Scenic Studio – Page 11 – Drypigment.net

Travels of a Scenic Artist and Scholar: The Tabor Opera House, Leadville, Colorado. Painted shutters by T. Frank Cox, 1888.

From September 21-27, 2020, Dr. Wendy Waszut-Barrett led a group of local volunteers to document historic stage settings in the attic of the Tabor Opera House, in Leadville, Colorado. These stage artifacts should be considered much more than “old scenery.” Much of the historic scenery collection is comprised of large-scale artworks painted by nationally recognized artists.

Below are two shutters painted by scenic artist and theatre architect Tignal Frank Cox for the Tabor Opera House in 1888.

These shutters formed a backing for stage stage. Rolled together, shutters were a perfect solution for theaters that did not have room to raise backdrops out of sight. Wings and shutters slid on and off the stage in grooves to form scenic illusion on nineteenth and twentieth century stages across the United States.

Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.

Seam between the two rolling shutters. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.

Painted detail. Shutters painted by T. Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.

Flat sheaves on bottom of shutters allowed them to easily slide on an off stage.

1888 stage hardware referred to as flat sheaves. these were placed on the bottoms of wings and flats to help them roll on and off stage for settings.

Tales from a Scenic Artist and Scholar. Part 1090 – “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago,” by Henry C. Tryon, 1884

For the past few days I have been sharing some articles pens by Henry C. Tryon in the 1880s. Simultaneously, I am writing about the life and career of Tryon’s one-time partner, Henry E. Burcky as part of “Travels of a Scenic Artist and Scholar” after identifying Burcky’s scenic art for the Tabor Opera House in Leadville, Colorado.

In 1884 Tryon returned to Chicago, accepting a position at Sosman & Landis scene painting studios. Previously, he had worked as the scenic artist for both the Tabor Grand Opera House in Denver and the Salt Lake City Theatre in Utah.

*Clipping of Henry C. Tryon pasted in the* *scrapbook of Thomas G. Moses.*

On Dec. 28, 1884, “Chicago Tribune” published an article submitted by Tryon about the scenic art industry (Chicago, Illinois, 28 Dec 1884, page 14). The headline reads, “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago.” The next two subheadings of the article state, “An Important Accessory of the Theatre Which Managers and Public Alike Disregard. Turning Out So-Called Art Work by Wholesale – Culture in Europe and America.” This is possibly the most insightful article that I have located to date, written by someone who was a Sosman & Landis employee. Tryon not only tales aim at scenic studios, but also examines the root of many problems in the industry.

Although it is quite long, this 1884 article is well worth reading. Here’s Tryon’s article in its entirety:

“Are audiences when viewing a stage picture, distant 100 feet or so from their seats, aware of the immense difficulties under which the artist labored when painting it? Are they aware that he was compelled to stand within three or at most four feet from his canvas and unable to see more than a few square yards at a time? Do they realize the accurate knowledge of drawing, composition, perspective, and color required to enable hi under such circumstances to produce and effect which will be realism to them? The artist must carry in his mind’s eye the completed scene as it will appear from the auditorium, and make no error in the relative proportions and harmonies of the different piece which compose the set and which are placed on his frame one or two at a time to be painted. The theatrical and artistic character of theatres is especially governed by the stage appointments, Beauty of scenery is the most interesting and attractive kind of theatrical decoration.

No richness of auditorium will compensate for its absence.

The qualities required of a first-class scenic artist are of a much higher order than is generally supposed, and many technical difficulties are to be overcome before he can produce any brilliant effect whatsoever. One of the chief difficulties arises from the fact that his colors “dry out” several shades lighter than when they are applied. (Moisten a piece of wall paper in a room and the difference in color will illustrate this difficulty.) The artist is compelled to paint with one color while thinking of another.

Then the effect of a night light is a serious drawback. Everybody must have noticed that some colors are heightened, and others dimmed be being brought under the yellow gaslight. The scene-painter working in the broad glare of day must consider with every mark he makes the effect of this gaslight on his color. A brilliant effect by daylight may under an artificial light be entirely destroyed, and also the reverse is true; but the scene-painter must not depend upon accident in the matter.

DEAD COLORS.

Stage scenery and drop curtains are never painted in oil colors. As the effect of realism is to be attained, all glare must be avoided. The artist is limited to the use of dead color and must get his brilliant effects by skillful harmonies and combination.

Scenery then, being painted with water colors, the danger from fire is much less than s popularly supposed. The canvas is much less combustible than it was before being painted. Scene painted on both sides are almost fireproof.

The scene-painter seldom has leisure to do work at his best, and has neither time nor opportunity to correct his errors. When a picture is painted in an artist’s studio, before being finally finished and exhibited the artist will see where a change here and there will enhance the value of his painting, and he can perfect it. The scene=painter is (of necessity) denied this advantage, and his first chance to even see his completed work properly set and lighted is when he is one of the audience.

