygan (“The Sheboygan Press,” 31 Aug 1928, page 18). For other projects, Nickels was listed as the firm’s engineer (“Stevens Point Journal,” 23 July 1928, page 2). Nickel was also the president of the Valley Construction Co. of Oshkosh. An article about the New Van Der Vaart Theatre reported, “United Studios, Inc. whose artists drafted the plans for the remodeling and re-decorating program has under construction at the present time a combined hotel and theatre building in Joplin, Mo., which when completed $1,500,00, theatres in Crystal Lake, Ill, Delavan and Green Bay, Wis., South Bend, Ind. And Freeport, Ill. A large number of other big projects, such as the $1,000,000 theatre in Racine, the Sheboygan theatre, and numerous other theatrical and hotel properties have also been planned and constructed under supervision of the United Studios, Inc.” (page 18). That same year, Larsen, Nickels and pilot Max Bergham survived a plane crash near Marshfield shortly after takeoff. Larsen and Nickels had chartered a plane to take them to Chicago for a pressing business appointment. They were meeting with J. P. Adler, proprietor of the Adler and Trio theaters of Marshfield, Wisconsin. Miraculously, all three men survived (“Oshkosh Northwestern,” 8 Aug 1928, page 9).

On Sept. 29, 1929, the “Joplin Globe” included an article entitled “Theater Depends on Stock Sale” (page 21). The article concerned the proposed theatre at Fifth Street and Virginia avenue. “L. P. Larsen of Chicago, one of the promoters” explained there must be $50,000 to $60,000 worth of stock subscribed if the building was to be erected. “Larsen said the actual construction of the building would be begun when the stuck is subscribed.”

By 1930, L. P. Larsen was not only listed as president of United Studios, Inc., but also the president of J. N. Blumberg Theatrical Enterprises, Inc. Although N. J. Blumberg and his wife, Kate Silvers, were the original incorporators of N. J. Blumberg Theatrical Enterprises, Inc. Larsen gained control of the stock by November 1928. By 1930, Larsen, H. J. Mingo (Mrs. Larsen), E. R. Nickel and W. E. Roberts were the present stockholders of the corporation. Mrs. Larsen and Nickels were also principal stockholders in the United Studios (“The Sheboygan Press,” page 12).

1930 US Census listed the Larsens living at 844 Glencoe Ave. in Highland Park, Illinois; this was part of Deerfield Township. Larsen was listed as a contractor in the Theatre Building industry. In 1931, the Larry briefly relocated his family to Bakersfield, California, where he was listed in the City Directory: “Lawrence P. Larsen (Helen) h2200 D.” They soon returned to Missouri, where Larry worked in Joplin as an architect.

On April 29, 1932, the “Joplin Globe” reported “Theater Proposal at W. C. Explained” (page 3). The article concerned the approval and support given to plan of rebuilding Old Blake at $40,000. “Webb City, Mo.- April 28. – Approval and support were unanimously given to the proposal of rebuilding the Blake theaters, destroyed five weeks ago by fire, at a mass meeting at regular weekly scheduled session of the Chamber of Commerce today. The meeting as largely attended. The proposal was explained by Fletcher Hammond, manager of the ruined theater and L. P. Larsen, Joplin architect, who would build the new theater.”

In 1933 the Larsen’s moved from Joplin to Webb City, where Larry would remain until his passing in 1950.

Larry and Helen welcomed their only son, David, in 1936. Sadly, their marriage would end in divorce, with Larsen securing custody of his son David. Something happened to the couple between 1936 and 1943. By 1940, Helen ended up as a patient in the State Hospital, they briefly moved to her hometown of Cedar Rapids. The 1940 Us Federal Census listed Helen J. Larsen as a patient at the State Hospital in Washington, Missouri.  She was one of many housewives who were listed as patients, ranging in all ages.  The same census also listed Helen as part of the Larsen household, living at 125 N. Ball Street, Webb City. The report included the following household members at the time: Larry P (47 yrs.), Helen J. (38 yrs.), David (4 yrs.), William (21 yrs.), Howard (18 yrs.), Lawrence (23 yrs.), and Kathryn (21 yrs.). Kathryn was Larsen’s daughter-in-law, Larry Jr.’s first wife. Larry Sr. was listed as an architect, his son William as a mechanic in the building industry), and Larry Jr. as a manager in the theatre industry.  

