Tales from a Scenic Artist and Scholar. Part 145 – Harley Merry’s “Parsifal” and Scenic Realism

In 1893, Merry was credited for his “innovation in scenic realism” at the Holmes Star Theatre. His scenery for “The Pulse of New York” was advertised as “a perfect picture of city life” with “elaborate scenic embellishments” and “wonderful mechanic effects” (The Brooklyn Daily Eagle, April 30, pg. 10). Merry’s stage settings introduced well-known points of interest and scenes from everyday metropolitan life, including a bustling elevated railroad, activity around a river pier, a famous Bowery resort, a steam pile driver at work, and a building on fire. The rescue scene showcased the “leap for life” – the new the method adapted by the New York Fire Department for saving human lives. This final scene would later be developed into the Luna Park attraction “Fire and Flames.”

Poster for “The Pulse of New York,” a production designed by Harley Merry.

At the time, Merry was exploring a new type of stage entertainment; one that that went beyond any romanticized visual spectacle. I believe that it was a late-nineteenth century version of our current “reality TV.” It was understandable that Merry gravitated toward creating realistic settings for both the stage and film. He soon partnered with the Edison Manufacturing Company and was involved in an early film production “Parsifal.” This short film was based on the New York Metropolitan’s Opera that ran for approximately one half hour.

1904 Edison film “Parsifal” with scenery by Harley Merry.
A scene from the 1904 Edison film “Parsifal” with scenery by Harley Merry.
A scene from the 1904 Edison film “Parsifal” with scenery by Harley Merry.
A scene from the 1904 Edison film “Parsifal” with scenery by Harley Merry.
A scene from the 1904 Edison film “Parsifal” with scenery by Harley Merry.
A scene from the 1904 Edison film “Parsifal” with scenery by Harley Merry.
A scene from the 1904 Edison film “Parsifal” with scenery by Harley Merry.

Each copy of the film was sold with an illustrated lecture on the life and works of Wagner, the story of Parsifal, and a synopsis of the different scenes. The movie was divided into eight reels, each reel containing a separate scene running from 20 feet to 382 feet in length: (part one) “Parsifal Ascends the Throne;” (part two) “Ruins of Magic Garden;” (part three) “Exterior of Klingson’s Castle;” (part four) “Magic Garden;” (part five) “Interior of the Temple;” (part six) “Scene Outside the Temple;” (part seven) “Return of Parsifal;” and (part eight) “In the Woods.” The production team was relatively small: Edwin S. Porter (director and photographer), Edison Manufacturing Company (producer) and Harley Merry (scenery). The cast included Adelaide Fitz-Allen, as Kundry and Robert Whittier as Parsifal. Unfortunately, due to the expensive price and unfamiliar medium, the film only sold only a small number of copies. Merry almost certainly lost his $1800 investment.

Advertisements in Motion Picture World (Dec. 7, 1907, page 655) noted “In Parsifal we offer the greatest religious subject that has been produced in motion picture since the Passion Play was first produced by the Edison Company about eight years ago, and there has been a constant demand for this picture during all these years, and continuing up to the present day. At the same time, there has been not only a demand, but a long-felt want for a new religious picture of interest and merit similar to the Passion Play.

Harley Merry acquired the motion picture rights for Parsifal and brought his idea to Edison and Porter. Edison had been experimenting with ways to combine silent films with recorded music and the fit seemed perfect. This is the same year that Edison films for many other topics also appeared, including spectacles at Coney Island, such as“Fire and Flames.”

The final contract to produce “Parsifal” was between Edison Manufacturing Company and Merry Scenic Construction Company, giving Merry a royalty payments based on the linear feet of each film sold. Merry was to receive two cents foot for a film that measured 1,975 feet long. Each copy was sold for approximately $335 dollars (today’s equivalent of over $9,000). Although several full-page ads were placed in the New York Clipper, the film did not sell well at all. Interestingly, the Library of Congress restored the film in 2001, taking the soundtrack from surviving copies of the original Kinetophone cylinders.

Advertisement for the Kinetophone by Thomas Edison.

What I find fascinating about Merry’s career as a scenic artist and designer is the he continued to adapt his scenic art form to new technology. Merry, as well as Ernest Albert and others, were continuously integrating new technology into their final painted product, whether it was stage machinery or Kinetophone.

To be continued…

Tales from a Scenic Artist and Scholar. Part 144 – Spectacle at Coney Island, 20,000 Leagues Under the Sea and Thomas Moses

The past two posts have delved into the world of Coney Island spectacles. This is part of my continued exploration of the life and times of Thomas G. Moses, the creator of the Fort Scott scenery collection.

