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Copyright © 2020 by Wendy Waszut-Barrett

In 1919 Thomas G. Moses wrote, “A large drop curtain for Pittsburg Shrine took up a lot of my time, it being over 70’ long and 26’ high.  I did the picturesque city of Tiberius, and it made a good picture.  A heavy gold frame gave it a very Oriental feeling.”

Previously, Moses closed an $8575.00 contract for Pittsburgh’s 3,700-seat Syria Shrine Mosque theater (see past post 906, https://drypigment.net2020/01/19/tales-from-a-scenic-artist-and-scholar-part-906-the-pittsburgh-shrine-1915/). In 1915, he wrote “May 15^th, I went to Pittsburg with my big models for the Shrine and closed for $8,575.00.”  A year later Moses wrote, “The Syria Temple of Pittsburg is still jogging along.  If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners.” The article continued, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon…. Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple…Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of-town visitors. Thursday night the largest class of candidates was initiated. The number ran close to 700 and is probably the largest to be accepted at one time in the history of the Shrine…Initiation took place in the auditorium, the officers in the charge wearing new costumes. During both ceremonies the elaborate lighting system was demonstrated. Rays from two search light machines, made soft, played in the stage throughout.” (Greenville, Pennsylvania, page 1). This provides context in regard to the scale of Shrine initiations in 1919, as that year Moses also designed and painted scenery for Denver’s El Jebel Shrine ceremonies.

In the summer of 1919, Moses wrote, “In August I made a number of Shrine models for Denver and we received a contract.” “The Indian Journal” of Eufaula, Oklahoma described the El Jebel Temple was “one of Denver’s most beautiful and imposing buildings” (23 Oct. 1919, page 1). It may have been a lovely theater, but it was not grand enough for a massive gathering of Shriners on Nov. 21, 1919.  

For the event, Shriners staged the Shrine ceremonial at the Denver Auditorium, complete with special scenery. Moses recorded that the scenery shipped from Chicago on November 1, 1919; plenty of time for transportation, inspection and installation at the Denver Auditorium. The event was a multi-state Shrine initiation. On Nov. 28, 1919, the “Western Kansas News” announced, “Initiation at Denver was biggest Masonic affair ever held in the West.” The article continued, “The initiation was the greatest every attempted by any Shrine in the west. The cost of the scenery and other essentials represented an expenditure of over $11,000. The large and beautiful Shrine Temple in Denver was entirely too small for the event which resulted in securing the Denver Auditorium for the ceremonial. The large auditorium which seats many thousand people was crowded to its doors by Shriners from Colorado, Kansas, Wyoming and New Mexico. This was a big production for Moses and by the end of the year he reflected, “While we have been very busy the whole year, we have not done any very notable productions, excepting the Coliseum shows and Denver.” The demand for painted scenery was down everywhere, except for Masonic productions. The fraternity was alive and thriving.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

John H. Kunsky had made his fortune investing in movie houses.

In 1950, George W. Trendle recalled that the Kunsky Theatre Circuit had 16 movie houses in Detroit by 1929. It was that year that that Trendle and Kunsky sold to Paramount (Daily News, NY, 5 March 1950, page 562).

In 1922, the “Washington Times” published a definition by John H. Kunsky for the query, “What is the Moving Picture” (Washington, D.C., 13 Feb 1922, page 16). Kunsky had a vested interest in selling the purported benefits of moving pictures. This is such a wonderful example of how the world of entertainment was changing and how silent movies were perceived by the American populace.

“The newest thing of great importance in the world is the MOVING PICTURE. It offers the most direct road into the human brain and thought. What it IS, what it DOES, what it is DESTINED to be – all those questions important to everybody interested not merely in moving pictures, but in EDUCATION and in the human race of the future.

Some will say that the moving picture does instantaneously what the spoken or written word does slowly. Others will say that it is actual presentation of life and emotion before the very eye of the beholder.

A very good definition of the moving picture, as you will agree, is given by John H. Kunsky who has just built the Capitol Theater in Detroit, one of the most magnificent theaters anywhere. Writing for the Detroit Times, Mr. Kunsky says:

WHAT A THEATRE DOES.

By John H. Kunsky.

Throughout history the human race, worried with its problem and its struggles for life, has sought relaxation, a change in the mind’s work that means rest for the brain. The Greeks had their public baths, in which they met and talked; their public squares, their famous philosophical promenades.

The fighting Romans had their great arenas, in which men and beasts, and even ships on real water, fought to amuse the mob.

In the middle ages they had bear-baiting, their dog fights.

The Spaniards still have their bull fights.

The Americas, as a nation, far removed from the brutality of the gladiatorial arena, or the bill rig, find their mental rest and their mental pleasure in the theater. And in the modern theater and its work you find reflected the national personality, its interest, its culture.