The result of seeing his work as he proceeds with the eyes of the audience is that, as he acquires knowledge, experience, and consequent skill, he gradually gets to using larger brushes, so that he is enabled, with the roughest and apparently most reckless “swashes” of the calcimining brush, to produce effects as soft, tender, and full of appropriate meaning as is done on smaller surfaces by many landscape painters.

The popular impression is that because scenes are thus painted with broad, bold, rough marks it is scarcely more than a grade or so advanced beyond mechanical work; but really it is this which makes it indisputably art and not mechanical skill.

In scene painting as in any other art, it is only the novice who takes the life out of his work by petty, contemptible smoothing down with small brushes. “Picture are made to be seen, not smelled,” said Reynolds. In decorative painting mechanical finish is the important requisite, but in scene painting this is no more an excellence than is mechanical finish in any other art.

METHODS.

The “modus operandi” of designing, painting, and arranging a set of scenery for the stage is about as follows: A descriptive “scene plot” is sent to the artist, locating the position of such portions of the scene as will be necessary to or in harmony with the “business” of the play and of the dramatic people. This plot also states the piece and period for which the scene is to be painted. The artist is not aided in his composition by the plot, but he is limited by it, the scenery, of course, being an accessory to the play and the acting. The “scene-plots” being in the artist’s hands he proceeds to study out the entire picture as it will appear when set before the audience, making a rough charcoal drawing as he thinks and composes. When his ideas have been condensed into form, he makes a cardboard model to a scale of such pieces as are required, ending his work with the “set pieces,” which were made while his work was progressing on the large canvases. His assistants having “primed” the canvas with a coating of “size” water and glue, and this being dry, he sketches in his work roughly with charcoal in a large porte crayon fastened to a large bamboo fish-pole. Having satisfactorily located the leading lines of his drawing, he corrects and gives it character with ink-marks, using a small brush. (These ink-marks will show though his color just enough so that he will not lose his drawing.” He is now ready to paint. His colors are in water pails and in paint-pots, besides which he has a palet board – a table on wheels – about eight or nine feet long and three feet wide, painted with white oil-color, and the surface polished like glass. Along one side of this palet are boxes about five inches wide for different crude colors as they come from the store. With the colors already mixed and varied by such as he wishes to get from the palet he lays in the general tone and color of his scene. This dries almost as fast as he applies it – if the weather be not too cold or damp – so that he can soon, by the assertion of culminating lights and shadows, give character to his work (before somewhat chaotic), and also make his effects of color more brilliant and his pictures more spirited.

The different portions which make up the scene having been made and painted, they are the night of the performance set on the stage and the gaslights arranged under the direction of the artist, and this arrangement is carried out thereafter by the stage carpenter under the direction of the stage manager. This is the way it is done in such theatres as the Union Square, Wallack’s, and Daly’s in New York, and the Boston Museum and Boston Theatre.

In Chicago, of the painter’s work be well done, the management is praised and artist’s individually overlooked, just as if the keeper of a picture gallery were given credit for the canvases displayed.

PICTURES.

The means employed by the masters in landscape-painting are similar to those of the best scene-painters, and it is only great artists – picture-painters are here spoken of – whose technique bears a resemblance to scene-painting. The nearer a theatrical scene is like a correct and beautiful picture the more artistic and meritorious is the scene. Much of the knowledge that scene-painters lack could be supplied them by studio artists, and studio artists could obtain from scene-painters knowledge of means to improve their own “technique” that of the best scene-painting being the best possible for their own pictures.

With their ideality in composition and boldness and facility in execution and expression, the scenic artist needs only closer study of the outdoor nature to enable him to fully demonstrate his ability to successfully compete in all respects on his immense surface, with the productions of our best landscape artists on their smaller canvases.

The method used in Continental Europe of this making up a scene with arches,” “drops” and “set pieces” is one important cause of the nobility and beauty of the spectacular scenes which have been imported here from time to time. These effects of grandeur-produced by means the most simple and natural 0 have also been shown at the operatic and dramatic festivals in Cincinnati by American artists.

In an artistic sense “flats” which run in grooved across the stage are an abomination. They require an immense width of stage to run in, and narrow the scenery to small dimensions. For instance, in one of the theatre here the “flats” are twenty feet high and twenty-eight feet wide, while the “drops” are thirty feet high and fifty feet wide, so that the full width of the stage and the height of proscenium opening are only shown when the continental method is used. Even in interior sets the apparent height of rooms would not be too great when painted on a large drop if as much stage space as necessary were taken up with the ceiling in perspective, as is done in Europe. We already use their method of elaborate exteriors. The society drama is responsible for the continuance in theatres of “flats,” and the increased height to “rigging loft” or ceiling in modern theatres makes the further use of “flats” unnecessary. It will certainly be eventually abandoned if the influence of scenic artists prevails.