Moses also designed and painted many attractions for Coney Island from 1902 to 1904, having arrived in New York during 1900. Although he initially painted for Broadway, he was soon caught up in the excitement of Luna Park on Coney Island. In many ways, I think that this may have been the happiest time in his life. He was on an artistic ascent and jobs were plentiful. He would only leave this region after Joseph S. Sosman pleaded for his return to Sosman & Landis Studio in Chicago during 1904.

Postcard deppicting the entrance to Luna Park on Coney Island.

In 1902, Moses recorded that Fred Thompson had started to build Luna Park, opposite Dreamland and Steeple Chase Park on Coney Island. Thompson and Elmer “Skip Dundy” became the park’s creators after creating a wildly successful ride, “Trip to the Moon,” for the 1901 Pan-American Exposition in Buffalo, New York. They transported the attraction to Coney Island an experienced a wildly successful season during 1902.

“Trip to the Moon” attraction on Coney Island.

At the end of the season, they immediately began planning their own amusement park, leasing Paul Boyton’s Sea Lion Park. Their sixteen-acre park soon expanded it to twenty-two acre park after acquiring some more adjoining land. Advertising that new park had cost one million dollars to construct, it opened on May 16, 1903. At eight o’clock on the evening of the first day, 250,000 lights illuminated their venture, outlined the buildings and creating a magical land.

Luna Park at night.

Moses was involved in creating a major attraction in Luna Park called “20,000 Leagues Under the Sea” with his partner Will Hamilton. In his typed manuscript, Moses writes,

“Our first big job for ‘Luna Park’ was ‘20,000 Leagues Under the Sea.’ It was a very unique show and kept us busy for several months. We had a real submarine boat in front of the show that actually sank with the passengers and was totally submerged. The passengers were then taken out of the boat through a passageway into another boat, a duplicate of the one they first entered. Then, the effect of under the sea was sprung on them and it worked perfectly. The illusion was very convincing.”

Crowds on street in front of “20,000 Leagues Under the Sea,” attraction created by Thomas G. Moses and Will Hamilton.

This illusion took visitors on a trip beneath the seas in the Nautilus submarine. Passengers boarded the vessel, the outer hatch closed, and passengers dove deep beneath the ocean’s surface. Through portholes, one could see monsters of the deep, sunken ships and huge coral reefs. The ship journeyed from the Indian Sea to the North Sea. During their journey, they hit an iceberg during their ascent to the surface. When the passengers unloaded from the ride they were treated to the Arctic’s cold atmosphere, created from ammonia gas, and a spectacular view of the Aurora Borealis. They also experienced Eskimos in fur skins who had emerged from their homes, eager to meet the new arrivals. The total cost for this illusion was approximately $180,000.

Same building transformed from “20,000 Leagues Under the Sea” into “Dragon’s Gorge” in 1905.

In 1905, this attraction was replaced by “Dragon’s Gorge” – an indoor scenic railroad coaster that allowed visitors to witness magnificent scenes from the North Pole all the way to the Grand Canal. So popular was ride that it remained open until 1944 when it was destroyed by fire.

Moses and Hamilton also produced the attraction called “Fire and Flames.”

“Fire and Flames” at Coney Island. Note backdrop to left of building created by Thomas Moses and Will Hamilton.
Photograph of “Fire and Flames” attraction.

This was the reenactment of the actual burning of a four story brick buildings over the space of a city block. Fire engines raced to the scene and over sixty firemen rescued people from the burning buildings. Visitors watched people leap from smoke-filled windows onto a net below. Moses recounted this project, writing, “Real fire, real engines and an awful mob of street vendors and loafers. A lot of good comedy and it did good business. It was so popular that a similar attraction called “Fighting the Flames” immediately appeared at “Dreamland.”

Moses and Hamilton also did several other small shows at Luna Park, including “The War of Worlds” for which they received $2,900.00. Moses even notes their $2,200.00 profit, as they painted it in less that one half the time we thought it would take. It was all painted in oil as the scenes all worked through a tank of water. The attraction included battleships that were large enough to hold the “good-sized boy” who operated them during in battle scenes. Moses recalled this “big hit,” but one having “too much powder and noise.”

Luna Park proved to be a lucrative investment for many scenic artists as Coney Island. Elaborate venues with massive spectacles really showcased their art. This was a unique period in time when new opportunities were abundant for theatre manufacturers and suppliers. New technology was integrated into old pictorial illusions. The inspiring artist and investor had many opportunities to experiment with spectacle. Amusement park attractions also proved to be inspiration for early films.