WHAT IS THE MOVING PICTURE?

The question is not asked now as it once was when men doubted whether ‘the movies,’ so called would last.

The moving picture is SIMPLY THE SHORTEST ROAD INTO THE HUMAN BRAIN.

It enables the actor to display all of his skill, and the spectator instantly can see all that the story has to tell.

You can do with the moving pictures all that can be done by the living actor, and a thousand times more.

If you say that the voice of the living actor is missing from moving picture, I will admit it, and regret it. But I will answer that the absence of the actor’s voice increases the activity of the spectator’s imagination, and the work that goes on inside the mind of the spectator’s imagination, and the work that goes on inside the mind of the spectator is worth infinitely more that the spoken word of any living actor.

To arouse thought, stimulate the imagination, transport vast audiences as by magic, to all parts of the world, is a great, useful and education work. And that is what the moving picture does. An entire week of work by living actor and of close attention by spectators could not show as much as can be shown by the moving picture in two short hours.

Gigantic crowds of thousands such as no stage on earth could possibly hold are shown and brought before crowds in absolute reality on the screen.

The moving picture is a great educator, and no man can say what good is done to this and to other nations in which the moving pictures with its dramatic story is part, as it were, of the daily mental diet.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919, Thomas G. Moses delivered scenery to two Detroit movie houses owned by John H. Kunsky.  A decade later, the “Detroit Free Press” published an article about Kunsky and his chain of theaters. It provides a good perspective when considering the declining demand for painting scenery during the second and third decades of the twentieth century.

Here is the “Detroit Free Press” article from July 22, 1928 (page 11):

“More than 20 years ago, in 1905, John H. Kunsky brought the first motion picture machine to Detroit. It was a cumbersome affair, far from reliable, but it served its primitive purpose, and the first Kunsky theater – formerly a store – prospered.

As the idea of motion pictures took hold upon the public, the firm benefitted. There came into being in 1908 the Theater Royale, the first 10-cent theater Detroit every had seen and the first link in the Kunsky chain. On one occasion a charge of 25 cents was made during the showing of ‘The Passion Play,’ the first ‘super-feature’ of multiple reel length.

In quick succession there followed the Majestic and the Empress. As they too, prospered, there came into being the Garden, located in the then residential section of Woodward and Selden, the forerunner of the chain of de luxe suburban and residential theaters sponsored by the Kunsky Theater corporation.

The Hippodrome, and the Columbia followed, in short order, the latter still being operated by its founders, but none met with the huge success of the Liberty, the first , with its 15-piece orchestra under Eduard Werner, its organ, and pleasant atmosphere, did much to popularize the motion picture with the so-called ‘silks and satins.’

In 1914 the Kunsky chain took over the old Washington theater previously operated by a none-too-successful stock company. This was the beginning of the march toward Grand Circus park, and so profitable was the venture that in 1916 the Madison was erected.

Other followed quickly. In 1917 the Adams came into being followed by the Capitol; in 1925, by the State; and in 1926 by the Michigan.

Meanwhile the suburban field had not been neglected. More and more attention was given to providing entertainment in the residential sections, until now the chain owns and operates the Birmingham, the Redford and the Royal Oak, all opened during the last 10 months; the Strand, the De Luxe, the Alhambra, and the Columbia, in addition to its five big downtown theaters.

Unusual attention has been given to making the anniversary celebration a big one. Jackie Coogan, child cinema star, is appearing in person at the Michigan, with Frank Beaston’s Publix show ‘Sunshine Days,’ while Eduard Werner and Arthur Gutow offer musical specialties and Laura La Plante stars on the screen in ‘Home, James.’

The Capitol brought on Lou Holtz, ‘Scandals’ star, especially for this occasion, to appear with Del Delbridge in a lavish Publix stage show ‘Fine Feathers;’ Samuel Benavie and Don Miller assist musically, while on the screen William Boyd stars in ‘The Cop.’

The Adams offers Norman Keery in ‘The Foreign Legion,’ with Lewis Stone and Mary Nolan, with symphonic accompaniment by the Adams Symphony orchestra, while two talking pictures, ‘The Jazz Singer,’ starring Al Jolson, and ‘The Lion and the Mouse,’ with Lionel Barrymore and May McAvoy are seen and heard at the Madison and the State respectively.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919 Thomas G. Moses wrote, “Adams Theatre occupied much of my time during the month of February.” The Adams Theatre opened in March 1919 and was located at 22 West Adams Avenue in Detroit, Michigan.