FOREIGN NOTES.

In Europe each scene-painter studies and practices exclusively certain branches in his art and is not required or expected to do any scenic work outside of the field which he has made his special study. One artist there paints landscapes, foliage and exteriors; another architecture, figures and drapery, and so on. In Paris, certain artists are exclusively engaged in designing “models” of scenes which other artists paint. The perfection which these artists reach is wonderful, and this, with the care and deliberate thought which they are allowed to give to a scenic production. Is, of course, followed by grand results. In America each scene-painter is expected to excel in all these specialties.

In New York here, four, or six artists are engaged on the scenery for one play, and each painter has his own scene, for which he has to receive praise or blame.

In Chicago one scene painter is required to paint all the scenery for a play in less than a week, and when he has longer time the amount of work called for is so much greater proportionately that he must force himself to do it with too great speed and with too little thought to do him justice and his ability anything like justice.

The discerning public of Chicago perceive the scenery is not prepared for them with the same care and elaboration that they were accustomed to see exhibited in theatres a few years ago. They feel that something is amiss, but wat it is they can only surmise.

LOCAL DRAWBACKS.

The obstacles to adequate scenic mounting of plays here are numerous, but none of them are insurmountable. The “run” of pieces is brief, managers of combinations are negligent about sending their scene plots in time for proper preparation, and sharing terms will not always justify the local manager in incurring expense, experience having taught him that there is not sufficient additional patronage to repay him. The attention of the public is entirely engrossed by the dramatic features, so that very little attention is directed to the scenery. The management is not criticized by the press for lack of care in this direction, except spasmodically, and consequently the public, who are influenced by the press, take less notice of scenery here than they do in some other cities, notably the East, and in San Francisco, where the scenic artist upon producing genuine art work finds it recognized by the public and his individuality as fully stablished as is that if a favorite actor, The careful and excellent system of stage management of leading Eastern theatres is not exercised here, all attention being given to the auditorium end to the business policy of the house. Theatres here do not have stage managers, and although the artist – theoretically – has absolute control of every feature that has an influence on his scene, practically the stage-carpenters, property-men and managers of combination set things according to their own ideas. The artist is rarely consulted in the matter. His opinions of the fitness and harmony of things from an artistic standpoint are too esthetic for the practical (?) ideas of those who have the handling of productions.

These scenery for the regular theatres is constantly being changed, and much of the work done is only retained during the run of the play for which it was painted, but in the provincial towns, where no artist is regularly employed, the house being once “stocked,” the same scenery is seen over and over again by the audience for six or eight years, until they grow weary of even artistic work long before it is worn out, and scenery which is cheap becomes absolutely disgusting even to those unlearned in art.

Cheap art is valueless, but is in altogether too great demand in the provincial cities in this country. One man is not as good as another in science, literature or art. A picture by Meisonnier will sell for $50,000. Because John Smith or Peter Jones paints a similar subject and use as much or more paints, it is not considered a logical reason why the works of Smith or Jones are equal to those of Meissonnier. This is self-evident, and a little thought would make it self-evident that the same idea applies as well to scene painters.

SCENE FACTORIES.

It is known to those interested in such matters that an opera-house or a public hall is being erected, and at the proper time applications are made for the contract for furnishing the scenery. Competent scenic artists are too modest and reticent in speaking of their abilities, while competing for “outside” work. The greater their abilities and reputations as artists the less are their chances of success, outside of the regular theatres. They erroneously suppose that an engagement in a first-class theatre is sufficient evidence of their capabilities, but this goes for little with nontheatrical people who construct theatres. With them the cheapest man or the shrewdest businessman has the best chance.

Artists rarely possess business talent, but it would seem that a business man engaging one would understand that it is art ability he should employ to do art work.

The agent of a scene-factory makes his bid and his figures are so much lower than those of the capable artist that he usually secures the contract, The competing artists have based their bids in their intentions of producing genuine art work, while the successful bidder has no such idea.

The proprietors of the “factory” known nothing about art and care less. They know nothing about the requirements of a theatre, as they have never had any experience in one. They, however, succeed in obtaining the contract, and the agent having taken the various measurements, goes back to the factory, where the work is all done, to have the stuff rushed out as fast as possible.

Yet these establishments employ some really capable artists, who hate their work and despise themselves for being compelled to do it. The methods are such as effectually to crush out all their art feelings, and they themselves have nicknamed the place in which they work, “the slaughterhouse.” All these methods are ruinous to a noble art.