Thomas Edison even made a short movie depicting the 1904 “Fire and Flames” attraction at Coney Island. The scenic realism and early movies of Moses’ contemporary Harley Merry continue tomorrow. In the meantime, here is the link to the short film for a wonderful step back in time: (https://letterboxd.com/film/fire-and-flames-at-luna-park-coney-island-an-attraction-at-coney-island/)

To be continued…

Tales from a Scenic Artist and Scholar. Part 143 – Disaster Spectacles at Coney Island – The Eruption of Mount Pelee

The “Eruption of Mount Pelee” was another one of the models destroyed in the fire in the Harley Merry studio. This Coney Island disaster spectacel opened only two years after the actual event killed 30,000 people in 1902. Architects Essenwein & Johnson designed a structure to hold the “Mont Pelee, the Last Days of St. Pierre” production. Measuring 225 feet by 150 feet, it was the largest amusement structure on Coney Island and employed over fifty individuals to create attraction, many of who were electricians and mechanics.

Photograph of a wall in Coney Island near the “Johnstown Flood” attraction that advertised other disaster spectacles.

A hundred and sixty thousand tons of water was used for the production on a stage measuring 160 feet by 90 feet. The audience’s viewpoint was from that of a spectator in a boat off shore. The production opened with an exquisite view of Tampa, Florida, depicting peaceful waters in the bay. Ships and yachts sailed by as daylight gradually transitioned into a glorious sunset. Soon it was dusk and twinkling lights illuminated windows at seaside resorts. Finally the stage was obscured by darkness. Travellers now journeyed all the way across the ocean and were transported to the island of Martinique.

Article in “The Evening World” describing “The Eruption of Mount Pelee” in great detail.

The attraction used a brand new technology with a radium curtain that brought about realistic darkness while the change from open sea to the island of Martinique took place. During their travel they experienced a savage storm at sea with lightning, flying clouds, surging water and rain.

Arriving at Island of Martinque, they were just in time to witness an amazing sunrise and the warm glow spread over the red-tiled roofs in the unsuspecting city. The audience’s “boats” came even closer to the shores of Martinique and the city’s buildings continued to increase in size.

The clouds surrounding Mount Pelee soon begin to darken and ominous rumblings are heard in the distance. Suddenly, fire shoots upward from the mountain and streams of molten lava pour down the mountainside. Masses of rock are hurled through the air, igniting homes as they land. Flames sweep throughout the city and steam rises from the harbor as anchored ships begin to smolder. This horrific scene gradually becomes obscured with black smoke.  As the smoke resides, the scene has changed and the audience now witnesses a devastating view of mass destruction. It was said to be an impressive disaster spectacle!

I had to wonder why the models in Merry’s studio that depicted attractions on Coney Island were the work of Harley Merry or the studio renters E. Van Ackerman and J. Katzer. If we consider the models to be the work of Ackerman, it would be a natural extension of their sideline business that produced both photographic backings and stereoscopic cards. It appeared that Ackerman Bros. was the epitome an early twentieth scenic studio’s attempt to diversify, providing all kinds of painted scenery for various venues.

Card for stereoscope produced by the Ackerman Bros. of New York.

It the models were part of the studio contents left by Merry it would also make sense as he had died only four months before. Merry’s scenic art and designs had already transitioned from simple stage productions to scenic realism spectacle and film by the turn of the twentieth century.

To be continued…

Tales from a Scenic Artist and Scholar. Part 142 – Disaster Spectacles at Coney Island – The Jamestown Flood

The January 6, 1911 issue of the Brooklyn Eagle that noted the destruction of “Old Harley Merry’s Studio included destroyed contents included the completed scenery for “The Real Girl,” “Class,” the original models for “The Johnstown Flood,” “The Eruption of Mount Pelee,” “The Deluge” and twenty-two other similar productions.” I realized that these were well known attractions at Coney Island!

“The Jamestown Flood” attraction at Coney Island.

Visual spectacles thrilled early twentieth century crowds, allowing visitors an escape from their everyday lives. In addition to the standard amusement park attractions with exotic animals, freak shows, and carnival games were disaster attractions. Visitors would pay to witness emulations of the death and destruction caused by the Jamestown flood, the volcanic eruption of Mount Pelee, the San Francisco earthquake, the Galveston flood, the Fall of Pompeii, the naval battle of the Russo-Japanese War, the Boer War, the Fall of Adrianople, the War of the Worlds, the Battle of Merrimac. There were others that didn’t depict a specific event, but just capitalized on horrific situations titled “Fire and Flames,” “Fighting the Flames,” “Hell Gate,”” End of the World,” and others. These amusements put viewers in a front row seat to relive the death and destruction with vivid dioramas and elaborate technical productions.