The president and treasurer of the Adams Theatre Company was John H. Kunsky. By the summer of 1919, Moses wrote, “A number of drops and a large picture set for Kunsky of Detroit was completed in June with success.  This is the first work that we have done for him.” If he hadn’t written, “this was the first work we have done for him,” I might have thought it was a second delivery to the Adams Theatre. It is also possible that Moses worked with another Adams Theatre representative on the Adams Theatre project, just not Kunsky. However, it was likely that successful delivery of scenery to the Adams Theatre caused Kunsky to contact him directly for another job. Kunsky also owned the Madison Theatre in Detroit, a venue that opened on March 7, 1917. Moses mention of drops and large picture set delivered were possibly for that theater. The Madison Theatre was a sizable house with a seating capacity of 1800. The top floors of the building housed the Kunsky circuit’s main offices.

Kunsky was a mover and shaker in Detroit by this time. Kunsky was integrally linked to the movie theatre industry in the town, having brought a motion picture machine to Detroit in 1905 and opened the Royal theatre in 1908. The “Detroit Press” cited Kunsky’s history in Detroit in relation the Royal Theatre. The article reported, “John H. Kunsky started in business as Michigan’s first exhibitor in 1905, in the Casino theater, in Monroe avenue, remodeled from a store, and having a seating capacity of 125. Encouraged by the success of this venture, in company with others he gained a lease on the property at Monroe avenue and Farmer street, demolished the building and erected a new structure that was christened the Royal theatre and contained 200 seats. At the time it was said to be the largest and finest motion picture house west of New York, a statement that sounds strange in these days when seating capacity is counted in thousands, and the entire original equipment of the Royale would not inventory enough to give a modern house a fair start in the matter of decorations. Nevertheless, Detroiters marveled at so large a place devoted to a new-fangled idea that. It was predicted, was only a fad, and not a few local wiseacres predicted speedy failure for the enterprise. Mr. Kunsky had the true showman’s idea of giving the public plenty for its money. He promptly installed and “orchestra” consisting of a piano and drums. As an added attraction there was a singer who warbled ballads to the accompaniment of colored lantern slides. Detroiters used to go to the Royale to scoff and remain to marvel, for they not only found lavish appointments, as those things were reckoned then, but pictures that were worth watching. Gradually the business grew, and soon the house was firmly established, with seats at a premium most of the time. The Royal was one of the first, if not the first, picture houses to stage a longtime run. It screened ‘The Passion Play’ at an advanced price, admission being raised from 5 to 10 cents, and for eight weeks, with the aid of a special lecturer, it drew crowds. This helped to make the Royals the talk of the town, and to put the theater on a well-paying basis, even if its clientele came chiefly from the meek and lowly, the upper classes remaining skeptical. After a while it overcame this early prejudice, but it never was particularly conspicuous, because it was shortly followed by other and larger houses. Nevertheless, its career was a steady and profitable one, and from this modest little beginning on Monroe avenue came the Kunsky Theatre Circuit embracing 14 houses, that finds its highest expression in the magnificent new Capitol and the others circling Grand Circus park, to say nothing of the thousands of private houses scattered about the city and throughout the state, many of which drew their inspiration from the tiny place that is so soon to pass from existence.”

In the fall of 1919, Kunsky he announced plans for a new theatre on the northeast corner of Hamilton Boulevard and Highland Avenue. On Nov. 9, 1919, the “Detroit Free Press” announced, “Work is to be started almost at once on the erection of a handsome theatre on the northeast corner of Hamilton boulevard and Highland avenue, for John H. Kunsky. The building is designed by C. Howard Crane, architect, and Elmer Kiehler, associate, who in the last few years have designed more than 2oo theaters in the United States and Canada, their latest work having been Detroit’s new Orchestra hall. The new theater will cost approximately $250,000, will have capacity for 2,800 persons and will be the largest residential theatre in or near Detroit. It is announced that it will also surpass any other local theater in the attractiveness of its appointments. The front of the building, with length of 180 feet, is renaissance. The furnishing and appointments will be most luxurious, in many respects, its aid, surpassing those of Mr. Kunsky’s downtown theaters, the Madison and the Adams” (page 85).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919 Thomas G. Moses wrote, “The scenic artists have made their minimum scale $50.00, a raise from $36.00, which means a number will have to go back as assistants.  Very few are capable of earning $50.00 while a number are worth $60.00 and $75.00.” To put a scenic artist’s salary in perspective, the average actual weekly earnings per week worked in 1919 were $13.55 (Journal of Political Economy, Vol. 29, No. 1, Jan. 1921, pages 78-79). That being said, a large section of men employed suffered in America from extensive under employment. Estimates at the time, noted that the weekly wage for men could have increased to $23.56 if individuals were able to secure 42 to 45 hours of employment each week.  So, in the big picture, making $50.00 per week as a scenic artist was a very decent salary at the time. However, that does not mean that their hourly rate was twice that of the average American worker, as they were likely working far more than 45 hours per week. If we take into account Moses’ records of long hours, scenic artists worked 10 to 12-hour days, often six days a week.