Scenery should always be painted in the theatre in which it is used. The conditions vary so much in different houses than an intelligent knowledge of them should be ever present in the mind of the artist who is engaged upon the scenery for each. The proprietor should select an artist who is known to be competent by theatre men, one whom they themselves would employ. He should be paid enough money to warrant him cheerfully giving all the time and thought necessary to produce the best work in his power, and after having made his contract he will forget all other interests except his purely artistic ones. This will advance him as an artist. He has a reputation to gain or lose; his pride is stimulated to the advantage of his employer, and the results are sure to be bountiful in satisfaction to both parties, and consequently to the advantage of the community.

These factories are not recognized in any way by Chicago managers, but so successful have they been in driving legitimate scenic artists from the provincial field that their owners openly boast that in a few years they will be supplying all the scenic requirements to our city theatres. How do the play-going public like the prospect?

The solution of the question, “How can scenery be produced as elegantly here as possible with the means available?” sums itself up simply in the employ of more artists, absolute authority of those artists in their own domain, with the burden of responsibility attached, greater expenditure of money by the managers for material to paint on, and careful, critical, and discriminating notice in detail by the public press.

PROGRESS OF CULTURE.

The advance of ideas among scene-painters in this country has kept pace with the general advance in art. What would have been regarded as “high art” a generation ago would hardly be tolerated now. Scene-painting is now studied, thought of, and handled as an art. All good artists have their distinct characteristics, each painting according to his individual nature and feeling.

The advance of steel-engraving in America far beyond that reached in Europe was the result of the demand for it, caused by the multiplicity of the “wildcat” banks and stock enterprises. The absorbing interest of the whole people in pictorial reproductions of incidents of the War was probably the main cause of the advance in wood-engraving, which has also reached its highest production here. Theatrical posters and lithographs are now works of art, as are also the labels upon the wares of merchants. Demands upon art ability have always been fully supplied by the talent of Americans. Business houses, banks, and public buildings are now expensively and tastefully decorated. The general art education has advanced and is still advancing with strides. Auditoriums of theatres are elegantly and artistically decorated. One step remains – the only one. The public will demand, recognize, and appreciate the highest art excellence behind the prosceniums of the theatres. Managers and artists must then do their best, and the result will be increased attraction of the theatres and an influence from them which will elevate the general tone.

-Henry C. Tryon”

To be continued…

Twin City Scenic Co Collection of Minneapolis, Minnesota – Garden Drop design by John Z. Wood

Garden drop design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota, ca. 1905-1910.

This is part of the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Painted detail. Design by John Z. Wood for the Twin City Scenic Co.

Twin City Scenic Co. of Minneapolis, Minnesota – Olio design by John Z. Wood

Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. of Minneapolis, Minnesota.

Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Painted detail. Olio drop design by John Z. Wood. twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries. The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database.

Twin City Scenic Co. of Minneapolis, Minnesota – Olio design by John Z. Wood

Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.

Painted detail from olio design by John Z. Wood

Signature by John Z. Wood near damage at right.

The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database.

Twin City Scenic Co. of Minneapolis, Minnesota – Olio Design by John Z. Wood

Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. Information on the back of the color rendering notes that the composition depicts Bordighera, Italy. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.

Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Detail of Bordighera, Italy, in the distance. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

Historic photograph of Bordighera, Italy.

The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

I post a historic scene every day to my FB Group Dry Pigment and my FB Page Wendy Rae Waszut-Barrett.

Tales from a Scenic Artist and Scholar. Part 1076 – Earle V. Ackerman, George W. Korb and Theresa E. Zsiday Korb

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 1075 – E. Van Ackerman, Rhonda Beatrice Ackerman, and Mrs. Shean

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

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

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

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

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

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

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

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

From “The Brooklyn Daily Eagle,” 12 Nov. 1918, page 2.

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 1074 – Earle Van Buren Ackerman (1877-1970)

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

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

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

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

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

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

Here is a recap on the studio fire:

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

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

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

Earle Van Buren Ackerman’s scenic studio. Advertisement in Gus Hill theatrical Directory.

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

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

Earle Van Buren Ackerman and Philip Dodd Ackerman established Ackerman Bros. Scenic Studio by 1914. From Gus Hill’s Theatrical Directory.

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

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

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

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

Grave stone that Earle Van Buren Ackerman shares with George Washington Korb and Theresa Korb in Phillipsburg, New Jersey.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1073 – P. Dodd Ackerman and Helen M. Ackerman (Helen Fling) in Fort Myers, Florida

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

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

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

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

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

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

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

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

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

From the Fort Myer’s News-Press, 10 Feb 1948, page 3.

Detail of Mrs. Helen M. Ackerman (Helen Fling) on right.

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

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

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

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

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

To be continued…