“The Galveston Flood” attraction at Coney Island.
A postcard depicting a scene from “The Galveston Flood” attraction at Coney Island.

The Johnstown Flood show (1902-1905) was an attraction at Luna Park on Coney Island. It had initially made its success at the Pan-American Exposition in 1901, along with “Trip to the Moon.” Both attractions were transported to Coney Island.

The building from “The Johnstown Flood” attraction at the 1901 World Fair.
A poster from “The Johnstown Flood” attraction for the 1901 World Fair.

On May 31, 1889, a dam near Jamestown, Pennsylvania collapsed and flooded the valley with twenty million tons of water. There was virtually no escape as everything was destroyed in its path and 2,209 people lost their lives. An article from “Snap Shots on the Midway” advertised the Johnstown Flood attraction as “a scenograph, the logical evolution of the cyclorama, the diorama and the scenic theater, accomplishes the illusion, which is set on an ordinary stage and is in reality a performance in pantomime, where all the actors are what would be called in stage parlance, “properties.”

The Johnstown Flood show began with Memorial Day activities, a mere twenty-four hours before the disaster with an army processional crossing a little bridge in the bustling town. As day progressed and lights gradually appeared in residential windows as the stage darkened to dusk. Trains move across the line of vision as the moon gently ascended from the horizon. Night waned and sunrise broke forth on the morning of the disaster. As the hours passed, the wooden foundation of the dam wss undermined by the trickling of the waters from the rivulets feeding the lake of South Fork (fourteen miles away). An avalanche of water was launched down the Conemaugh valley, sweeping away five thousand inhabitants of Johnstown. The article continued, “An electric storm is made to burst in the stage picture before the arrival of the deluge, when the afternoon of May 31st, 1889, was innocent of water from the skies, but under cover of the darkness and in fitful gleam of vivid lightening the spectacular effect is heightened and is convincing. The cry of the talker: “‘The dam is burst!’ his relation of the wild ride of Johnny Baker, a ride between flood and a horse, between life and death, the loss of the horse and the death of the noble boy, comes with startling effect.

Memorabilia from “The Jamestown Flood” attraction at Coney Island.
Memorabilia from “The Jamestown Flood” attraction at Coney Island.

Fire then breaks out in the debris about the stone bridge. Hundreds of dead and other hundreds of living are imprisoned there. They are burned to a crisp. The Catholic Church, the field hospital, also breaks into flames. The rescued perish there. Then the fire dies away and the scene darkens. The turn of a hand measures the time of the change coming with the light which shows Johnstown as it is today, rebuilt and flourishing.”

The Buffalo Times (May 4, 1901) issue published that the Johnstown Flood “scenograph” for the World’s Fair was created by the artist E. J. Austen. Austen was noted “the foremost cycloramic artist of the world” and assisted by a large staff of noted artists, chief among who were Charles A. Corwin, Frank C. Pepraud and Herbert V. Brown. In producing the marvelous mechanical effects, E. S. Shea of New York had a prominent part, being the “originator of many devices now being used in the prominent theaters of this and other countries.” Herbert A. Bradwell, the electrician also stood out at the head of his profession producing novel effects, many that had never been seen before. Bradwell, advertised as a specialist in illusions and a constructor of electric and scenic shows, was located at 28 Lexington Avenue, New York.

In 1906, “The Deluge” replaced the Johnstown flood in the same building. This attraction enacted the story of Noah and the flooding of the entire world. During the final 1908 season, changes were made to the finale include an earthquake and fire in addition to the flood.

“The Deluge” attraction at Coney Island.
Second scene from “The Deluge” attraction at Coney Island.
Fourth scene from “The Deluge” attraction at Coney Island.

To be continued…

Tales from a Scenic Artist and Scholar. Part 141-The Old Harley Merry Studio

Four months after Harley Merry’s death his old studio was destroyed by fire. I find this fascinating as the story reads like a mystery. The January 9 issue of the Brooklyn Daily Eagle reported a substantial loss for the current occupants.

It published, “The Harley Merry scenic studio in Franklin avenue, near Malbone street, in which the scenery for many of the greatest dramatic productions was painted, was destroyed by fire today. The entire contents of the building, including the completed scenery for one production and the partly finished scenery for another play, was lost. The building loss is estimated at $3,000, while the loss of the contents will amount to $10,000. The building and contents were uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27 Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the building at the time.