Keep in mind that the scenic artist salary increases from $36.00 to $50.00 was during a period of increased unionization in American. Workers needed representation for fair wages, decent hours and safe working conditions. I keep thinking of my grandfather who opted not to work in a steel mills of Milwaukee as a newly arrived immigrant, explaining that if he wanted to work in “hell” he would have stayed in Poland. My grandfather Waszut later ran the north trolley line in Minneapolis. Then, as now, many businesses took advantage of their employees, placing profits ahead of people; the safety of their workers was not a priority. This is why union representation is critical, an organized movement helping implement safeguards while holding businesses accountable. Unfortunately, if often took a tragic event, a horrific moment, that instigated people rise up and act, becoming part of a nationwide movement.

The passion in people becomes ignited to organize and protest. Their protests start because there are a series of unacceptable incidents, especially if there is a history of prior warnings and citations. A tragic event will become the catalyst where people stand up and say, “enough is enough.” That is when the massive protests start. Similarly, those wanting to maintain the status quo try to quickly silence the protestors or distract the public’s eye away from the tragic incident. In 1911, the Triangle Shirtwaist Factory fire was the catalyst for change and increased union representation. Most of the victims dies as a result of neglected safety features, such as locked doors. Seeing women plunge to their death from a burning building, resulted in a demand for change, helping unite organized labor and reform-minded politicians. Here is an article about the tragedy from Smithsonian Magazine: https://www.smithsonianmag.com/history/uncovering-the-history-of-the-triangle-shirtwaist-fire-124701842/

In regard to the theatre industry in 1919, there was quite a bit of turmoil already, including 1918 measles outbreak, the Spanish Flu and WWI; these presented a series of obstacles…and then there was the actors’ strike.

On August 21, newspapers across the country reported that six ‘legitimate’ theaters in Chicago, went dark. The cause was a result of musicians and stage mechanics striking in sympathy with the striking actors. The walk-out in six theaters took place just before the afternoon performance on August 20, 1919. I was fascinated with the idea that when the actors fought back, other factions of the industry rushed to their aid; it was a community endeavor.

On August 2, articles described the actions of the sympathizers: “Dick Green, business agent of the local Stage Mechanics’ Union and vice president of the International Alliance of Theatrical Employees, said the strike yesterday was in sympathy with the actors and that there would be no compromise until the fight with the producing managers’ association in New York was settled. He said the stage hands had no grievances of their own. Officials of Chicago Musician’s Union made a similar statement. A nation-wide spread of the strike is now threatened, according to union officials and the hostile attitude of the theatre managers toward making any concessions indicate a long night…The strike of stage hands and musicians as an adjunct of the Actors’ strike threatens to close every downtown playhouse in Chicago” (“Morning Post” Camden, New Jersey, 21 Aug 1919, page 6)

On August 22, 1919, “The Record” reported the actors strike was augmented by nearly two hundred scenic artists employed by the Schuberts and several score more actors, The article noted, “The Actor’s Equity Association members are jubilant, declaring they are sure they can force the managers to recognize the union and accept the players’ demand” (Hackensack, New Jersey, 22 August 1919, page 16).

However, there was another force at work mentioned in the last paragraph: “Louis Mann has begun the organization of an actors’ organization in opposition to the Equity Association in an effort to end the strike. He is backed by the Producing Managers’ Association and is said to have been given $100,000 by George M. Cohan to finance the project.”

For more information about the 1919 actor’s strike, see “The Lambs Club Remembering the 1919 Actors Strike” (https://t2conline.com/the-lambs-club-remembering-the-1919-actors-strike/) and “When Actors’ Equity Staged Its First Strike” from “American Theatre” (https://www.americantheatre.org/2013/03/01/when-actors-equity-staged-its-first-strike/).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In January 1919, Thomas G. Moses wrote, “Started the wood scene of the State-Lake Theatre job, which was a good beginning, rather hard to do in the Peltz and Carson Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor.  The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.  I was quite successful in my work at the State-Lake Theatre Everything came out quite good.” 

The State-Lake Theatre opened on March 17, 1919, as part of the Orpheum Circuit. The venue was described as “Chicago’s two and one-half million dollar vaudeville playhouse” (“The Standard Union,” 20 Aug. 1919, page 8). Part of a 12-story office building located “in the loop,” it was on the corner of N. State Street and W. Lake Street. There was an enormous electric marquee on the building, measuring 96’-0” tall by 14’-6” wide; at the time, one of the largest electric signs in the world.