On March 18, 1941, the “Joplin Globe” announced “Architect to Speak Before W. C. [Webb City] Rotarians” (page 5). The article continued, “Webb City, Mo., March 17. – Larry Larsen, architect, will deliver the principal address at a meeting of the Rotary Club which will be held at 12:10 o’clock Wednesday in the Elks Club building. Following the meeting the members and their guests will be the guests of the Civic Theatre, where they will be shown “World in Flames.” The picture was a complete outline of the happenings and events of the world from 1929 up to the present crisis.” In many ways, it was the beginning of a personal crises for the Larsen family too.

The last listing for Larry and Helen as a couple was from 1942 – the Cedar Rapids, Iowa, City Directory. They briefly moved to Iowa for a year after Helen was released from the State Hospital. She was returning to her hometown and family. At the time, Larry was listed as a theatre operator in the Cedar Rapids Directory, living at 218 8^th Ave. SW. I doubt that Larry remained in Cedar Rapids for long, as he was too active that year in Webb City area that year. Helen would go on to live another 46 years after their divorce. On Nov. 21, 1988, the Cedar Rapids “Gazette” announced Helen’s passing, reporting, “87, died Sunday in the People’s Care Center at Independence after a long illness. She was born June 9, 1901, at Cedar Rapids. She married Lawrence P Larson [sic.] in June 1926. She was a graduate of Grant High School and was employed as a secretary for the L. P. Larson Designers and Builders of Chicago. Surviving are a son, David of East St. Louis, Ill; and two sisters, Mrs. Gladys Suchomel of Cedar Rapids and Mrs. Evelyn Hoffey of Iowa City. Services: 2:30 p.m. Tuesday, Jacobs-Kuba Funeral Home, by Rev. David Young. Burial: Linwood Cemetery. Friends may call at funeral home from 7 p.m. to 9 p.m. today and after 9 a.m. Tuesday” (page 14).

On Jan. 26, 1942, the “Joplin News-Herald” included a full-page spread on Larsen’s new theater, entitled, “New Civic Drive in Cafe” (page 6). The article reported, “The dreamer is Larry Larsen, artist and architect who erects buildings, not because of what they represent in potential earning power, but because they are beautiful to look at and be in, and make life a little more convenient and pleasant. Larsen came to this district in 1926 to plan a new theater in Joplin. His plans culminated in opening the Fox theaters in November, 1930.

But while he was working on the theater project, Larsen was doing something else. He was falling in love with this region as an ideal place to live. He knew he intended to give up the hurry and cold-blooded commercialism of the big cities and seek a more leisurely and less materialistic life in a smaller community, but he didn’t find just what he wanted until he reached the ‘gateway to the Ozarks.’ When he came here, he already had built 100 of the finest theaters in the nation. Even after closing the community for his home, he went out and erected 40 more show houses before returning to Webb City ‘for good,’ as he expresses it. Larsen’s first contribution to Webb City was the Civic theater, opened in November, 1932. That gave the city a show house with an atmosphere in keeping with that of the largest metropolitan centers – one so pleasant that many persons attend shows from all parts of the district. The Drive-In Café is a second step in a plan for a complete tourist center in Webb City. Next, Larsen expects to establish a hotel, or Mo-tel as he will call it, because it will be constructed especially for cross-country tourists or salesmen who travel in this district with their wives and wish complete garage and eating accommodations…Larsen is known throughout the United States, not only because of his playhouse construction, but also as the man who brought the first pair of suspenders from the man whom he later built so many theaters. Born in Copenhagen, Denmark, Larsen came to American when he was 9 years old. He left home when he was 14 to make his own way in the world and literally pulled himself up by his own bootstraps, earning by his own effort the tuition he needed to study art. Later he devoted his time to interior decorating and finally found expression for his talents in architecture. Larsen first met the man for whom he built the theaters when he was in Oshkosh, Wis. He was the late Carl Laemmle who founded Universal Film Corporation. At that time Laemmle was operating haberdashery and it was his store that Larsen went to buy his first pair of long trousers – with suspenders thrown in. Erection of the Fox Theater here in 1930 marked a step forward in playhouse design which to a great degree influenced all other theater construction in the district. At that time, with due respect to the old Hippodrome and Electric theaters, playhouses of Joplin and the district had not advanced with the motion picture industry. The industry had given the world ‘talkies,’ but show houses still were designed for the silent days. The Fox theaters was the first house built especially for sound motion pictures. It was the first really beautiful playhouse in the district. It set a pace and other theater operators throughout the district were encouraged to follow suit” (page 6).