Stabile was in the cellar under the studio when he heard a noise which sounded like the drop of a heavy weight. He ran up to the second floor, and as he opened the door leading to the stairway a cloud of smoke burst into his face. He called for help and a policeman sent in an alarm. Batailion Chief O’Hare, who was in charge of the fire engine companies to arrive, feared that the fire would spread to the adjoining building, which are all of frame construction, and to the Consumers Brewery across the street, and he sent in a second alarm. Six engines and two truck companies were soon on the scene, but the fire was beyond control and their efforts were devoted to saving surrounding property.

The roof fell an hour after the fire was discovered. Ten foremen were in the building when the roof tottered and were warned by the call of Deputy Chief O’Hara. All escaped before the roof collapsed. The flammable nature of the contents and the high wind are given as causes for the building’s rapid destruction.

The building was originally used as a scenic studio by E. J. Britton, retired actor and scenic artist, who painted under the name of Harley Merry. After his death last September the building passed into the hands of his daughter Mrs. George Kennington. It has recently been rented as a studio to E. Van Ackerman and J. Katser.”

I wondered about the history of these recent renters, Ackerman and Katser.

Ackerman sounded familiar to me, so I checked my scenic artist database. I only found a very brief notation about P. Dodd Ackerman, so I started searching newspapers from the period. In 1897 E. Van Ackerman painted a new drop curtain for B. F. Keith’s Union Square Theatre, depicting a “handsome interior with a view of a drawing room and distant conservatory” (New York Times, Dec. 8, 1897, page 4). He also painted the scenery for “The Privateer” at the Star Theatre with P. Dodd Ackerman. In 1913, he designed “Mlle. Modiste” at the Globe Theatre.

Advertisement from Julius Cahn’s 1913 Theatrical Guide.

I then found an advertisement in 1913 of “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.” This suggested a split in the partnership, or possible death. The advertisement also noted that the studio was established in 1890. He advertised services for the painting and building of productions at 1576-1578-1580 Bushwick Avenue, Borough of Brooklyn, New York City. It also noted that Ackerman’s studio was only “Thirty Minutes from Broadway.” The “Ackerman Bros. Scenic Studio” had been at the same location, yet the advertisement in Gus Hill’s theatrical directory was from 1914, a year later. This was curious. Ackerman Bros. Scenic Studio, however, mentioned their production of Motion Picture Theatre Settings.

Advertisement in Gus Hill’s 1914 Theatrical Guide. Other pages in the publication noted that Hill absorbed Cahn’s publication.

As I examined the production history for both E. Van and P. Dodd, they primarily functioned as a scenic artist and scenic designer, respectively. I was more familiar with P. Dodd as he had numerous entries of designs in the Broadway Database (https://www.ibdb.com/), being listed as a designer for ninety-one productions from 1897-1939. His career really took off in 1908 and I had to wonder if his success as a scenic designer caused the two partners, possibly brothers, to briefly part ways. Obviously, their time apart was short-lived as E. Van Ackerman’s rental of Merry’s studio could have only been for a few months. Maybe the disaster and lack of insurance has caused E. Van and P. Dodd to partner again?

Comparatively to P. Dodd Ackerman, E. Van Ackerman had only two productions listed in the Broadway database – 1897 and 1927. That was a thirty- year separation and he had almost a non-existent paper trail for theatrical productions. Very little was published about E. Van Ackerman’s scenic art or designs, but in 1927 he designed the setting for “Tia Juana,” a melodrama at the Schubert Playhouse. The November 5 Morning News (Wilmington, Delaware) reported, “The Company is capable, the scenery elaborate, and there are no dull moments” (page 13). Ackerman’s design for the show was built by the Vail Scenic Construction Company.

In the Old Harley Merry Studio fire during 1911, the newspaper article noted, “The contents included the completed scenery for the production of “The Real Girl,” a musical comedy which is to be produced on Broadway within a few weeks, and also the partly finished canvas for the farcical comedy, “Class,” which also has a Broadway booking.” I have been unsuccessful in finding that either of these productions was finalized. The article also noted “The loss of these two sets is estimated between $6,000 and $7,000.” That would have been a heavy loss at the time.

I then read the last line of the article and experienced butterflies in my stomach. It read, “The studio contained the original models of the “Johnston Flood,” “The Eruption of Mount Pelee,” “The Deluge,” and twenty-two other similar productions.” I knew those productions! But they weren’t Broadway shows – they were disaster spectacles for Coney Island! Maybe E. Van Ackerman’s focus had been producing attractions for amusement parks. They could also have been Merry’s work left over from previous years; items that had not been cleared out of the studio before the renters arrived on site.

To be continued…