The auditorium boasted a seating capacity of 2,800, hosting 70,000 patrons each week during its heyday. Newspaper advertisements promised “Continuous Double Value Vaudeville and Photoplays at Single Prices,” with 4 shows daily: 11:00-2:45, 2:45-5:00, 5:00-8:00 and 8:00-11:00 (Chicago Tribune, 29 March 1919, page 19).

The theater later became part of the of the Keith-Albee-Orpheum Circuit and then the Balaban & Katz chain. Lake many other theaters, it eventually dropped all live performances and only featured movies by 1941. In 1984, the theater officially closed, with the interior being transformed into studio and office spaces for WLS-TV, a Chicago affiliate of ABC. Here is a lovely article about the theatre:

https://www.chicagotribune.com/news/ct-xpm-1989-01-08-8902230716-story.html

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1904 Moses left a successful New York partnership in 1904; this was the business endeavor with William F. Hamilton, Moses & Hamilton. Sosman placed a series of incentives to draw Moses back to Chicago that included $5,000 in stock and a position as vice-president. Additionally, he also assumed all control over design, construction, painting, and installation at the firm. When Sosman passed away in 1915, Moses was elected president. Unfortunately, that was right in the midst of a challenging period, WWI, a measles outbreak, the Spanish Flu and a recession. It seemed that everything was falling apart and the demand for painted scenes was beginning to diminish nationwide.

By the summer of 1918, working at Sosman & Landis became untenable. On September 1, 1918, Thomas G Moses resigned as the president of Sosman & Landis, and started working for New York Studios, the eastern affiliate of Sosman & Landis. New York Studios was run by David H. Hunt. By the end of 1918, Moses wrote, “I am afraid that I will not be satisfied with my new deal.” Part of the problem was securing a studio space. Add in the fact that Moses never liked Hunt to begin with and his new employment was doomed from the start. Hunt consistently promised big and delivered small; Moses really should have known better by this point in his career.

During the fall of 1918 Moses hoped to line up a few projects along the west coast.  Of possible California living, he wrote, “Mama and I would like to go out there.  The hardest part of that will be the giving up of the old home and moving away from all the friends and children, but I don’t think it would take all that much coaxing to have the children move after us, which would all be fine. If I could only get a financial settlement with Sosman and Landis Company, we would go to California this winter.”

Needless to say, he remained in Chicago for the winter. His New York Studios projects ended up being built and painted in the Peltz & Carson shops. Of the experience, Moses wrote, “…rather hard to do in the Peltz and Carson Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor.  The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.” 

Of the search for a better studio space during the spring of 1919, Moses commented, “We looked at several buildings for a studio, but none seemed right to fill the bill.  The only way to get one and have it right is to build one.” Early on, Sosman & Landis built a deluxe studio that was often toted as the largest one in the United States.  When their main studio could not accommodate all projects, Sosman & Landis rented a series of spaces that they referred to as “annex studios.”  Although New York Studios had long been marketed as the eastern affiliate of Sosman & Landis, there were never the funds to build a permanent structure for scenic work. In the end Moses severed his relationship with New York Studios in 1919.

By summertime, Moses wrote, “A new contract was entered into between the Chicago Studios and myself for one year. I hope it will prove to be a paying one in which I participate in the profits and a raise in salary, which means my old salary of $100.00 and a bonus.” This means that when he left Sosman & Landis to work with New York Studios, he took a pay cut. His base salary returned to normal when he began working for Chicago Studios.

About this time, The Chicago Studios placed a want ad in the “Chicago Tribune” on Sept. 13, 1919: “MEN – YOUNG. TO LEARN THEATRICAL scene painting; excellent opportunity for those inclined. The Chicago Studios, 15 W. 20th-st” (page 21).

By Nov. 1, 1919, the want ad in the “Chicago Tribune” was a little more descriptive:

“MEN-YOUN, BETWEEN THE AGES OF 16 and 21 to learn to paint theatrical scenery; must start in as paint boy and work up; salary to start $15 per week; an excellent opportunity for one who wishes to learn the trade. Apply Chicago Studios 15 W. 20^th-st” (page 25).

It is difficult to track down information for The Chicago Studios; much has to do with the name. Similar to New York Studios, the firm’s name is also used to denote location of other businesses. For example, in 1919, newspapers credited scenery to the Chicago Studio of Sosman & Landis. Essanay Motion Picture company also referred to their Chicago Studio. And on top of everything else, there was also another Chicago company named “Chicago Studio,” one that specialized in music.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Robert P. Carsen was a scenic artist, stage mechanic and studio founder. He was the one who many scenic studios contacted when they needed to subcontract a carpenter. Over the years Carsen was associated with Buhler, Peltz & Carsen Studio, Peltz & Carsen Studio and the Robt. P. Carsen Scenic Studio. He worked as over hire at many places too, including J. C. Becker & Bro. In the 1920s and 1930s, Robt. P. Carsen’s studio letterheads included, “constructors and painters of theatrical scenery.” His studios address was the same previously cited by Peltz & Carsen, 1507 North Clark Street, Chicago. Peltz passed away in 1919, but his son was also a stage carpenter that worked at Peltz & Carsen.