On July 16, 1942, the “Joplin Globe” included an article entitled Webb City Business Men Will See Film” (page 10). The article noted, “The luncheon will be served promptly at noon at the Civic Drive-in Café. The group will then adjourn to view the picture as guests of L. P. Larsen, manager of the theater” Luncheon Chamber of Commerce meeting. That year, Larry Jr. was managing his father’s Civic Theatre in Webb City.

On May 30, 1943, the “Joplin Globe” announced “Six divorces were granted in circuit court today: Lawrence P. Larsen from Helen J. Larsen, with the custody of their child awarded to Larsen” (page 3). Larry remarried two days later. On June 1, 1943, he married Bird Necomis McKnight Brooks (1905-1970) in Webb City. Byrd had also worked as a secretary at Larsen’s firm. She was a divorcee, having previously married Fred A. Brooks in 1928. Byrd was a resident of Webb City and had been working as a secretary at the theatre corporation since 1940.

Despite WWII, business continued to thrive for Larsen in the 1940s. Tragedy struck the Larsen family, however, in 1947 when Larry’s father passed away. Louis Larsen’s obituary was published in “the Oshkosh Northwestern” on April 19, 1947 (page 4):

“Louis Larsen, 85, of 721 Mt. Vernon street, passed away this morning at 6:45 o’clock after an extended illness. He was born in Denmark, March 14, 1862, and settled at Hancock, Mich., in 1902. Since 1904 he had been a resident of Oshkosh. He was a member of Our Saviour’s Lutheran church and of the Danish brotherhood No. 9. Survivors included his wife Carried; three daughters, Mrs. Cora Morgan of Wenatchee, Wash., Mrs. Gertrude Pilcher of Salem, Ore. And Mrs. Katherine Steiger of Oshkosh; four sons, Lawrence of Webb City, Mo., Henry of Olympia, Wash., Arthur of Fond du Lac, and Herbert of Osh Kosh; 17 grandchildren and three great grandchildren.”

Larry passed away less than three years later. On Feb. 18, 1950, he died from a cerebral hemorrhage. On Feb. 19, 1950, the “Neosha Daily Democrat” reported, “Well-Known Joplin Architect Succumbs. Joplin, Mo., Feb 18 – (UP) – L. P. Larsen, 57, widely known architect of the Missouri-Oklahoma-Kansas area, died today in a Joplin hospital. Larsen was a resident of Webb City, where he owned and operated two motion picture theaters, He was a native of Copenhagen, Denmark” (page 1).

Longer obituaries were published in local newspapers.

“Larry P. Larsen of Webb City Dies.

Owner of Civic Theater and Designer of More Than 100 Playhouses Succumbs Unexpectedly.

Webb City, Mo., Feb 18. – Larry P. Larsen, 57 years old, 119 North Ball street, died at 12:40 o’clock this afternoon in St. John’s hospital in Joplin. He had been ill three years, but was not hospitalized recently until about 11 o’clock this morning.

Mr. Larsen was born in Copenhagen, Denmark, and came to this country with his family when he was five years old. He had resided in Webb City for 17 years. He was a member of the Elks Lodge, War Dads, Chamber of Commerce and Presbyterian Church.

He was an architect and contractor, having built more than 100 theaters in all parts of the country. He designed and built the Fox Theater in Joplin and the Civic Theatre and Civic Drive-In restaurant in Webb City, which he owned, and the sanctuary of the Presbyterian church.

He is survived by his widow Byrd Larsen of the home; four sons, Larry P. Larsen, Jr., of Indiana, William H. Larsen of Kansas City, Mo., David Larsen of the home, and Howard Larsen of Webb City, a stepson, Fred Brooks of Stockton, Calif., one daughter, Mrs. Janet Hawk of Webb City, his mother Mrs. Louis Larsen of Oshkosh, Wis., three brothers, Henry Larsen of Washington, Arthur Larsen of Fond Du Lac, Wis., and Herbert Larsen of Oshkosh, three sisters Mrs. John Stiger of Oshkosh, Mrs. Ira Pricher of Salem, Ore., and Mrs. Cora Morgan of Washington, and three grandchildren.

Funeral arrangements are in charge of the Johnston-Arnce-Simpson mortuary.”

Larsen was buried in buried in Mount Hope Cemetery, Webb City.

To be continued…