Robert Peter Carlsen was born on May 27, 1876, in Blooming Prairie, Minnesota. Like some other artists, he changed his last name to Carsen by the turn of the twentieth century. He was the son of two immigrants, Emelia Olsen (b. 1855) from Norway and Peter Carlsen (b. 1840) from Denmark. Robert was one of five children born to the couple after their marriage in 1875; two boys and three girls. His sisters were Hilda (b. 1883), Roze (b. 1886) and Helen (b. 1880), with an only brother was named Lewis O. (b. 1878). Lewis went by “Louie.” Both Robert and Louis worked in theatre.

In 1880, the Carlsen family resided at 157 Ivering Street in Faribault, Minnesota. By 1900, each of the boys was listed as a theatre “stage man” in the US Federal Census. At the time, the Carlsen family was living at 276 Goodhue, St. Paul.

The 1910 US Census reported Carsen in Chicago, living with his future wife and her son at 1364 Sedgwick St. Robert was lodging with Herman M. Peltz, Alice McGinnis, and her son Frank McGinnis, Jr. Alice’s maiden name was Bernstein, she was divorced from actor Frank McGinnis. Alice and Frank were married on Aug. 4, 1898.

On Oct. 31, 1912, Carsen married Alice L. Bernstein. He was 36 years old and she was 31 years old. Five years later, Carsen’s 1918 WWI draft registration card lists that he was a contractor and owns his own business at 1507 N. Clark St. This would have been Peltz & Carsen. He was described as tall, with a stout build, blue eyes and sandy hair.

In 1923, Carsen placed advertisements in education journals, business directories, and drama publications. For a why, he specialized in rentals and focused on amateur productions. The 1923 December issue of “The Drama Magazine” included a “Robt. P. Carsen Scenic Studios” ad space noted, “Rent everything in Scenery” (page 120). They were taking a new approach, offering an educational department:

“An announcement

SUSAN STUBBS GLOVER

Authority on lighting and settings for the amateur stage. Is director of our Educational Department. Mrs. Glover’s Screen Stage Settings have had editorial recognition from The Theatre, Variety and The Drama Magazine and her advice is sought by Schools, Colleges and Little Theatre. If you have a stage problem write for our questionnaire.”

In 1924, Carsen delivered scenery for “Two Little Girls in Blue” at the Harlequin Club in Layfette, Indiana (Journal and Courier, 2 May 1924, page 2). Of the settings, the ‘Lafayette Journal and Courier” reported, “Most of the action of the play takes place aboard ship, making it necessary to provide an elaborate ship setting. The settings that will be used are an exact duplicate of the sets used in the original Erlanger production secured through the Robert Carsen scenic studio of Chicago.”

On May 15, 1925, Moline’s “Dispatch” reported, “The scenic investiture of Robin Hood presents a problem to amateur productions from Chicago, where he arranged with the Robert P. Carsen scenic studios to rent the original DeWolf Hopper scenery and properties as used in the Great Northern theater this winter. This scenery, amounting to almost a carload, will be shipped to Moline and patrons of the opera will be assured at least of the authentic period scenes of the well-loved Sherwood and Nottingham environs. In order that the opera may meet the high standard set by its promoters the costuming will be done by the New York Costume company, one of the finest costume houses in America.”  (Moline, Illinois, page 20).

In 1927, Robert P. Carsen Scenic studio was credited with the new system at the Kenosha Theatre in Wisconsin. The “Kenosha News” reported, “The designing construction and rigging of the most modern stage equipment through which a theater giving stage presentations such as the Kenosha must hope to operate smoothly is the result of the efforts of the Robert P. Carsen Scenic Studio of 17507 N. Clark street, Chicago. The stage equipment, which has been pronounced by experts to be without fault, is the sum total of decades of experience in outfitting theater stages.

Carsen married for the second time, Katharine L. Slack in Clinton, Iowa, on July 8, 1941. Carsen passed away on March 10, 1958. At the time, he lived in Michianna Shores, Indiana, and was 81 years old. the death certificate listed his “usual occupation” as a manufacturer in the stage equipment industry. Interestingly, his death certificate lists his parents as Peter Carsen (not Carlson) and Emily Forsythe (not Olsen).

Like Herman Peltz, of Peltz & Carsen, the studio outlived him. The name of Carsen morphed into the studio of ACME, CARSEN & PAUSMACK.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

There were a few winning combinations for scenic studios during the turn of the twentieth century. The first was the combination of salesman and scenic artist. In this case, both intimately understood the design, painting and building process for stage settings. The second winning combination was the combination of scenic artist and stage carpenter; one built and one painted the settings. However, this meant that someone needed to also work sales. Buhler, Peltz and Carsen combined one scenic artist with two stage mechanics.

Harry H. Buhler was a scenic artist and Herman Peltz a stage mechanic; they both worked at the Criterion Theatre during the early twentieth century before forming Buhler, Peltz and Carsen.  Yesterday, I explored the Buhler & Peltz combination at the Criterion Theatre. The two produced settings for a variety of touring shows, written and designed by Lincoln S. Carter between 1906 and 1908. These were huge mechanical affairs with brilliant stage effects that traveled across the country in railways cars packed with “special scenery.” Peltz later partnered solely with Robert Carsen to form “Peltz and Carson.”  Both were primarily stage carpenters, an interesting combination at the time and it was a relatively short-lived business venture.

In 1918, Thomas G. Moses mentioned the studio of Peltz & Carsen, as he was looking for a space to rent while working for New York Studios.  Today’s post focuses on Herman Maximillian Peltz, Sr.

Peltz was born in 1869, one of three sons born to Margaretha (b. 1840) and Thaugott Peltz (Dec 1801-15 Jan 1890). Little is known of his parents, his upbringing, or his introduction to the theater. However, his parents made the “Criminal Gossip” section of the newspaper when he was nine years old. On March 30, 1878, the “Inter Ocean” reported, “Margaret Peltz is a solitary North Side prisoner for assaulting and battering her husband Trangoth Pelts. Didn’t like his front name most likely” (page 8). That had to have been an embarrassing and tragic experience for the young Peltz.

Herman’s two brothers were Leo Peltz (1863-1940) and Max Peltz (1859-1890), each born in Chicago. Their father was a German immigrant, born in Lankreis Leipzig, Saxony, Germany, in 1801. At the age of 21 yrs. old Herman Peltz married Caroline “Lena” Zellner on 17 Sept 1890. The couple celebrated the birth of four children:  Edith Mary, Matthew, Edward and Herman Max Peltz Jr. Only Herman Jr. followed in his father’s footsteps as a stage carpenter. In 1890, Peltz was listed in the Chicago Directory as a “laborer” living at 3640 S. Wood. No industry was listed, but it could have been theatrical; we don’t know. It is during the 1890s that “Herman Peltz” is mentioned as performer associated with several theatrical endeavors. Again, no indication as to when he began focusing on performance or backstage work. However, by 1906 he was working with Harry J. Buhler at the Criterion Theatre in Chicago. By this time, however, his skill set as a stage mechanic was well developed.

The 1910 US Federal Census listed Peltz’ occupation as a “contractor” in the “theatrical” industry.  At the time he was lodging with business partner Robert Carsen (age 33), Alice E. McGinnis (divorced female, age 29) and her son Frank (age 11). All four were renting at 1364 Sedgwick Street in Chicago. I have not tracked down where Peltz’s family was living or why they were living apart. Carsen’s occupation was also listed as a contractor in the theatrical industry. Like Peltz, Carsen’s parents were German immigrants.

By 1917, Herman M. Peltz, Jr. was working at Peltz and Carsen. His WWI draft registration card lists that he was employed as a stage carpenter, like his father, for the firm. Interestingly, this ensured that the studio of Peltz & Carsen continued after the passing of Herman Peltz., Sr. in 1919.

Herman M. Peltz, Sr. passed away on June 13, 1919, and is buried at Oakridge Cemetery in Chicago, Illinois. The cause of death was listed as “organic disease of the heart due to scoliosis and calcification of the coronary arteries.” Peltz & Carsen continued after the passing of one founded, still active in the early 1920s.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

There are four scenic artists whose histories are entwined: Harry James Buhler, William Fletcher Mann, Herman Peltz and Robert R. Carsen. They all worked independently, but also partnered for form the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz & Carsen, and Peltz & Carsen. Carsen was occasionally spelled Carson in directories, newspaper listings and articles. I am exploring each of their lives, as Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in 1918. Today’s post begins an exploration of the Peltz family.

 The story is a bit complicated, as there was a Herman Peltz, Sr. and a Herman Peltz, Jr., who both worked in theatre. The elder Peltz was a German immigrant born on May 1, 1869. He passed away at the relatively young age of 45. On June 14, 1919, the “Chicago Tribune” announced, “Stage Carpenter Drops Dead in Woods Theater. During a performance in the Woods theater last night, Herman Peltz, 45 years old, the house stage carpenter, died of apoplexy in the box office. He had just turned in his weekly pay roll when he fell over dead” (page 17). 

I’ll start with connecting Peltz with Harry J. Buhler and William F. Mann at Chicago’s Criterion Theatre.

On October 29, 1906, the “Morning News” described the artistic process at the Criterion Theatre, mentioning the master machinist Herman Peltz and scenic artist Harry J. Buhler (Wilmington, Delaware, 29 Oct. 1906, page 2). Here is the article in its entirety:

“There is no dramatist now before the American public, who endeavors to please the eye with beautiful scenery, as does Lincoln J. Carter. In fact, every play he has produced in the last twenty years, is built on a foundation of scenic effect, with locales of exceeding great beauty, or where Dame Nature’s whims have erected some eccentric upheaval upon which to lodge a Carter situation.

“His Chicago theatre – the Criterion – contains a labyrinth of scene painting bridges and curios (to the layman), workshops for the construction of those scenic wonders, that are a part, and no inconsiderable parcel of the equipment of his many road shows. The models of these scenes are made of cardboard, according to scale and beautifully colored in gouache by the manager-author – for Mr. Carter is an artist of marked ability and decided merit in originating. From the author’s studio they are sent to his master machinist, Herman Peltz, who, having built the great scenes, in turn, passes them onto Mr. Carter’s scenic artist, Harry J. Buhler, who colors them with the Carter conceptions. In the newest play by the dramatist. ‘While ‘Frisco Burns,’ which will be scene here, commencing this afternoon there is a very riot of scenic coloring. The first act opens in an old English fire-lit oak chamber; from here it passes to a balcony dining room in the famous Cliff House. The scenic transition from here to the finish of the play, carries you through conservatories, ball rooms of the nabobs of Knob Hill, into the murky and foul-smelling dens of mysterious China Town to City Hall, when the earthquake begins to demolish man’s handiwork, and, the avenging fire, as if seeking to obliterate the cruel cracks and chasms, finishes the work of desolation by wiping the earth’s face clear of his puny efforts. It is in a scenario like this, that the Garter genius shines best. A special matinee will be given to-morrow.”

In 1906 Buhler and Peltz were credited with delivering scenery for the “Cow Puncher.” The show was still touring two years later. On Jan. 9, 1908, the “Abilene Semi Weekly Farm Reporter, announced, “’The Cow Puncher’ by Hal Reid and under the direction of W. F. Mann. Opens a one-night engagement at the Lyceum Theatre on Tuesday, Jan. 14^th. If good newspaper notices, backed by large box office receipts, are any indication of successful plays, the ‘The Cow Puncher’ comes in the category of those manager hunted offerings. It is the simple pure Americanism of this play of western life, that not only endears it to its audience, but places it in a class of unique originality. Theatre goers cannot help being enthusiastic and intensely interested in its excellent presentment. The story is laid in Arizona, the company is more than capable, and the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery. As a special feature two well-known vaudeville acts are introduced” (Abilene, Texas, 9 Jan 1908, page 6).

On February 16, 1908, Buhler and Peltz were also mentioned in the “Washington Post” concerning their scenic work for “Shadowed by Three” (page 3). The article reported, “To-morrow night at the Academy a new play by Lem B. Parker, called ‘Shadowed by Three,’ begins a week’s engagement. It is under the direction of W. F. Mann. According to press reports few plays seen in the popular priced houses have the dramatic value that this romantic drama contains. The plot was cleverly conceived, and the characters taken from real men and women. The cast contains a personnel of players well-known to theatregoers, and their names guarantee a first-class performance. The scenery was specially designed and built by the well-known artists, Harry Buhler and Herman Peltz, from an original drawing made by Mr. Buhler. The light effects are the perfection of stagecraft, and patrons can feel certain that they will see something worth seeing in the performance of ‘Shadowed by Three.” Of the scenic effects, the “Joliet Evening Herald News” reported, “Henella, the Mystifier, who turns a marble statue into life and exercises seemingly superhuman powers, the LaSalle singing four, one of the most splendid quartets om the opera statue, the onrush of a 60-horse  power automobile and its crash through a plate glass window, the sensational recues of a supposed horse thief and the work of great detectives, Tom, Dick and Harry, the ‘Three’ are but a few of the features to be seen in ‘Shadow by Three,’ one of the greatest melodramas of modern times…Two carloads of scenery, horses, sleighs, stage coaches and a 60-horse power automobile are carries with ‘Shadowed by Three’” (25 Aug 1908, page 3).

In 1908, Buhler and Peltz also produced scenery for “The Toymaker.” The “San Bernardino County Sun” reported, the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery.” (7 Feb. 1908, page 4). More on Buhler & Peltz tomorrow.

To be continued…